Tradycje opery, tradycje sztuki: szaleństwo i patos w utworach scenicznych Georga Friedricha Händla
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Poznań
Wydawn. Poznańskiego Towarzystwa Przyjaciół Nauk
2012
|
| Schriftenreihe: | Poznańskie Studia Operowe
9 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract Klappentext |
| Beschreibung: | Zsfassung in engl. Sprache u.d.T.: Traditions of the opera, traditions of the art |
| Beschreibung: | 278 S. Ill., Notenbeisp. 24 cm |
| ISBN: | 9788376542881 8376542885 |
Internformat
MARC
| LEADER | 00000nam a2200000 cb4500 | ||
|---|---|---|---|
| 001 | BV041706774 | ||
| 003 | DE-604 | ||
| 005 | 20150520 | ||
| 007 | t | ||
| 008 | 140225s2012 agl| |||| 00||| pol d | ||
| 020 | |a 9788376542881 |9 978-83-7654-288-1 | ||
| 020 | |a 8376542885 |9 83-7654-288-5 | ||
| 035 | |a (OCoLC)870196897 | ||
| 035 | |a (DE-599)BVBBV041706774 | ||
| 040 | |a DE-604 |b ger |e rakwb | ||
| 041 | 0 | |a pol | |
| 049 | |a DE-12 |a DE-739 | ||
| 084 | |a LP 39127 |0 (DE-625)106558: |2 rvk | ||
| 084 | |a 9,2 |2 ssgn | ||
| 100 | 1 | |a Igielska, Anna |e Verfasser |4 aut | |
| 245 | 1 | 0 | |a Tradycje opery, tradycje sztuki |b szaleństwo i patos w utworach scenicznych Georga Friedricha Händla |c Anna Igielska |
| 264 | 1 | |a Poznań |b Wydawn. Poznańskiego Towarzystwa Przyjaciół Nauk |c 2012 | |
| 300 | |a 278 S. |b Ill., Notenbeisp. |c 24 cm | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 490 | 1 | |a Poznańskie Studia Operowe |v 9 | |
| 500 | |a Zsfassung in engl. Sprache u.d.T.: Traditions of the opera, traditions of the art | ||
| 600 | 1 | 7 | |a Händel, Georg Friedrich / (1685-1759) / Opery |2 jhpk |
| 600 | 1 | 4 | |a Händel, Georg Friedrich / 1685-1759 |
| 600 | 1 | 7 | |a Händel, Georg |d 1622-1697 |0 (DE-588)102556601 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Oper |0 (DE-588)4043582-9 |2 gnd |9 rswk-swf |
| 689 | 0 | 0 | |a Händel, Georg |d 1622-1697 |0 (DE-588)102556601 |D p |
| 689 | 0 | 1 | |a Oper |0 (DE-588)4043582-9 |D s |
| 689 | 0 | |5 DE-604 | |
| 830 | 0 | |a Poznańskie Studia Operowe |v 9 |w (DE-604)BV012842887 |9 9 | |
| 856 | 4 | 2 | |m Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027154058&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |3 Inhaltsverzeichnis |
| 856 | 4 | 2 | |m Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027154058&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |3 Abstract |
| 856 | 4 | 2 | |m Digitalisierung UB Passau - ADAM Catalogue Enrichment |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027154058&sequence=000006&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA |3 Klappentext |
| 940 | 1 | |n DHB | |
| 940 | 1 | |n oe | |
| 940 | 1 | |q DHB_JDG_ISBN_1 | |
| 999 | |a oai:aleph.bib-bvb.de:BVB01-027154058 | ||
| 942 | 1 | 1 | |c 780.9 |e 22/bsb |f 09032 |g 438 |
Datensatz im Suchindex
| _version_ | 1804151977023635456 |
|---|---|
| adam_text | Spis
tresei
Wprowadzenie: Patos i opera
/ 9
Rozdział I
Kategoria patosu
-
tradycje, przemiany, perspektywy
/ 27
1.
O relacyjnej strukturze patosu
/ 57
2.
Styl patetyczny
/ 29
Z historii kontrowersji 1
29
Generowanie patosu
/35
Patos klasyczny i nieklasyczny 1
44
3.
