Mariage blanc (Harlequin Prélud) (Prelud) (French Edition)
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Air "Pleurez! Navarraise, Le Cid: "De cet affreux combat Plus de tourments et plus de peine Cid. Ai-Je Compris? Ronde des cigales Cigale. Eau dormante. Lent et calme Deux impromptus: II. Eau courante. Papillons noirs. Papillons blancs. C'est vous qui lanciez" Don Quichotte: Acte I. Lorsque le temps d'amour a fui Don Quichotte. Saturnales, Les Esclarmonde: Acte I. Esprits de l'onde! Comme ce nom me trouble" Esclarmonde: Acte I. Chantons notre victoire! Quel supplice! Horace et Lydie Hymne d'amour Ich bin allein - Flieh', oh flieh', holdes Bild impressions improvisations Piano improvvisatore Instrumental music.
Selections Introduction by Milton J. Cross Io son sol Seul Enfin! Fortepian, orkiestra. Monsieur l'hotelier Oui, dans les bois Manon: Act 3 'Je suis seul! Seul enfin! Manon: Act 3 'Les grands mots que voila L'admirable orateur Pauvre Manon En ferment les yeux" Manon: Act II. Manon : Acte I. Eh, quoi? Instant charmant Air "Je suis seul! Dig et dig et don! Et pourquoi? Oui, c'est Manon! Oui, c'est moi! Les belles indolentes" Manon: Acte IV. Permettez-moi de jouer sur parole" Manon : Acte IV. Des Grieux!
Tu pleures! Pauvre Manon! Fuez douce image" Des Grieux Manon Ah! Bravo Manon: Atto II. Selections Manon : Suis-je gentille ainsi? Heureux ceux qui vivent dans l'amour Marie-Magdeleine. Les vieux compagnons", La Navarraise: Acte I.
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Nocturne, La Navarraise: Acte I. Mourir par moi! Selections Orchestra music. Selections Oui, C'Est Moi! Ouvre tes yeux bleus Panurge. Airs slovaques. Pourquoi pleures-tu? Au jardin Colin s'envint un matin Portrait de Manon.
Mariage blanc (Harlequin Prélud')
Prelude et danse - Alza! Allegretto, Le Romance Rosati sais-tu? Ce que j'appelle beau Sapho. Demain, je partirai puisqu'il le faut! Pendant un an je fus ta femme Scenes Alsacienne, Suite No. Au cabaret Scenes Alsacienne, Suite No. Sous les tilleuls Scenes Alsacienne, Suite No. Cortege Scenes de Feerie Suite No. Ballet Scenes de Feerie Suite No. Apparition Scenes de Feerie Suite No.
Bacchanale Scenes Dramatiques Suite No. Scenes Pittoresques, Op II. Scenes Pittoresques, Op IV. Selections Scenes Pittoresques, Suite No. Marche Scenes Pittoresques, Suite No. Air de ballet Scenes Pittoresques, Suite No. Angelus Scenes Pittoresques, Suite No. Adieu Donc! Soleil couchant Sonnet matinal Sophie! Souhait Souvenance Souvenez-vous, Vierge Marie! Souvenir de Venise Suis je gentille ainsi? Marche des princesses Suite from Cendrillon: II. Menuet de Cendrillon Suite from Esclarmonde: I. Evocation Suite from Esclarmonde: II.
Hymenee Suite from Esclarmonde: IV. Pastorale et Fugue Suite no. Variations Suite no. Almost all of these singular works were either written before the opening of his theater, or were written for a special occasion such as his summer trips to Germany. Because he still needed to make money to keep his theater in Paris running, he would take a limited cast and orchestra with him to perform compact works that could be easily produced on the road.
His other work in this genre, Whittington , takes place partly on an enchanted island. Much of the action takes place on the moon and involves its 23 Faris, This distinction seems to bear out the theory that Offenbach was promoting his new theater at this time with the labels of his oeuvre. David J. Buch gives an explanation of this trait in relation to W. The reclassification of Le pont des soupirs is slightly clearer as it was successful in both versions. It was so well known that twenty-one years later William S. Gilbert and Arthur Sullivan blatantly parodied it to create their operetta The Gondoliers The music was extensively revised with the addition of three ballets, but the story essentially remained.
