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by Nancy O. Chamness
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History & Criticism
  • Author:
    Nancy O. Chamness
  • ISBN:
    0820440779
  • ISBN13:
    978-0820440774
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  • Publisher:
    Peter Lang Inc., International Academic Publishers (December 13, 2001)
  • Pages:
    228 pages
  • Subcategory:
    History & Criticism
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The Libretto as Literature book.

The Libretto as Literature book. In this book, Nancy O. Chamness presents a thorough and innovative analysis of the origins of Busoni's Doktor Faust libretto, both in terms of Busoni The libretto is an integral part of every opera, but it is also a text in its own right and therefore able to be viewed both in isolation, as literature, and in conjunction with the music, for.

Studies on Themes and Motifs in Literature

Studies on Themes and Motifs in Literature. Chamness presents a thorough and innovative analysis of the origins of Busoni’s Doktor Faust libretto, both in terms of Busoni’s development of the text through several revisions and in terms of its place in the literary tradition of the Faust legend, including Goethe’s Faust and the Faust puppet plays. She then applies this analysis to understand how the libretto functions as a literary text, as an open drama, and as part of the music and action of the opera.

Doktor Faust is an opera by Ferruccio Busoni with a German libretto by the composer himself, based on the myth of Faust. Busoni worked on the opera, which he intended as his masterpiece, between 1916 and 1924, but it was still incomplete at the time. Busoni worked on the opera, which he intended as his masterpiece, between 1916 and 1924, but it was still incomplete at the time of his death. His pupil Philipp Jarnach finished it. More recently, in 1982, Antony Beaumont completed the opera using sketches by Busoni which were previously thought to have been lost.

The Libretto as Literature: Doktor Faust by Ferruccio Busoni (Studies on Themes and Motifs in Literature). Chamness, Nancy Otis was born on April 28, 1956 in Patuxent River, Maryland, United States. Daughter of Gordon Raynesford and Alice Reid Otis.

The Libretto as Literature: Doktor Faust by Ferruccio Busoni (Studies on Themes and Motifs in Literature) ) The libretto is an integral part of every opera, but it is also a text in its own right and therefore able to be viewed both in isolation, as literature, and in conjunction with the music, for which it serves as a foundation. Bachelor in English, Earlham College, Richmond, Indiana, 1978. Master of Arts in German, Indiana University, Bloomington, 1980.

Doktor Faust is an opera by Ferruccio Busoni with a German libretto by the composer himself, based on the myth of Faust

Doktor Faust is an opera by Ferruccio Busoni with a German libretto by the composer himself, based on the myth of Faust. The orchestra begins with bell imitations; later the chorus, behind the curtain, sings the single word: "Pax".

Chamness, Nancy O. The Libretto as Literature: Doktor Faust by Ferruccio Busoni

Chamness, Nancy O. The Libretto as Literature: Doktor Faust by Ferruccio Busoni. New York, Peter Lang Publishing. p165 17 18. 12. Cynthia Ruan 000322-077. Conclusion Goethes Faust is interpreted magnificently through the works of Charles Gounod and Ferruccio Busoni as the core elements of it can be seen in both Faust and Doktor Faust, yet there are clear differences between the two works in regards to the vocals and the form. The fact that Goethes work is a timeless classic allows the different interpretations to be made. Gounods Faust deems the storyline and action of the characters as a crucial role in the legend of Faust.

com: The Libretto as Literature: Neuware - The libretto is an integral part of every opera, but it is also a text in its own right and therefore able to be viewed both in isolation, as literature, and in conjunction with the music, for which it serves as a foundation. Chamness presents a thorough and innovative analysis of the origins of Busoni's Doktor Faust libretto, both in terms of Busoni's development of the text through several revisions and in terms of its place in the literary tradition of the Faust legend, including Goethe's Faust and the Faust puppet plays.

Dante Michelangelo Benvenuto Ferruccio Busoni was born in Empoli in. .

Dante Michelangelo Benvenuto Ferruccio Busoni was born in Empoli in Italy, the only child of two professional musicians: his Italian–German mother was a pianist, his Italian father, a clarinetist. They were often touring during his childhood, and he was brought up in Trieste for the most part. Busoni was a child prodigy. He began serious work on his best known opera, Doktor Faust, in 1916, leaving it incomplete at his death.

Ferruccio Busoni, pianist and composer who attained fame as a pianist of.

Ferruccio Busoni, pianist and composer who attained fame as a pianist of brilliance and intellectual power. The son of an Italian clarinetist and a pianist of German descent, Busoni was taught by his mother. He appeared as a child prodigy and later completed his studies in Vienna and Leipzig. His most ambitious work was the unfinished opera Doktor Faust, based not on Johann Wolfgang von Goethe ’s work but on earlier versions of the Faust legend. It was completed by his pupil Philipp Jarnach and performed in Dresden in 1925. Two other short operas, Arlecchino and Turandot, composed at Zürich, attempted to revive the commedia dell’arte in modern form.

This theme has always been an important one in western literature, but it has gained .

This theme has always been an important one in western literature, but it has gained in urgency during our own century. The Faust legend first flourished in medieval Europe and is thought to have its earliest roots in the New Testament story of the magician Simon Magus (Acts 8:9-24).

The libretto is an integral part of every opera, but it is also a text in its own right and therefore able to be viewed both in isolation, as literature, and in conjunction with the music, for which it serves as a foundation. In this book, Nancy O. Chamness presents a thorough and innovative analysis of the origins of Busoni’s Doktor Faust libretto, both in terms of Busoni’s development of the text through several revisions and in terms of its place in the literary tradition of the Faust legend, including Goethe’s Faust and the Faust puppet plays. She then applies this analysis to understand how the libretto functions as a literary text, as an open drama, and as part of the music and action of the opera.