Szaleństwo jako forma patosu
/ 48
Rozdział
II
Pozaoperowe konwencje przedstawiania szaleństwa
/57
1.
Postaci tragiczne
/57
2. Orlando/73
3.
Komediowa scena
di pazzia
/85
4.
Pieśni szalonych
/ 94
Rozdział III
Szaleństwo na scenie operowej
/117
1.
Wzorzec
Monteverdiego
i opera wenecka
/118
2.
Pierwsze dekady Orlanda
/139
Rozdział
IV
Sceny szaleństwa w dziełach Georga
Friedricha Handla
/175
1.
Śmierć na scenie (Tamerlano,
1724) /181
2.
Los szaleńca w rękach mędrca
(Orlando,
1733) / 204
3.
Dejanira i furie umysłu (Hercules,
1745) / 222
Zakończenie
/243
Wykaz skrótów
/ 250
Bibliografia
/251
Wykaz przykładów nutowych
/ 267
Wykaz ilustracji
/276
Traditions of the
Opera,
Traditions of the Art. Madness and Pathos in the Dramatic Works of
Georg Friedrich
Händel
(Summary)
/ 277
Traditions
of the Opera, Traditions of the Art.
Madness and Pathos in the Dramatic Works
of
Georg Friedrich
Händel
Summary
As early as in
1954,
Gerald Abraham in his study concerning the musical style of
Georg Friedrich
Händel
indicated a structural similarity of three opera scenes: the death of Bajazet (Tamerlano,
1724),
craziness
of Orlando (Orlando,
1733)
and the fury of tormented with remorse Deianira (Hercules,
1745).
The pre¬
sent paper, entitled Traditions of the Opera, Traditions of the Art. Madness and Pathos in the Dramatic
Works of
Georg Friedrich Händel,
constitutes an attempt at developing this sketchily expressed thought in
two directions. On the one hand, we follow the convention of presenting madness in art until the 18th cen¬
tury, with a special focus on the theatre and musical theatre, on the other hand, in turn, we concentrate on
the history of the concept of pathos
—
a category of aesthetics and poetics
—
as a phenomenon inseparably
connected with the history of the opera, enabling to look upon the subject of operatic madness from the
perspective of reflection on the nature of passion and the ways of expressing it.
In the introductory part
—
on the basis of the study by Erich Auerbach
—
the main development lines
of the concept of pathos have been presented from antiquity until the 18th century, that is primarily the
ways of defining the phenomenon as seen by various philosophical schools and their modern reception.
The central thesis of Auerbach that the historical moment of change in the understanding of what
passio
essentially is
-
that is the moment of transfer from understanding pathos as a condition of inactivity of
a subject receiving sensations to highlighting an active component of experiencing
—
took place by assim¬
ilation of the language of Christian passion mysticism, leads to a new interpretation of the apotheosis of
passion taking place in the
1
7th-century
French tragedy, and also in the opera theatre that was born around
1600.
Through the prism of such transformation, the most important phenomena concerning emotionali-
zation of the musical language occurring in the 16th century are described, redefining the relationship of
a word to a sound and also the idiosyncrasy of the
oeuvre
of
Claudio
Monteverdi and, a conviction, typi¬
cal for the composers of the 17th and 18th century, about the ability of music to influence the feelings of
the audience by means of emotions it presents. The reference to the lecture of Carl Dahlhaus on the operat¬
ic pathos as a phenomenon rooted in the old type of psychology, from which the musical theatre borrowed
the model of a protagonist and the manner of presentation of his/her character , enables us to specify to
what extent the scenes of insanity by
Händel
belong to this category of description. According to the key
finding of Dahlhaus that in the most important dramaturgical structures of the old opera
—
recitativo ac¬
compagnato
and arias
—
we deal with a coherent concept of passion as the experience of the alien power,
arriving as if from outside of a protagonist, it can be concluded that especially the scene of madness ex¬
ploits the convention of presenting the emotional unrest as a strife of conflicting emotions.