Even if writings from Offenbach himself are found that address his methods of distinguishing between genre labels, we will never fully understand his system of naming his works. Other references to this opera were also part of the show. It was a complete short comic scene, foreshadowing his later one-act works. However, some of his early ideas of style can be gleaned from an essay he wrote in Is that too much to ask? The Cologne Carnival season begins in mid-November, is suspended from advent to 6th January, then continues until Lent.
Operas are part of the festivities, along with parades and parties. This work started his reputation as a satirist, and gained him admission to a salon where he met his wife, Herminie de Alcain. Harding, Est-ce exiger trop? Translated in Faris, The term itself points to that: gay, diverting, amusing stuff.
In describing the success of Ba-ta- clan, the former trait was exemplified. People sang them, danced to them, hummed them. Utilizing only a few instrumentalists in his pit orchestras was sometimes a practical matter of not having the funds to hire more musicians, but even his later works that used full orchestras did not require Wagnerian forces.
More than seventy composers entered the first round, and six finalists were chosen to set the libretto to music. These composers were often not trained in their country of birth, adding to the eclecticism of the operatic scene in Paris. Faris believes that Offenbach was influenced by the operatic music of Mozart and Rossini, with a mix of dance music borrowed from several countries, including the Algerian can-can, the Tyrolian and Viennese waltzes, and the Bohemian polka.
In addition to the hero and heroine, there are two types of servants, mythological or magical characters, and several categories of buffo roles written into his shows. Each type will be addressed individually, with specific examples of how Offenbach molded his characters to fit the story and the typical parodic strategies employed in relation to each character type. The function of the chorus in his later works will be addressed, as the rules of his theatrical 43 Faris, Typical plot elements that each character faced will also be mentioned, as they often determined how the part was written.
Song construction was also an important part of character use, as Offenbach repeatedly employed similar formulaic elements for many of these roles. As with the characters, parodic elements in these aspects of composition will be addressed as they occur. Passive Heroes Since its creation at the turn of the seventeenth century, most operas have contained heroes and heroines. Roles of the heroic type exist back to the early operatic stories of Orpheus and Eurydice, and Greek dramatic roles predate these.
Offenbach does not stray far from an established model in creating his heroes. A brief survey of these characters finds that most are young tenor roles, and in some cases a second tenor role is written that also has heroic elements. These heroes parody those in serious opera as they usually are either in love or fall in love during the course of the work, and there is always an obstruction they must overcome to find happiness. This name illustrates another trait that sometimes appears in these works — the use of wordplay in character names. Bad Ems, , Instead of killing them, the drinks turn out to be strong laxatives thus ending the battle and allowing the two lovers to live in peace.
However, he then tries to tell her to go away after he remembers his duty to his uncle. This sets up the classic conflict between love and duty that many heroes in opera face, in this case parodied in comic fashion. This part of their plan is revealed in a duet that parodies three love duets from contemporary operas that the audience would know, thus recognizing the joke.
In this 50 Rose, Murray, , vol, 2, This character is usually brave and heroic, but is led more by love than a sense of duty to family or country. In Croquefer, the female lead drives the main action, and the male lead follows along. Offenbach parodies this relationship as his hero begins by remembering his duty and leaving the heroine, but eventually he forgets his duty and runs away with the heroine.
His role is also not titular, but he takes part in most of the action in the show and is essential to the plot. Paris represents another common Offenbach tenor — a crafty planner whose schemes result in him getting the girl and often angering several other men in the process. Offenbach creates a character similar to Paris in the one-act Il signor Fagotto. As a composer, Offenbach and his librettists probably knew more than one person to use as a model for the old master.
More on how this character is parodied and presented in other Offenbach works is detailed below in the section on servants. It employs the type of paratragoedia described by Fuzelier in the eighteenth century as criticism of falsity by presenting an exaggerated view of how people from other countries saw Paris, and also criticized tourists in the process. Offenbach composed this work around the mid-point of his career, and, as these two character descriptions show, he had established certain recurring roles for male leads by this time. Either one or both of these types of male leads appear in the remainder of his works that have both male and female characters as he parodies both strong heroes and tragic heroes.
