Temat: belcanto - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: Od modlitwy do belcanta – solowa liryka sakralna Stanisława Moniuszki
Autorzy:: Fedyk-Klimaszewska, Monika
Misiaszek, Antoni
Powiązania:: https://bibliotekanauki.pl/chapters/973484.pdf
Data publikacji:: 2016
Wydawca:: Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
Tematy:: liryka sakralna
belcanto
chóralna pieśń religijna
Stanisław Moniuszko
Opis:: Solo religious works of Stanisław Moniuszko belong to his most interesting pieces and take very important part in his musical legacy. he composed fast 30 pieces of this genre, in spare of only 17 years, from 1855 till 1872. Amongst these pieces are: psalms,anthems, prayer songs, penitential or laudable songs, etc. These works base on the poetry of the finest Polish poets and David’s psalter. They are truly beautiful pieces with belcanto-romantic touch to it.
Źródło:: Muzyka sakralna. Piękno ocalone i ocalające; 202-218
9788364615184
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 2.

Tytuł:: Between opera and the Lied - ‘Tre sonetti di Petrarca’ by Franz Liszt
Autorzy:: Wojtczak, Ziemowit
Powiązania:: https://bibliotekanauki.pl/articles/780353.pdf
Data publikacji:: 2014
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:: Liszt
Tre sonetti di Petrarca
das Lied
opera
belcanto
songs
singing aesthetics
Opis:: Franz Liszt composed his songs in the time when Europe was at the peak of the development of the Romantic form - das Lied. However, it seems that not all of Liszt’s songs should be discussed from this perspective, pointing at least at significant influences of the 19th century Italian opera. The second version of a set of Tre sonetti di Petrarca reflects not only some changes in the composer’s technique or style, but above all, constitutes an evidence of certain tendencies in perceiving vocal technique and the development of Italian and European vocal aesthetics. It might be assumed that, even though the music construction of the second version of the Sonnets - particularly in the layer of melody of the vocal part - brings to mind the Italian operatic aria in its almost purest form, the deeply emotional musical interpretation of Petrarch’s most beautiful love lyrics seems to strongly derive from the already shaped German Romantic song. On the whole, the masterpiece is a bit eclectic, which in the light of Liszt’s reference to the past (belcanto form of an Italian aria, Renaissance lyrics) constitutes - as it could be called today - the author’s postmodern reinterpretation.
Źródło:: Interdisciplinary Studies in Musicology; 2014, 13; 57-66
1734-2406
Pojawia się w:: Interdisciplinary Studies in Musicology
Dostawca treści:: Biblioteka Nauki

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