The first chapter of the paper entitled Category of Pathos
-
Traditions, Transformations, Perspectives ,
has been devoted primarily to speech as a means of articulating pathos. The chapter includes a review of
the most influential writings and rhetorical concepts before and after Cicero, dealing with the problem
of classification of pathos within specific styles of speech, being a proof of the independence of an utter¬
ance s emotional content from the conditions customarily put forward for specific levels of elocution. The
taxonomy which is especially significant for pathos turns out to be the classification by Pseudo-Demetrius,
differentiating from among four varieties of speech the forceful variety, i.e.,
charakter
deinós
-
the va-
277
riety comprising the most representative features of grand style expressing and evoking pathos. A discus¬
sion of techniques that generate pathos at the level of invention, disposition and elocution leads to the con¬
clusion that the primary function of pathos in speech is a refined imitation of the naturalness of high
emotions. The classical means serving this purpose
-
adequate topics, dramaturgic setups and figures of
pathos
-
can also be found in the operatic scenes of madness. The subsequent part of the book includes
a short historical outline demonstrating, first
—
on the example of hierarchization of persuasion means in
the handbooks of rhetoric from the 16th and 17th century
—
the process of appreciating the emotional side
of an utterance, and subsequently, the question of expressing passion in the 17th and 18th centuries in¬
terpreted in the post-Cartesian spirit. In contrast to a strongly codified language of the opera, new rheto¬
ric characteristic for Bernard
Lamy,
whose ideal was naturalness situated outside any
ars,
seems, on the
one hand, absolutely independent from the development of this theatrical form, whereas on the other hand
represents a possible point of reference for his innovative action. A possibility to treat madness as a form
of pathos constitutes the subject of considerations of the last part of the chapter. Apart from general char¬
acteristics of the condition of madness by reference to the Platonic division of the powers of the soul, we
find here the interpretation of the
topos
world topsy-turvy (with the element characteristic for depict¬
ing madness that was collecting impossibilities, known as adynata) and also recapitulation of the opinions
of Michael
Foucault,
who
—
by isolating the structures specific for madness (cycle of causality, cycle of
emotion and image)
—
comes to the question of elevated speech. The chapter is concluded with
passus
de¬
voted to theoreticians of passion: Descartes
(Les
passions
de l âme,
Amsterdam-Paris
1649)
and Christian
Wolff
(Vernünftige Gedancken von Gott, der Welt und der Seele des Menschen, Halle 1720).
The indis¬
putable relationship of the thought of Descartes with the subject of opera theatre receives here a counter¬
balance in the form of a radically different stance of Wolff on the issue of separateness of the powers of
the soul and body. Although both opinions on the physics of passion are observable
—
as
Silke
Leopold ar¬
gues
—
in Handel s operatic
oeuvre,
and being more precise, in the type of an operatic protagonist, never¬
theless, in the Handel s scenes of madness the protagonist
—
as a person totally subjected to the emotions
that are ruling him/her
—
fits into the older model of explaining.
The second part of the paper, comprising chapter
2
and
3,
presents most durable-and, due to Handel s
references most important conventions of representing madness in European art. Antique Greek and
Roman drama are represented here by Oresteia and Prometheus in Chains by Aeschylus with the figure
of mad
Io,
The Trachiniae by Sophocles, Orestes and The Mad Heracles by Euripides, The Madness of
Hercules and Hercules on Oeta by Seneca with an exposed role of Deianira, made more intense by refer¬
ence to The Heroides and Metamorphoses by Ovid. Orlando is a separate creation in the epic tradition as
a character influencing comedy theatre extremely intensively, and later opera theatre. A detailed analysis
of the scene of madness from the work of
Ludovico
Ariosto
The Frenzy of Orlando is supplemented with
a commentary on the creation of Italian physiognomy of the protagonist of The Song of Roland and the in¬
troduction into the
16th-century
arguments caused by genre ambiguity of the poem and improper decorum
of the title protagonist. The two last non-opera traditions of staging madness discussed in the paper are the
traditions of comedy
dell arte
—
as it turns out, owing to Monteverdi standing at the beginning of the op¬
eratic conception of the scene of madness
—
and typical for the English theatre of mad songs , used not
only by Shakespeare, but also by dramatists and composers from the period of Restoration, among oth¬
ers by Henry
Purceii.
A survey of the operatic realizations of the scene of madness
—
started with a detailed discussion
of an unrealized project by
Claudio
Monteverdi and
Alessandro Striggio
from
1627
(Licori finta paz¬
za innamorata d Aminta)
—
comprises Venetian compositions from the 40s, i.e., a golden period of the
scene of madness (F.