Dragonette is a good example of this type of work as the title character is mistaken for her twin brother who has been lost in the war and is feared a deserter. She convinces everyone to let her look for him, and ends up hearing him come back with the enemy flag, thus winning the battle for the Republican Army. She wants to marry and has two suitors, each of whom makes his case for her hand during the one-act composition.
In a series of near misses and mistaken identities, she finally decides to marry someone completely different. She was his confidant and he respected her opinion, often over his own. She put up equably with his changing moods. Her calm and her patience formed a welcome complement to his nervy personality…. She gave [her children and Jacques] her unsparing devotion. The problem of handling a temperamental husband and an exigent baby was complicated by an eternal shortage of money. She performed miracles on a house-keeping budget of minute proportions.
For the…. Without her he might never have survived. Dragonette only hears her brother come back as the character of the brother is never seen; his regiment is heard returning offstage. Supporting Heroines Female characters have played an important role in opera since its beginning so it comes as no surprise that Offenbach had his own take on the women in his operas — including those that were played by men for comedic purposes, as will be discussed later in this chapter.
The eponymous cannibal queen in Oyayaye shows some typical traits of Offenbach female leads, even though she is more of an antagonist than a heroine. In this work, the male lead is stranded on an island with his string bass and spends the entire show trying to convince the female lead, the queen of the cannibals, not to boil him for dinner. He finally escapes by turning his bass into a boat and sailing away. He does link in with the other tenor roles in that he tries to seduce the queen while trying to save himself, but, given the plot, this is one time when getting the girl might prove fatal!
As the Paris World Exposition of was open at the same time this work premiered, it is likely that Offenbach was parodying exotic cultures by distorting the way they functioned, a form of parody linked to paratragoedia. Oyayaye is the only Offenbach composition with both male and female characters in which there is not a distinct heroine. She is empowered to make her own choices, and eventually decides to run off with Paris to Troy. After convincing him that he loves her in their series of duets, she poisons the knights during a drinking song and the two young people run off together.
Female characters like this could have been parodic foils to the male characters in rescue operas; the parodic twist in Croquefer is that the man comes to rescue the woman, but she figures out on her own how to escape and takes him away with her. There are two old knights, a maiden in a tower, and a plot to poison two of the characters, all parts of Croquefer. Like the heroes, the servants tend to represent one of two categories: they are either crafty planners like the previously-mentioned pair, or buffo characters only used for comic relief.
The buffo form of these characters will be addressed later in this chapter. She is also often the only moving voice in ensemble numbers. He falls in the crafty planner category because even though he is not the focus of the plot, his actions help create major structural points in the story.
He is not included for comic relief, as the two old knights fulfill that function. Russian Formalist scholars viewed the creation of parallel characters in theatrical works that resembled those used in other operas a form of parody, so these characters fit this parameter, as explained above. Styx helps Jupiter seduce Eurydice in part to retaliate against Pluton for trapping him in Hades. He is considered a minor character, as he is prominent in only one scene and only has one aria, but is crucial to the plot as he transforms Jupiter into a fly and is tasked with keeping Eurydice away from Pluton until the end of the opera.
Styx is usually played by a comic actor as his part does contain amusing moments, but he is not an entirely buffoonish character. In La bonne d'enfant The Nanny, , the titular character is a nanny who wants to have her own house and husband. Reis, eds. Sometimes, however, mythic, supernatural, and magical figures made appearances either as cameos or as main characters. Several of the Greek gods make appearances and are pivotal to the story line, and there are many fantastic situations and places. She, however, also creates a few comedic moments with her comments and actions.
Hoffman entitled Le roi Carotte In the story, Minnette was enchanted by another sorcerer and turned into a white cat. Offenbach would return to these stories late in his career to create his final work, the opera The Tales of Hoffman. This libretto was completed before the war, but, as the fighting greatly slowed the production of theatrical works, it could not be performed as soon as Offenbach wanted.
The radicals were the army of vegetables and their leader, a carrot who is turned into a king by a sorceress. Fridolin is restored, and Carotte is turned back into a vegetable. Because this incident sparked the war, Offenbach and his librettists removed the reference because they did not want to incite a potential riot. As in many of his works, the female sorceress was not written as a comic character, but the two male roles are comic foils for the hero, a trait that will be more fully discussed in the following section.
