By Frédéric Chopin, ed. Alfred Cortot
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Almost immediately after Wolfgang Amadeus Mozart's loss of life, his widow Constanze despatched a manuscript reproduction of 1 of his so much cherished operas, Die Zauberflöte, to the court docket of the Elector of Cologne. It used to be ultimately released via Nicolaus Simrock in 1814 because the first full-score variation. despite the fact that, the query nonetheless continues to be as to why this early reproduction in her ownership diverges from Mozart's autograph in such a lot of libretto information.
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French composer Claude Debussy (18621918) created tune that was once progressive, with a pretty smooth sound that highlighted the intersection of artwork and existence. the following, during this certain biography, David J. Code explores the $64000 moments within the improvement of Debussys literary pursuits that formed his musicand within the method brings to lifestyles Debussys sardonic character.
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His few disconsolate words were accompanied by a newspaper clipping, which said that the aviator-writer had failed to return from a war-time flight. 5 5 'He took ofT at 8:30 on July 31, 1944; the weather reports were good, the engines running smoothly, and the plane soared lightly into the shimmering morning air, northwards towards France. At one-thirty Saint-Exupery had not returned and his friends were growing more and more anxious, as by now only an hour's fuel remained in his tanks. And at two-thirty he still had not returned ...
The final pages of Alceste, from the appearance of the deus ex machina, are undeniably cold and conventional; yet, in spite of this weakness, the opera remains a masterpiece. atio~ is different in the so-called verismo opera. Here the pace IS swift, the brevity of the episodes can indicate a very high degree of 1 Joseph Kerman also perceives 'a large recurring musical rhythm from tension to relaxation . est scale: between the opera as a whole and its final interlude, followmg Wozzeck's death and preceding the twenty-one-bar epilogue with the children .
Swans of liberty,' I sang in my heart. 38 36 As mentioned above, Dallapiccola conceived the first musical idea of the opera, the idea embodied in the central Aria in Three Stanzas 'Su/1' Oceano, sulla Schelda', on 10 January 1944, shortly after he finished the first draft of the libretto. The second scene as a whole, containing this Aria, is dated 3 February 1945, and the other parts of ll Prigioniero were completed in the following sequence: Scene IV, 4 August 1945; Scene III, 25 August 1946; Prologue, 6 April 1947; Scene I, 25 April 1947.
12 Études op. 25 by Frédéric Chopin, ed. Alfred Cortot