Sacrati
-G.
Strozzi, La finta pazza
[1641], F.
Cavalli
-G.
Faustini,
ĽEgisto
[1643].
С.
Monteverdi
-
G. Badoardo,
II
ritorno d Olisse in patria
[1640])
and the history of
Orlando
as operat¬
ic material in the French theatre (J.B. Lully
-
Ph. Quinault, Roland
[1685]),
Italianized German theatre
(A. Stefifani
-
O.
Mauro,
Orlando
generoso
[1691])
and Italian (C.S. Capece, Orlando,
overo La gelosa
pazia
[1711])
from the turn of the century, falling in the period of intensive interest in Ariosto in the cir¬
cles of Arcadians and the period of classicist reform
οι
dramma per musica.
The last part of the book, Chapter
4
titled Scenes of Madness in the Compositions of
Georg Friedrich
Händel ,
constitutes a point of destination for the preceding considerations. The study of three scenes of
madness
—
Bajazet, Orlando and Deianira
—
is conducted, on the one hand, with the inclusion of stage pat-
278
terns consolidated over the ages, but on the other hand refers to specifically English conditions of opera
theatre, functioning
—
which is not without significance
—
next to still vividly developing dramatic theatre.
Noticing a different character of Handel s dramatic and musical solutions
—
innovations introduced not by
denial of tradition but by filtering and adjusting it to a concrete performance situation and reception situa¬
tion
—
leads to a careful definition of Handel s creative idiom on the basis of a thesis by
Reinhard Strohm,
who said that by their theatrical element the operas by
Händel
transcend the boundaries of mimetic art of
Baroque. The ability to create a unique effect of directness owing to a creative assimilation of old and new
theatrical conventions
—
especially visible in fact in the scenes of madness
—
reveals Handel s association
with the long tradition of elevated speech and may even prove that the
1
бЉ-сепглдгу
revolution in thinking
on the rhetorical task of
movere
also reached the theatrical genre of opera.
Bayerische
Staatsbiu!,
-и.
,
e
istniał zapewne ani wcześniej, ani później taki rodzaj
teatru, w którym balansowanie na skraju przepaści
—
po¬
między antynaturahstyczn^ artyficjalnością a idealną naiw¬
nością
—
wyniesione byłoby
clo
rangi zasady w sposób tak
konsekwentny» w jaki uczyniła to opera seria
—
pisał w roku
1987 Stefan Kunze.
Tą samą formułą można by objąć teatr
operowy Georga
Friedricha Handla, mimo
iż odpowiedź
tego kompozytora na wypracowane przez gatunek rozwią¬
zania dramatyczno-muzyczne częstokroć była całkowicie
osobna. Punktem wyjścia niniejszej pracy są trzy słynne
Händlowskie
epizody szaleństwa: scena śmierci Bajazeta
z opery Tamerlano
(1724),
wzorowana na eposie Ariosta
furia
Orí anda
z opery
Orlando
(1733)
i scena szału Deja-
niry z
Hercule sa
(1745).
Jak mało która dawna konwencja
operowa, sceny te inspirują z jednej strony do poszukiwań
miejsc naruszania tradycji, obszarów modyfikowania utar¬
tych schematów przedstawieniowych, z drugiej natomiast
domagają się wyprawy w przeszłość, przebadania trwałości
istniejących w sztuce obrazów szaleństwa, a wraz z nimi
koncepcji prezentowania namiętności, nierozerwalnie zwią¬
zanych z dziejami opery.