Sometimes his comic characters are mute, or can only grunt, bark, or make some other unintelligible noises. Secker, , 8. He tested the limits of the censors by writing for five characters instead of the four his license allowed, but, as the rules stated that there could only be four speaking characters, Offenbach claimed that the mute character did not break the laws.
This character was not added to parody anything or anyone, but was merely meant to test the censors. The second line of text has been removed for clarity. Top line: My father, change the icy terror in my heart! Middle line: A fire burns in my heart, Alas! Omitted line: Qui donc leur prends les change? What kind of madness is this change? What is happening to them? What pallor! It is revealed in the text that he has lost almost all his limbs and his tongue in the war.
Because from this moment, I will only buzz. In other parts of the song, she sings words while he buzzes his answers back to her. Eurydice sings the top line, while Jupiter is on the lower part. Both the ensemble from Croquefer and this duet contain serious texts as the first is a lament about the effects of the poison on the two knights, and the second speaks of how nice a fly Jupiter has become and about his methods of seducing Eurydice.
Again, Offenbach is using parode by imitating serious operatic songs in comedic manners. The intertextual references implied by these numbers also draw on paratragoedia, though there is no implied criticism of an event or a specific work. She is one of the very few female buffo characters Offenbach inserts in his works. A more detailed discussion of this trait will be addressed in the next section. She is changed back into a woman by the enchanter Dig-Dig described above but never completely abandons her feline instincts.
Plus un mot! Je n'ai droit qu'au bourdonnement! This excessive coloratura parodied the manner in which some Italian divas created elaborate vocal cadenzas, and could have been directed at a specific contemporary singer. Instead, Minette behaves like the cat she supposedly was, and thus creates comic situations.
Guido is also shown to be foolish, as the enchanter and the housekeeper are revealed to be the clever characters. Orestes a pants role , the two Ajaxes, Achilles, Agamemnon, and the priest Calchas all have comical lines and scenes, and all of these characters are described in more detail in chapter four. Everyone on this list is male, which is another common Offenbach trait. As mentioned above, he will very rarely include a comic or foolish female, preferring to write them as sly, crafty, intelligent, strong women.
The men are the fools, and are always getting outsmarted by the females in the cast. In Barbe-bleue Bluebeard, ,71 the peasant girl Boulotte pretends to be a comic character when she is actually planning to marry the knight Barbe-bleue and reveal the secret of what has happened to his past five wives. Mistakenly attributed to Rossini, it is a combination of two duets from his Otello and the "Katte-Cavatine" by Danish composer Christoph Ernst Friedrich Weyse Edward J.
This work, however, also has a comic couple who provide the funny sub-plot of falling in love and getting frisky after gathering aphrodisiac mushrooms. These purely buffo characters parody the classic Harlequin character in its many incarnations, and Offenbach used them liberally in his compositions. La fille du tambour-major , the last work Offenbach saw staged before his death, contains several buffo characters of different types. One, Le Marquis Bambini, is typical of the older male roles added for purely humorous effect.
Bambini is similar to the two knights in Croquefer in that he is an old war hero, grown feeble with age. He is the intended husband of the titular heroine who is in love with the hero, a young lieutenant. Bambini is essential to the plot, but does not need to be on stage because much of his action could be presented and resolved through dialogue.
His presence is only needed for comic relief, and his few sung solos could easily be covered by another character. He pairs with Le Duc several times in scenes and in songs to create humorous situations, as Stella the title character and Robert the hero plot to marry. In La chanson de Fortunio The song of Fortunio, , the fatherly figure is Fortunio, the title character and an old lawyer who heads a company with several clerks. It was the parodic sequel to a play, Le Chandelier by Alfred de Musset, for which Offenbach had been commissioned to write incidental music.
This music was never used, so Offenbach was able to recycle the music into a new show. The old man had since lost and forgotten the song, but one of his clerks finds it. At the conclusion of the opera the clerks sing the love ballad, Fortunio realizes his mistake and reconciles with his wife, and all the clerks suddenly acquire new girlfriends. Everyone recognizes that the song is still a potent spell, and the clerks hide it for later use. The young wife is the heroine and, although the hero is in love with her, the relationship never manifests and she regains the love of her husband.
