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Fantaisie Brillante

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Fantaisie Brillante

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Author : Henri Bertini
language : en
Publisher:
Release Date : 1836

Fantaisie Brillante written by Henri Bertini and has been published by this book supported file pdf, txt, epub, kindle and other format this book has been release on 1836 with categories.

Carmen Fantasie Brilliante

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Author : Francois Borne
language : en
Publisher:
Release Date : 2013-03-27

Carmen Fantasie Brilliante written by Francois Borne and has been published by this book supported file pdf, txt, epub, kindle and other format this book has been release on 2013-03-27 with Music categories.

"Carmen Fantasie Brillante" was composed by François Borne (1840-1920). It is based on themes from the opera "Carmen" by Georges Bizet, composed in 1875, just 3 months prior to his death. In about 10 to 12 minutes, Borne runs through many of the great themes from this, one of the most popular operas of all time. The fantasy (written in 1900 and originally orchestrated that same year by Raymond Meylan) begins with the music of Carmen's first entrance in the opera, goes to the "Fate" theme, the Cigarette Girls' Song from Act I and the Habañera. From that point, the music builds up in excitement for the Gypsy Dance. Just as the listeners assume that the piece is ready to close, Borne trumps all that has come before with a triumphant statement of the famous Toreador Song. I played a band arrangement of this beautiful piece when I was temporarily with the Air Force Band of the West, San Antonio, Texas in late 1997, and I decided to duplicate that feat...it took me 14 years, but I finally did it. --Marc Oliver

Giacomo Meyerbeer

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Author : Marco Clemente Pellegrini
language : en
Publisher: Cambridge Scholars Publishing
Release Date : 2008-10-01

Giacomo Meyerbeer written by Marco Clemente Pellegrini and has been published by Cambridge Scholars Publishing this book supported file pdf, txt, epub, kindle and other format this book has been release on 2008-10-01 with Music categories.

This Guide has resulted from years of research on the papers and music of Giacomo Meyerbeer, and aims to provide a bibliographical aid and point of reference for further research. The first part presents the private papers connected to the composer and his principal librettist, Eugène Scribe—both archival and printed, with working papers and correspondence, as found in Berlin, Paris and some of the famous libraries of the world. The body of Part 2 draws together all the known resources on Meyerbeer's life and historical reputation—from full scale biographies and entries in reference books, through critical discussions to website resources to records of symposia. The third part provides material about his background with its unique mixture of Jewish and Prussian elements, the powerful role of the city of Berlin in his life and work. The fourth part lists bibliographic material for Meyerbeer's music, looking at his operas, grouped as German, Italian and French, with each individual entry providing a record of the scores available, both modern and historical, the various arrangements made from the operas during the heyday of their popularity, reviews of modern performances, discography, and bibliography of studies and publications pertinent to the wider cultural and historical contexts of the works. The next two sections constitute an extended record of material pertinent to the contemporaries of Meyerbeer. In the fifth section are select bibliographies of composers, authors, artists, performers, politicians, those who played some part in the composer's life, or anyone of significance in his wider contemporary circumstances. This is continued in the sixth part where the cultural and aesthetic elements of the composer's milieu, or life in the theatre during seventy years of the nineteenth century, are listed. The seventh part adds a bibliography of social and historical background, where the incidental issues of Judaism in nineteenth-century Europe, and the wider political, historical and geographical circumstances of Meyerbeer's life, his relentless travelling, and closely recorded experiences in Germany, France, Italy, Belgium, England, and Austria. The eighth section provides a thematic key to this extensive material. Part 9 provides an extended tripartite series of lists of the published scores, arrangements and some special studies of Meyerbeer over the period 1820 to 2005—in alphabetical, chronological and thematic ordering. The last two sections furnish the modern equivalent of this record of Meyerbeer and his compositions, showing in Part 11 the list of performances of his operas since the Second World War, and in Part 12, listing the recordings of the operas, both commercial and private, for the same period. The thirteenth and last section is iconographical, pictures that represent an interesting survey of the popular response to Meyerbeer in the 19th century.