|
| any_adam_object | 1 |
| author | Igielska, Anna |
| author_facet | Igielska, Anna |
| author_role | aut |
| author_sort | Igielska, Anna |
| author_variant | a i ai |
| building | Verbundindex |
| bvnumber | BV041706774 |
| classification_rvk | LP 39127 |
| ctrlnum | (OCoLC)870196897 (DE-599)BVBBV041706774 |
| discipline | Musikwissenschaft |
| format | Book |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>02486nam a2200493 cb4500</leader><controlfield tag="001">BV041706774</controlfield><controlfield tag="003">DE-604</controlfield><controlfield tag="005">20150520 </controlfield><controlfield tag="007">t</controlfield><controlfield tag="008">140225s2012 agl| |||| 00||| pol d</controlfield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9788376542881</subfield><subfield code="9">978-83-7654-288-1</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">8376542885</subfield><subfield code="9">83-7654-288-5</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)870196897</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)BVBBV041706774</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-604</subfield><subfield code="b">ger</subfield><subfield code="e">rakwb</subfield></datafield><datafield tag="041" ind1="0" ind2=" "><subfield code="a">pol</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-12</subfield><subfield code="a">DE-739</subfield></datafield><datafield tag="084" ind1=" " ind2=" "><subfield code="a">LP 39127</subfield><subfield code="0">(DE-625)106558:</subfield><subfield code="2">rvk</subfield></datafield><datafield tag="084" ind1=" " ind2=" "><subfield code="a">9,2</subfield><subfield code="2">ssgn</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Igielska, Anna</subfield><subfield code="e">Verfasser</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Tradycje opery, tradycje sztuki</subfield><subfield code="b">szaleństwo i patos w utworach scenicznych Georga Friedricha Händla</subfield><subfield code="c">Anna Igielska</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">Poznań</subfield><subfield code="b">Wydawn. Poznańskiego Towarzystwa Przyjaciół Nauk</subfield><subfield code="c">2012</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">278 S.</subfield><subfield code="b">Ill., Notenbeisp.</subfield><subfield code="c">24 cm</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">n</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">nc</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="490" ind1="1" ind2=" "><subfield code="a">Poznańskie Studia Operowe</subfield><subfield code="v">9</subfield></datafield><datafield tag="500" ind1=" " ind2=" "><subfield code="a">Zsfassung in engl. Sprache u.d.T.: Traditions of the opera, traditions of the art</subfield></datafield><datafield tag="600" ind1="1" ind2="7"><subfield code="a">Händel, Georg Friedrich / (1685-1759) / Opery</subfield><subfield code="2">jhpk</subfield></datafield><datafield tag="600" ind1="1" ind2="4"><subfield code="a">Händel, Georg Friedrich / 1685-1759</subfield></datafield><datafield tag="600" ind1="1" ind2="7"><subfield code="a">Händel, Georg</subfield><subfield code="d">1622-1697</subfield><subfield code="0">(DE-588)102556601</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Oper</subfield><subfield code="0">(DE-588)4043582-9</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="689" ind1="0" ind2="0"><subfield code="a">Händel, Georg</subfield><subfield code="d">1622-1697</subfield><subfield code="0">(DE-588)102556601</subfield><subfield code="D">p</subfield></datafield><datafield tag="689" ind1="0" ind2="1"><subfield code="a">Oper</subfield><subfield code="0">(DE-588)4043582-9</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2=" "><subfield code="5">DE-604</subfield></datafield><datafield tag="830" ind1=" " ind2="0"><subfield code="a">Poznańskie Studia Operowe</subfield><subfield code="v">9</subfield><subfield code="w">(DE-604)BV012842887</subfield><subfield code="9">9</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="m">Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment</subfield><subfield code="q">application/pdf</subfield><subfield code="u">http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027154058&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA</subfield><subfield code="3">Inhaltsverzeichnis</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="m">Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment</subfield><subfield code="q">application/pdf</subfield><subfield code="u">http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027154058&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA</subfield><subfield code="3">Abstract</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="m">Digitalisierung