Each of the above- named works contains multiple secondary male characters that band together in different ways to comically harass the leads. This recurring band of comic characters parodies the ensembles of supporting men in more serious operas: soldiers, friends, or fellow students, among others. In Croquefer there are examples of both types. When Fleur-de-Soufre decides to poison the knights and escape, he again pushes the action forward by obtaining the ingredients she needs and serving the drinks. Although not parody under the various definitions presented by Rose, these names are often ironic, especially when they describe the complete opposite of the traditional character.
It could also refer to the yellow color of the element, giving her name a different meaning. French audiences would have noticed the comic names before the show began, and would associate their roles in the regiment accordingly. These names are also more ironic than parodic, but the characters themselves still parody the typical buffo role.
Very few female buffo characters appear in his works, and then, they tend to be cross-dressing roles. Even the names of the characters added to the comedy in an ironic manner, as they were often words or phrases that described or derided the person. Another factor that contributed to the success of the comedy were his actors; he retained many of them for years and would write to their strengths.
These elements combined to create memorable shows, many which are still funny today even though the main target of their humor was in the distant past. At times, the chorus will repeat a last line or important point that is sung by one of the main characters, to the point where the words no longer make sense or have meaning. These songs are frequently stories that explain why a character has done something or why the character is in a certain situation, and the chorus is, in a way, commenting on the story with their repetition.
This function parodies the Greek chorus, but is not present in all Offenbach works that contain a chorus. These pieces are also typical of many operas as many composers used this song form, so Offenbach was parodying a contemporary compositional practice. Mesdames de la Halle, written in , is considered his first official use of a chorus after his license changed. Similar repetition happens at the end of Act One and at the end of Act Three.
In all three cases the chorus is not furthering the action but just reiterating what the lead characters have already sung, as will be further explained in chapter Four. Faris suggests that this repetition was not merely a conscious choice but a pragmatic necessity, as Offenbach was known to produce works at a rate no other composer could match. An example of this occurs in Act Two when the chorus announces the victorious return of the soldiers from the war, setting up a scene in which the Grande-Duchesse congratulates then promotes the dim- witted soldier she has placed in command of the troops.
Four or five stage works of varying lengths per year was his normal output, with as his most prolific year. That year, he composed music for eleven different productions. The librettists very well could have been parodying themselves! As in his previous numbers in which a chorus is employed, Offenbach often intersperses short solos with choral answers in call-and-response fashion.
This was one of his favorite ways to use the full ensemble no matter the size of the cast, and a piece like this can be found in every work with three or more characters. A soloist would sing two or more strophes, then the chorus would answer in a longer response than the above call-and-response solos. These two song structures, with other common musical forms Offenbach preferred to use in his works, will be examined more closely in the following section. I will now discuss more specific information detailing the format of his musical numbers, beginning with the Overture and other instrumental pieces he commonly composed.
These stylistic traits are important to recognize, as later composers drew on them to create their own parodies of Offenbach. At times, Offenbach did not write the overture to a work until it was performed in Germany or Austria and, in one case, Eduard Haensch compiled the overture before the work was performed in Germany.
In fourteen compositions, this piece is called an introduction. There does not seem to be a pattern to what he calls the opening number because some of the introductions lead directly into sung pieces and some come to a full stop before the first aria or ensemble begins. At least three of his overtures segue directly into the main action, as does one introduction, so this does not seem to be a distinction. Offenbach used this idea in Hoffman as there is no overture, only a prelude to the main story. The remaining three works were only examined in fragmented form, and no mention of either type of opening number was found.
Both his introductions and his overtures are sectional, usually highlighting one or more of the tunes that will be heard later in the show.
An example of a typical Offenbach overture is the opening to Croquefer. In both overtures, Offenbach highlights the duets, as this music comprises the majority of each show. This pattern continues in the overtures to his multi-act works as well. Instead, the third act begins with a chorus number. In these cases, the instrumental interludes function more as scene-change music than as a signal for a full intermission.
