Hugo Weisgall Video
compositore, insegnante di musica, direttore d'orchestra
- opera
- Stati Uniti d'America
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2024-05-01
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Hugo Weisgall Bach Rothschild Schubert Mahler 1912 1920 1946 1952 1970
Fancies & Inventions, for baritone and five instruments, is a work of large scope, lasting almost 25 minutes. The composer has carefully chosen 9 poems from the Hesperides of Robert Herrick [for the full text, see (http•••) and His Noble Numbers.txt] to provide contrast and variety and perhaps a bit of unconscious autobiography. Several themes run through the cycle. Bitterness toward critics is juxtaposed with the soothing qualities of music; love is viewed through the eyes of an old man. The placement of the songs presents a kind of argument-resolution idea. The harshly declaimed To Criticks for piano and voice alone is immediately followed by Soft Musick, its resolution. The flower-song duets act as nostalgic interludes, and employ deliberately archaic-sounding devices, such as the choral prelude technique in To Davvadills. In this work, Weisgall has made the voice a virtuoso instrument employing a wide range, long sustained lines, intricate melismatic passagework, and operatic declamation. Similarly, each instrument is treated as a soloist as well as a member of the close-knot ensemble. The instrumental style is varied from song to song. Sometimes on hears delicate chamber music and sometimes orchestral textures. Every instrument has a chance to show off. The last song of the cycle is a kind of microcosm of the main ideas. the argument is resolved by the soule-melting Lullabies after a big orchestral climax, and the cycle is rounded out with the chiming sheres music that had first appeared in To the Detracter. The composer writes: This work achieved its over-all formal structure some time after I had finally decided to set a series of poems with differing subject matter, but by a single poet. I realized that what I wanted to do in this instance was to write a group of pieces which, together, would make up a whole, but in which the individual challenges were primarily musical and not dramatic ones. Hence the title. Both words have definite musical connotations as well as nonmusical meanings. Fancy refers to a form found frequently in 17th century English instrumental music, and invention, of course, harks back to Bach. Though neither of these terms is traditionally associated with vocal music, I chose to use them this way because the separate songs making up the cycle do resemble fantasias or Bach-like inventions. The work is dedicated to Randolph S. Rothschild as a token of gratitude for his many years of continued artistic support and friendship. It was commissioned by the Baltimore Chamber Music Society. Hugo Weisgall has devoted most of his professional life to the study and creation of opera and vocal music. He was born in Czechkoslovakia in 1912 of German-speaking Jewish parents. Singing was part of his daily life; his father was a singer, in fact is still a practicing cantor in Baltimore, where the family settled in 1920. Even as a child he was familiar with the Schubert-to-Mahler song tradition as well as the major operatic literature, and he played the piano as his father sang. He was produced a large body of focal works including six operats, numerous songs and choral works, and three song cycles: Soldier Songs (1946), A Garden Eastward (1952), and Fancies and Inventions (1970).
Beverly Sills Hugo Weisgall Craig Timberlake Ernest McChesney Sylvan Levin 1959
April 26,1959 - Hugo Weisgall's "Six Characters in Search of an Author" New York City, New York The Coloratura - Beverly Sills; The Accompanist - Craig Timberlake; The Director - Ernest McChesney Sylvan Levin, conductor 8. "Good afternoon, miss. Good afternoon, sir." 9. "Help me on this scene"
Strindberg Hugo Weisgall Barnes Webber Ibsen Reinhardt 1849 1872 1879 1881 1887 1888 1889 1894 1896 1898 1902 1907 1909 1912 1952 2010
The Stronger (Swedish: Den starkare) is a famous 1889 play by August Strindberg. The play is quite short, consisting of only one scene that can be performed in approximately 10 minutes. The characters consist of only two women: a "Mrs. X" and a "Miss. Y", only one of whom speak, an example of a dramatic monologue. It was adapted into a 1952 opera by composer Hugo Weisgall and there have been numerous film and television adaptations of the work. It has also been expanded and adapted into a forty-minute English-language zarzuela with a Madrid setting by Derek Barnes (2010), with text by Christopher Webber. (http•••) Johan August Strindberg (22 January 1849 / 14 May 1912) was a Swedish playwright, novelist, poet, essayist and painter.[2][3][4] A prolific writer who often drew directly on his personal experience, Strindberg's career spanned four decades, during which time he wrote over 60 plays and more than 30 works of fiction, autobiography, history, cultural analysis, and politics.[5] A bold experimenter and iconoclast throughout, he explored a wide range of dramatic methods and purposes, from naturalistic tragedy, monodrama, and history plays, to his anticipations of expressionist and surrealist dramatic techniques.[6][7] From his earliest work, Strindberg developed forms of dramatic action, language, and visual composition so innovative that many were to become technically possible to stage only with the advent of film.[8] He is considered the "father" of modern Swedish literature and his The Red Room (1879) has frequently been described as the first modern Swedish novel.[9][10] In Sweden Strindberg is both known as a novelist and a playwright, but in most other countries he is almost only known as a playwright. The Royal Theatre rejected his first major play, Master Olof, in 1872; it was not until 1881, at the age of 32, that its première at the New Theatre gave him his theatrical breakthrough.[2][11] In his plays The Father (1887), Miss Julie (1888), and Creditors (1889), he created naturalistic dramas that / building on the established accomplishments of Henrik Ibsen's prose problem plays while rejecting their use of the structure of the well-made play — responded to the call-to-arms of Émile Zola's manifesto "Naturalism in the Theatre" (1881) and the example set by André Antoine's newly established Théâtre Libre (opened 1887).[12] In Miss Julie, characterisation replaces plot as the predominant dramatic element (in contrast to melodrama and the well-made play) and the determining role of heredity and the environment on the "vacillating, disintegrated" characters is emphasised.[13] Strindberg modelled his short-lived Scandinavian Experimental Theatre (1889) in Copenhagen on Antoine's theatre and he explored the theory of Naturalism in his essays "On Psychic Murder" (1887), "On Modern Drama and the Modern Theatre" (1889), and a preface to Miss Julie, the last of which is probably the best-known statement of the principles of the theatrical movement.[14] During the 1890s he spent significant time abroad engaged in scientific experiments and studies of the occult.[15] A series of psychotic attacks between 1894 to 1896 (referred to as his "Inferno crisis") led to his hospitalisation and return to Sweden.[15] Under the influence of the ideas of Emanuel Swedenborg, he resolved after his recovery to become "the Zola of the Occult."[16] In 1898 he returned to playwriting with To Damascus, which, like The Great Highway (1909), is a dream-play of spiritual pilgrimage.[17] His A Dream Play (1902) — with its radical attempt to dramatise the workings of the unconscious by means of an abolition of conventional dramatic time and space and the splitting, doubling, merging, and multiplication of its characters / was an important precursor to both expressionism and surrealism.[18] He also returned to writing historical drama, the genre with which he had begun his playwriting career.[19] He helped to run the Intimate Theatre from 1907, a small-scale theatre, modelled on Max Reinhardt's Kammerspielhaus, that staged his chamber plays (such as The Ghost Sonata). (http•••)
Hugo Weisgall Jansen 1952 2009
Fragment from ' The Stronger' (1952) - opera by Hugo Weisgall Marieke Steenhoek - soprano Lottie de Bruijn - actress Jeroen Sarphati - piano Elsina Jansen - director Museum van Loon 2009
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- cronologia: Compositori (Nord America). Direttori d'orchestra (Nord America). Interpreti (Nord America).
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