Ludwig Van Beethoven: Fidelio PDF Download
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Author: Paul A. Robinson
Publisher: Cambridge University Press
ISBN: 9780521458528
Category : Music
Languages : en
Pages : 208
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Book Description
This book explores the fascinating musical and dramatic elements within Fidelio, Beethoven's only complete opera.
Author: Paul A. Robinson
Publisher: Cambridge University Press
ISBN: 9780521458528
Category : Music
Languages : en
Pages : 208
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Book Description
This book explores the fascinating musical and dramatic elements within Fidelio, Beethoven's only complete opera.
Author: Ludwig van Beethoven
Publisher:
ISBN:
Category : Operas
Languages : en
Pages : 32
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Book Description
Author: Ludwig van Beethoven
Publisher:
ISBN:
Category :
Languages : en
Pages : 84
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Book Description
Author: Ludwig van Beethoven
Publisher:
ISBN:
Category : Operas
Languages : en
Pages : 24
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Book Description
Author: Ludwig van Beethoven
Publisher: Alfred Music Publishing
ISBN: 9780757922633
Category : History
Languages : en
Pages : 52
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Book Description
A complete orchestral and vocal score for Beethoven's only opera, Fidelio, composed between 1803 and 1815. The opera is a Singspiel, with both singing and spoken dialogue, effectively using melodrama (action or dialogue accompanied by music) to create the proper mood for somber scenes. The lyrics and text in this edition are only in German."
Author: Ludwig van Beethoven
Publisher:
ISBN:
Category :
Languages : en
Pages : 374
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Book Description
Author: Myunghwa Jang
Publisher: GRIN Verlag
ISBN: 3640773608
Category : Social Science
Languages : en
Pages : 29
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Book Description
Research Paper (undergraduate) from the year 2010 in the subject Sociology - Media, Art, Music, The University of Malaya, language: English, abstract: Written with librettist, Joseph von Sonnleithner, Beethoven's first version was divided into three acts in the style of a German Singspiel. In a singspiel, a fresh start has to be made after every spoken interruption. Fidelio was first performed on November 20, 1805 after being delayed due to issues with the censors. The opera opened to a small audience and negative reviews. A year later Beethoven attempted a revision of Fidelio for the same theatre. Due to a change in management Beethoven was presented with a new librettist by the name of Stephan von Breuning. After a great deal of struggle, a very reluctant Beethoven agreed to a much more condensed and concise version of the opera. The newly revised version was performed on May 29, 1806. Again the audience was not Beethoven's ideal audience and the show failed once again. After reading a refined libretto by Georg Friedrich Treitschke, Beethoven agreed the revival but insisted on a complete revision in which he virtually started over. Nearly every number was altered in some fashion. The third and final version of the opera opened with great success on May 23, 1814. It took Beethoven over a decade to complete his only opera. Throughout the many revisions he produced four different overtures. The first, now known as Leonore #2 was written for the opera's premiere in 1805. Because some sections proved to be too difficult Beethoven began reworking the overture for the opera's revival in 1806. The new version became known as Leonore #3. Beethoven's final revision composed for the 1814. Production was called the Fidelio Overture. After his death a fourth overture was found. Entitled Leonore #1 it is believed he either wrote it first or for a production of Fidelio in Prague that never happened. Leonore #3 is often played between the two scenes in Act 2. However, many critic
Author: Martin Nedbal
Publisher: Taylor & Francis
ISBN: 1317094093
Category : Music
Languages : en
Pages : 260
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Book Description
This book explores how the Enlightenment aesthetics of theater as a moral institution influenced cultural politics and operatic developments in Vienna between the mid-eighteenth and early nineteenth centuries. Moralistic viewpoints were particularly important in eighteenth-century debates about German national theater. In Vienna, the idea that vernacular theater should cultivate the moral sensibilities of its German-speaking audiences became prominent during the reign of Empress Maria Theresa, when advocates of German plays and operas attempted to deflect the imperial government from supporting exclusively French and Italian theatrical performances. Morality continued to be a dominant aspect of Viennese operatic culture in the following decades, as critics, state officials, librettists, and composers (including Gluck, Mozart, and Beethoven) attempted to establish and define German national opera. Viennese concepts of operatic didacticism and national identity in theater further transformed in response to the crisis of Emperor Joseph II’s reform movement, the revolutionary ideas spreading from France, and the war efforts in facing Napoleonic aggression. The imperial government promoted good morals in theatrical performances through the institution of theater censorship, and German-opera authors cultivated intensely didactic works (such as Die Zauberflöte and Fidelio) that eventually became the cornerstones for later developments of German culture.
Author: Roman Rolland
Publisher: Read Books Ltd
ISBN: 1447495543
Category : Biography & Autobiography
Languages : en
Pages : 351
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Book Description
Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.
Author: Robert Maschka
Publisher:
ISBN: 9783761822043
Category : Opera
Languages : de
Pages : 135
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Book Description