Harding, in describing the way Offenbach composed, offered this reason for the differing lengths of music between acts and scenes: The same neurotic care for detail that he showed in administering his theatre also dictated his method of composing. He knew from bar to bar the exact positions of singers, chorus and walk-ons. In most cases, these bars occur at the end of scene change music so stage hands and actors have time to prepare properly for the next scene and there is music under the complete change.
Waltzes were very much in fashion in Paris during the mid-nineteenth century, and Offenbach took advantage of this trend by inserting a waltz of some type into almost all of his theatrical works. These waltzes appear in different forms, depending on the piece and the effect Offenbach wanted to create. In almost every show, waltz-like vocal solos or duets are sung by the hero or heroine, often when they are falling in love. This song will be further discussed in chapter four. Sometimes a specific parodic target was used, as in the earlier mentioned three-part duet in Croquefer, but often the parody was in the wordplay between the two lovers.
A second type of waltz that Offenbach often used were Tyrolian waltzes, distinguished by the use of yodeling or yodel-like passages in their refrains. These were popular in late nineteenth-century Paris and Offenbach tended to employ them for parodic purposes in scenes where trickery and foolishness was involved or with lower-class characters. An example appears in Act Three of Le roi Carotte when a group of rebels is searching for the true king.
In this 84 Harding, Offenbach reinforces the lower-class disguises of the rebels with this number, which fools Roi Carotte into admitting them to his palace. Another example of this sung waltz form appears in the Act 2 finale of La vie Parisienne. Although the Baron is an upper-class character, the status of the servants and the tourists are reflected by the choice of the Tyrolien.
Trickery is also involved, as the entire party is a ruse to otherwise occupy the Baron while Gardefeu seduces his wife. The Tyrolian waltz seems to be used to mock the lower classes or foolish characters. His version of this form is usually two strophes long, and sometimes contains a refrain sung either by a soloist or an ensemble. Each short verse is rhymed every two measures, and part of the refrain is barked.
Another example of expositional couplets occurs in Le marriage aux lanternes. After the overture, the first two sung numbers are duet couplets. The first, mainly sung by the hero Guillot, explains why the heroine, Denise, should concentrate on her chores. It introduces the owner of the farm, Mathurin, who is never seen or heard but is the instigator of much of the plot. In contrast, the couplets that immediately follow this number are sung by two young widows who are contemplating finding new husbands. After a non-strophic trio, a set of three couplets starts a drinking song.
This differs from the other two couplet songs in that the chorus is sung by all four previously mentioned characters instead of just one. In some shows, the drinking song either explains some of the action or is the catalyst for further action. This is true in Croquefer, where the drinking song celebrating peace between the two old knights is also where Fleur-de-Soufre attempts to poison them and escape. Her plan only partially works, as the poisoning agent is too weak to kill the knights, merely producing a strong laxative effect.
This chanson begins with a set of short couplets by Croquefer toasting to their peace, with interspersed responses from the other four actors in the ensemble. Fleur-de-Soufre then takes over, hinting that she has spiked the drinks, and the entire ensemble ends up imitating a military band. In this song, future action is set 85 In this work, the tune is used in almost every number in one form or another.
This is an extreme form of parody, as the intertextual reference of the song permeates the entire composition. This number parodies the drinking songs in operas like Les Huguenots where a group usually of men celebrate a grand event that has or is about to occur. Taking the old form and adding a parodic twist employs one of the earliest definitions of parodia, as defined by Hegemon and Aristotle.
Guillot, a young farmer, has just been told that his uncle has left him a treasure under a tree that he can claim later that evening. To celebrate, Guillot brings out a jug of wine and gets drunk while singing couplets about his current life. The three women in the cast join him in a chorus that celebrates drinking wine over water. No action is celebrated or furthered by this song, and its only purpose seems to be to give Guillot a chance to drink and the ensemble another song to sing. No plot points would be lost if the song was omitted.
Drinking in this case is merely a part of the lifestyle of the gods in act two and the revelers in the underworld in the final act. Several solo couplets, ensemble numbers, and dances comprise these acts, most with a reference to some form of alcohol or partying. The overall effect parodies the supposed lifestyle of the Greek gods; drinking and lounging.
