Academic literature on the topic 'Intermezzi'

JOHN McCABE: Concerto for Piano and Wind Quintet; Musica Notturna; Fauvel's Rondeaux; Postcards for wind quintet. The Fibonacci Sequence. Dutton CDLX 7125.‘Old City New Image’. McCABE: String Trio; String Quartet No. 2. DAVID ELLIS: Trio for violin, viola and cello; String Quartet No. 1. Camerata Ensemble. Campion Cameo 2027.McCABE: Piano Concerto No. 2; Concertante Variations on a theme of Nicholas Maw; Six-Minute Symphony; Sonata on a Motet. Tamami Honma (pno), St Christopher Chamber Orchestra c. Donatas Katkus. Dutton CDLX 7133.‘Tenebrae’. McCABE: Variations; Intermezzi; Sostenuto (Study No. 2); Capriccio (Study No. 1); Aubade (Study No. 4); Tenebrae; Scrunch (Study No. 8); Evening Harmonies (Study No. 7). Tamami Honma (pno). Metier MSV CD92071.

On Saturday, February 5th, 2011, the Dutch Performing Arts Medicine Association (Nederlandse Vereniging voor Dans- en MuziekGeneeskunde, NVDMG) organized a Symposium for and by allied health care professionals, held in the Medisch Centrum Haaglanden (MCH, Medical Centre of The Hague). Allied health care professionals, such as physiotherapists, manual therapists, Mensendieck therapists, speech therapists, and foot therapists, form a vital and indispensable link in the chain of healthcare and cure for dancers, musicians, and singers. The intention of the symposium was to highlight the practical and experience-related approach of allied health care providers, both in the presentations and in the artistic intermezzi. Apart from the exchange of knowledge and experience, there was ample opportunity for informal contact, facilitating and stimulating the formation of an interdependent network of allied health care providers specialized and/or interested in dance, music, and singing in The Netherlands.

RESUMENLa presencia del Quijote en los escenarios italianos del XVIII constituye aún un campo parcialmente abonado por la crítica. Las diversas recreaciones cervantinas del período nos hablan de una importante presencia y recepción de temas y motivos en la cultura italiana, siendo estas piezas —no sólo las óperas serias o bufas, sino también las composiciones cómicas breves— verdaderas canteras aún por explorar. En dicha perspectiva se examinan dos intermezzi de clara derivación quijotesca, Don Chisciotte a Venezia (Baretti) y Don Chisciotte nella selva di Alcina (Corsetti), en los que la figura del caballero andante, implantado en ambientes festivos y carnavalescos, es despojada de toda dignidad literaria, al tiempo que se percibe una inversión en la configuración de su perfil moral. Ambas piezas confirman este proceso de apropiación e inversión en el que se plasman nuevas reencarnaciones del famoso hidalgo, recargando las tintas sobre los componentes satíricos y paródicos, a través de un proceso de reelaboración textual en el que la comicidad se desplaza hacia ámbitos decididamente grotescos y caricaturescos.PALABRAS CLAVEQuijote, recreaciones cervantinas, teatro musical, siglo XVIII, Baretti, Corsetti. TITOLOPresenze cervantine negli scenari italiani del Settecento. Baretti e Corsetti: due modelli di appropriazione e inversioneSOMMARIOLa presenza e ricezione del Quijote negli scenari italiani del Settecento costituisce ancora un campo parzialmente affrontato dalla critica. I diversi rifacimenti del periodo per il teatro musicale ci parlano di una importante presenza e ricezione di temi e motivi cervantini nella cultura italiana, essendo questi componimenti —non solo le opere serie o buffe, ma anche i sottogeneri comici e giocosi brevi— vere e proprie miniere da esplorare. In questa prospettiva lo studio esamina due brevi libretti di chiara derivazione chisciottesca, Don Chisciotte a Venezia (Baretti) e Don Chisciotte nella selva di Alcina (Corsetti), in cui la figura del cavalliere errante, inserito in ambienti festivi e carnavaleschi, è spogliata di ogni dignità letteraria, al tempo che si profila un processo di rovesciamento e inversione del suo profilo morale. Questi due intermezzi confermano un singolare processo di appropriazione e di rovesciamento rispetto al romanzo cervantino, in cui si plasmano nuove reincarnazioni del celebre protagonista, enfatizzando gli elementi satirici e parodici attraverso un processo di rielaborazione testuale in cui la comicità si sposta verso contesti decisamente grotteschi.PAROLE CHIAVIDon Chisciotte, rifacimenti cervantini, teatro musicale, Settecento, Baretti, Corsetti.