UB Passau - ADAM Catalogue Enrichment</subfield><subfield code="q">application/pdf</subfield><subfield code="u">http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027154058&sequence=000006&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA</subfield><subfield code="3">Klappentext</subfield></datafield><datafield tag="940" ind1="1" ind2=" "><subfield code="n">DHB</subfield></datafield><datafield tag="940" ind1="1" ind2=" "><subfield code="n">oe</subfield></datafield><datafield tag="940" ind1="1" ind2=" "><subfield code="q">DHB_JDG_ISBN_1</subfield></datafield><datafield tag="999" ind1=" " ind2=" "><subfield code="a">oai:aleph.bib-bvb.de:BVB01-027154058</subfield></datafield><datafield tag="942" ind1="1" ind2="1"><subfield code="c">780.9</subfield><subfield code="e">22/bsb</subfield><subfield code="f">09032</subfield><subfield code="g">438</subfield></datafield></record></collection> |
| id | DE-604.BV041706774 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T01:03:23Z |
| institution | BVB |
| isbn | 9788376542881 8376542885 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-027154058 |
| oclc_num | 870196897 |
| open_access_boolean | |
| owner | DE-12 DE-739 |
| owner_facet | DE-12 DE-739 |
| physical | 278 S. Ill., Notenbeisp. 24 cm |
| psigel | DHB_JDG_ISBN_1 |
| publishDate | 2012 |
| publishDateSearch | 2012 |
| publishDateSort | 2012 |
| publisher | Wydawn. Poznańskiego Towarzystwa Przyjaciół Nauk |
| record_format | marc |
| series | Poznańskie Studia Operowe |
| series2 | Poznańskie Studia Operowe |
| spelling | Igielska, Anna Verfasser aut Tradycje opery, tradycje sztuki szaleństwo i patos w utworach scenicznych Georga Friedricha Händla Anna Igielska Poznań Wydawn. Poznańskiego Towarzystwa Przyjaciół Nauk 2012 278 S. Ill., Notenbeisp. 24 cm txt rdacontent n rdamedia nc rdacarrier Poznańskie Studia Operowe 9 Zsfassung in engl. Sprache u.d.T.: Traditions of the opera, traditions of the art Händel, Georg Friedrich / (1685-1759) / Opery jhpk Händel, Georg Friedrich / 1685-1759 Händel, Georg 1622-1697 (DE-588)102556601 gnd rswk-swf Oper (DE-588)4043582-9 gnd rswk-swf Händel, Georg 1622-1697 (DE-588)102556601 p Oper (DE-588)4043582-9 s DE-604 Poznańskie Studia Operowe 9 (DE-604)BV012842887 9 Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027154058&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027154058&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract Digitalisierung UB Passau - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027154058&sequence=000006&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Klappentext |
| spellingShingle | Igielska, Anna Tradycje opery, tradycje sztuki szaleństwo i patos w utworach scenicznych Georga Friedricha Händla Poznańskie Studia Operowe Händel, Georg Friedrich / (1685-1759) / Opery jhpk Händel, Georg Friedrich / 1685-1759 Händel, Georg 1622-1697 (DE-588)102556601 gnd Oper (DE-588)4043582-9 gnd |
| subject_GND | (DE-588)102556601 (DE-588)4043582-9 |
| title | Tradycje opery, tradycje sztuki szaleństwo i patos w utworach scenicznych Georga Friedricha Händla |
| title_auth | Tradycje opery, tradycje sztuki szaleństwo i patos w utworach scenicznych Georga Friedricha Händla |
| title_exact_search | Tradycje opery, tradycje sztuki szaleństwo i patos w utworach scenicznych Georga Friedricha Händla |
| title_full | Tradycje opery, tradycje sztuki szaleństwo i patos w utworach scenicznych Georga Friedricha Händla Anna Igielska |
| title_fullStr | Tradycje opery, tradycje sztuki szaleństwo i patos w utworach scenicznych Georga Friedricha Händla Anna Igielska |
| title_full_unstemmed | Tradycje opery, tradycje sztuki szaleństwo i patos w utworach scenicznych Georga Friedricha Händla Anna Igielska |
| title_short | Tradycje opery, tradycje sztuki |
| title_sort | tradycje opery tradycje sztuki szalenstwo i patos w utworach scenicznych georga friedricha handla |
| title_sub | szaleństwo i patos w utworach scenicznych Georga Friedricha Händla |
| topic | Händel, Georg Friedrich / (1685-1759) / Opery jhpk Händel, Georg Friedrich / 1685-1759 Händel, Georg 1622-1697 (DE-588)102556601 gnd Oper (DE-588)4043582-9 gnd |
| topic_facet | Händel, Georg Friedrich / (1685-1759) / Opery Händel, Georg Friedrich / 1685-1759 Händel, Georg 1622-1697 Oper |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027154058&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027154058&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027154058&sequence=000006&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV012842887 |
| work_keys_str_mv | AT igielskaanna tradycjeoperytradycjesztukiszalenstwoipatoswutworachscenicznychgeorgafriedrichahandla |