In every case presented here, solos combine with ensemble singing to create a festive atmosphere. Drinking was a way of life for the French, and Offenbach celebrated this love of wine in his works in various songs. In the chansons assigned to peasant characters, the rustic life of these people is parodied as are the lifestyle parties of the aristocracy in works like La vie Parisienne. Almost the entire cast sing the extant finales, whether just two performers or an entire chorus, and all begin and end at a rapid tempo. Short vocal solos are commonly interspersed, mainly sung by one or more of the lead characters.
In almost every case these numbers would function as a conclusion, wrapping up the action and, if there were subsequent acts, they might preview coming plot points. Dragonette has some short initial solos that interact with solos by the other characters, telling of the return from the war of her brother whom we never see. All the action is quickly wrapped up by this number, and everyone in the cast contributes to the conclusion. Another less typical one-act finale occurs at the end of Mr. Choufleuri restera chez lui le… A Musical Evening at Mr.
As in Dragonette, the leads have solos that interact with the full ensemble, including a chorus. All of the action, however, has wrapped up in the dialogue immediately preceding the song, so this finale consists mainly of nonsense syllables that comprise the conclusion to the opera that the hero was composing for the titular character.
Using nonsense syllables adds to the humor, as the audience would expect words in such a piece. Both finales are very short; Choufleuri is just over fifty measures in common time and Dragonette about twice that long in duple meter. By composing such short finales for these short shows, Offenbach seemed to want to leave the audience with a quick, brief tune that gave the ensemble a final moment to shine. He asks to be able to bid farewell to his students, and the young violinists enter to play and sing the Valse.
This is a Viennese waltz, not Tyrolian, as Offenbach is not representing the lower class or symbolizing any form of trickery. Offenbach does not have to preview any more action and he restates the most memorable theme from the show so the audience would remember it. Offenbach and his librettists worked quickly, commenting on and parodying current events while they were still fresh in the minds of the Parisian public.
The writers accomplished brilliantly, because the parody was specific enough to directly relate to its target, but general enough to still be relevant to audiences today. Previous parody writers used only one layer of parody, usually lifting a familiar tune and adding new words, so this application was new to the French audiences. Anachronistic elements such as mailboxes and other contemporary references added comedic elements to shows set in earlier times.
Even when much of an established story was used, the new music and irreverent libretto gave the composition a fresh feel. Although he worked with a number of librettists, his biggest successes were with writers who understood his style and thus constructed parodic libretti that allowed Offenbach to compose music that parodied contemporary composers.
The cross-promotion was beneficial for both composers, and the Parisian public enjoyed connecting the works. Other composers such as Wagner were skewered for comedic effect in both the libretti and in parodic musical quotation. Despite the uneven quality of the libretti he worked from, his music and methods survive to this day and inspired the next generation of parody operettists, namely Gilbert and Sullivan.
This was also an unusual arrangement since she was hired not as a member of the company, but rather as a solo artist just for this production. The work was a popular success in Paris, as songs and bits of the libretto became part of the vernacular and Schneider became an operatic star. They did, however, still dismiss it as frivolous.
However, the public ignored his writings and Offenbach made him a target of criticism in the press. No reason was given for the change in genre label, as both works appear to have very similar construction. Harding, Folies de Paris, Earlier forms of parody, parodia and paratragoedia, are also present in these compositions. This chapter highlights these instances, using both the original definitions and their later interpretations by various philosophers. These parodic techniques, employed by Offenbach and his librettists in the text and the music, layer with the parody in the costuming, settings, and staging to create compositions that are as effective today as they were in the late nineteenth century.
Laaber-Verlag, She still resists his advances, asking if she is more beautiful than Venus. He hedges his answer while telling her just enough of what Venus did to win the contest to sway her favor. Act Three opens with the entire Spartan court on a beach in Naples. Venus has taken revenge on the king for banishing Paris by cursing Sparta, making the women of the country lust after the men, causing many social problems.
Oreste announces the arrival of the Grand Auger, who is actually Paris in yet another disguise. These distinctions were altered by the librettists.