Background. Numerous research conferences and scholarly papers show increased interest in the creativity of German composer, pianist and singer of the 19th century Fanny Hensel-Mendelssohn. What is particularly noticeable is that her life and creativity are subject of non-scholarly discussion. Writers of biographical works are profoundly interested in the personality of this talented artist, as it gives them material for the discussion of a whole range of issues, in particular those pertaining to the phenomena of female creativity, new concepts of music and history of music with emphasis on its communicative character, correlation between music and gender, establishment of autobiographical character of musical creativity, expression and realization of female creativity under conditions of burgher society. Additional attention is paid to family constellations: Robert and Clara Schumann, brother and sister Felix Mendelssohn Bartholdy and Fanny Hensel-Mendelssohn. A very close relationship between Felix Mendelssohn and Fanny HenselMendelssohn opens a new perspective on the dialogical history of music, i. e. the reconstruction of music pieces based on close personal and critical contact in the Mendelssohn family. All these ideas, which researchers started articulating and discussing only recently, found their artistic expression in the biographical novel “Dear Fenchel! The Life of Fanny Hensel-Mendelssohn in Etudes and Intermezzi” («Liebste Fenchel! Das Leben der Fanny Hensel-Mendelssohn in Etüden und Intermezzi», 2011) by the German writer Peter Härtling (1933–2017). Peter Härtling was attracted to the image of Fanny Hensel primarily because she was working in the Romantic aesthetics, which the writer considered the backbone of his own creativity. While working on the novel about Fanny Hensel, Peter Härtling was constantly reading her diaries and listening to her music as well as the music by her brother Felix Mendelssohn. He discovered “a fascinating composer” who was creating music “bravely” through improvisation, even more so, who improvised her own life in a similar fashion. Her “courageous steps” into “female reality” struck the biography writer. Objectives. The research aims at studying the literary image of Fanny Hensel using the ideas of contemporary music scholars regarding creativity of this still little researched artist. Literary reflection of the life and creativity of musician based on combination of fiction and real life is a productive addition to her creative image. Methods. Since the research is centered on the image of a female composer, in many respects it is following the theoretical premises of music gender studies. The complexity of literary recreation to the personality and creativity of composer in the novel was required the sophisticated narrative situation and structure, that justifies the use of narratology as a method of literary criticism’ analysis. Results. Peter Härtling is a well-known master of biographical novel, who has his own creative concept of re-construction the life story of famous artists. When creating a biographical novel, the writer walks on the verge of reality and fiction, rediscovering and creating. The artistic element serves the purpose of amplification and image-creation; it helps to reveal distinctive properties, characteristics and elements of personality of the biographic novel hero. Gaps in documented materials help the narrator behave freely, give a chance for open associations and subjective vision. When outlining the personality lineaments, the narrator follows chronology of the most important events. Yet, plot development in an autobiographical novel is based on separate motifs. Certain life stages and events of a person’s life are depicted in detail in specific chapters and are shown more accurately within the general plot. By running ahead and looking back, the narrator makes it clear that he is above the narrative situation and arranges the depicted events according to the principle of their development. The narrator plays the role of an accompanying of a person portrayed, helping the writer approach to latter in order to understand him. Peter Härtling defines the key narrative principle in the following way: the narration is centered on the relationship of the talented brother and sister, as well as the motives of a mothering care and self-assertion, which are creating the backdrop for the biography of Fanny Mendelssohn. As such, we can see the ways that helped a talented young woman stand against her competitor-brother and get out of his shadow. The author claims that since childhood, the brother and the sister got along with the help of music and it was music that created a tie between them. The novel pays close attention to their discussions of music and the Sunday concerts, which took place at their house. As it is known from letters, it was very important for Felix Mendelssohn to include music into private communication forms. Researchers emphasizes that it made hard for him to be involved in social processes, in which such form of communication was impossible. Based on what Felix Mendelssohn himself said, it is possible to conclude that he was making an opposition between private musical communication as “the world of music” and social music life “as the world of musicians”. Fanny Hensel was not the embodiment of “detached musical practice” of autonomous art for him; on contrary, her creativity was directly linked to real life. Inside the bourgeois home and amid “private circulation of texts”, Fanny Hensel’s music was directly connected to communication, holidays and family rituals, in which the roles of music performer and music listener were “not cemented”, presupposing active inclusion of “amateurs” into music. Private musical practice meant the successful musical communication, the direct communication in music, which was not possible in anonymous publicness. Composer individuality had a chance of growing without being stripped of meaning and understanding. Inside the burgher house and within her immediate circle, Fanny Hensel was the symbol of “illusion of non-detached music”. Peter Härtling attests to autobiographical character of Fanny Hensel’s musical writing. Conclusions. Peter Härtling’s novel shows a cultural change, which stipulated an extended understanding of music as a dynamic process of human activity in a specific, historically varied cultural field. In this respect, Fanny Hensel’s literary portrait touches upon important aspects of female music creativity, actualizing its achievements in contemporary cultural space. Approaching the talented artist in literature is a special combination of art and life, fictitious and real, past and present.