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Some of these references and comparisons are detailed below. The play, in fact, goes much further. It is still and will always be relevant in all nations of the world because it does not criticize one political system over another, but simply the eternal vices of humanity that are found in all latitudes and in all countries and of which the heads of government and their entourage obviously symbolize better than anyone the dangers and foreseeable consequences for the people of whom they are in charge.
Themes such as criticizing those in power were often the subject of parody and satire, as was the besting of a nobleman by a 8 Munteanu, Citizens were expected to pay taxes, and the public felt that these taxes were misspent on merriment and fancy buildings such as the Palais Garnier instead of being used to better the lives of the people. His thinly-veiled parody of such issues and of courtly life in general helped make his works popular with all classes of the Parisian public.
In Act One, the scenes in which Paris bribes Calchas satirized the corrupt officials in both the church and the government whom the French people of all classes might have encountered. What do we parody…[but] dramatic writers, who frequently make their heroes act against nature, common sense, and truth? Mainz: Schott, , Routledge and Co. Since that day, Venus has placed in the heart of the women of Greece a huge need for pleasure and love. This exaggeration of courtly life parodied the way in which Napoleon III actually ran his court and would have been especially amusing to middle-class Parisians.
The king is often portrayed as not realizing what is happening and as being easily fooled, mirroring how some Parisians viewed their own emperor. Ridicule of French Conventions In addition to satirizing the Second Empire court, Offenbach inserted parodic takes on contemporary French conventions into his shows.
This parodied Parisian life, as spouses often sent ahead word that they were returning so their partners had time to get their lovers out of the house. He also sent the audience into the intermission with a cliffhanger that parodied other theatrical productions popular in Paris at the time. This musical memorial to Jehan Titelouze d. An exciting and majestic suite in four parts for organ by the blind organist and composer Jean Langlais Langlais succeeded Tournemire at St Clotilde in Paris and composed over works for the organ, including this work from He later became organist at Rouen Cathedral.
Originally composed for orchestra in , the composer described the work as Four Symphonic Meditations. The edition includes performance notes from the composer. Adagio Symphony For Organ No. Symphony For Organ No. Historiettes Op. Based on a Cuban contradanza, this work, originally composed for bass voice and piano, features a special habanera rhythm. In this edition by Georges Catherine, the violin is a substitute for the voice. Published in , these 20 studies are the most recognised works of Marcel Vieux , a French violist. Suitable for upper intermediate-advanced players, these twenty studies of two pages each are perfect for those wishing to improve their bowing technique.
Trio Sonata No. Australian born Bochsa studied at the Paris Conservatoire before embarking upon a career as a harpist and composer. French harpist, composer and teacher, Marcel Tournier wrote important solo repertoire for the harp which expanded the harmonic and technical reaches of the instrument. Sonata No.
The method comes with a CD. Sonate En Forme De Suite. Divertissement Grec. Sonata In D Op. During his career, Moyse frequently played as a soloist with many orchestras. Following WWI, the composer moved to the United States where he continued to perform, compose and teach. It is during this period that he wrote an extensive collection of instructive books on instrumental technique. Principally remembered as an organist and composer of extended organ works, Charles-Marie Widor also wrote substantial chamber works, including this Suite for Flute and Piano written for Claude-Paul Taffanel.
With all four parts being technically demanding, exploiting extended techniques to the maximum, this piece provides a challenging but enjoyable performance. The work begins with an emotional, characterised cadenza, portraying the pastoral title. Graphismes Solo Oboe. His compositions proved to be extremely versatile, from Operas and Ballets to solo works. These are a set of six studies by Paul Jeanjean , a student of Cyrille Rose. His compositions for the clarinet are mainly studies for the practice of technical elements.
Rabaud was a French conductor, composer and Director at the Paris Conservatoire. Published in , the concerto was composed by Henri Tomasi, composer, conductor and winner of the Grand Prix de Rome in Introduction Et Danse. Sonatina Lirica Op. Enseignement Complet Du Basson Vol. His Introduction et Rondo was written during this period at the Conservatoire and at the height of his career. An exceptionally versatile composer, Bitsch composed orchestral works, chamber works and numerous pieces and studies for wind instruments, with this Concertino being a sublime addition to the bassoon repertoire.
Partita For Bassoon And Piano.