The last opera: the Rake's progress in the life of Stravinsky and sung drama
Gespeichert in:
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| Format: | Buch |
| Sprache: | English |
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Bloomington, Indiana
Indiana University Press
[2019]
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| Schriftenreihe: | Russian music studies
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Literaturverzeichnis Register // Gemischte Register |
| Beschreibung: | Includes bibliographical references and index |
| Beschreibung: | X, 348 Seiten Illustrationen, Notenbeispiele |
| ISBN: | 9780253041579 9780253041586 |
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Datensatz im Suchindex
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| adam_text | CONTENTS Acknowledgments ix Part і The Cultural Moment Prelude з 1 A Convergence of Minds 19 Part 2 The Drama 2 A Happy Collaboration 3 Deeper Meanings 50 76 Part 3 The Music Introduction to Part 3 98 4 Stravinsky’s “Special Sense” 101 5 Displacement, Text Setting, and Stravinsky’s Evolving Aesthetic 123 6 Stravinsky’s Truths and Mozart’s Lies—Music, Emotion, and Theatrical Distance 149 7 The Structure of Scenes 172 8 Ruin, Disaster, Saving Grace 196 Part 4 Performance 9 Venice 237 10 How The Rake Became a Masterpiece Part 5 After The Rake 11 “Good People, Just a Moment” Bibliography 327 Index 337 299 268
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INDEX Adams, John: Nixon in China, 319 Adės, Thomas, 319 Adorno, Theodor, 13,33, 41-43,311-12; Mann, as character model for, 41-42,311; Philosophy of Modern Music, 34,43 agape (Christian love), 85-86,94 Altman, Georges, 253 American Federation of Labor (AFL), 248 American Intellectuals for Freedom (AIF), 245.247 American Opera Society, 292Ո5 Ampenova, Rufina, 287 analysis: formal, 12-13, too (see also close reading); pluralistic, 102,119; stratified, 118-19,122Ո18 Ansen, Alan, 62 Argento, Dominick, 317 Armistead, Horace, 272, 275 Art Institute of Chicago, ix, 23-24,30, 45Ո9, 57.59 artist. See freedom: artistic (“free” artist); Great Artist Ashman, Mike, 274 Ashley, Robert, 318 Aspen Music Festival, 302,303 Atlantic Monthly, 34, 39 Auden, Wystan H., 22,51,263,314; as conceptualize^ 56-57, 76,79; death of, 313; Delia, 7,15, 50, 54; Delia, planning for, 302-3; disillusionment with politics, 43,53; on expressiveness of art, 55-56; hygiene, 40, 56,73Ո17; image in productions, 291, 295Ո64; Kaliman, collaboration with, 4, 6-7,50, 65-69,71, 78, 238; Kaliman, relationship with, 53, 69-72.75Ո55; on opera: as expression of free will, 3, 5,7, 83,93,180; on opera: as immediate, 53-54; opera, love of, 4, 53. 69-70; sociologists, dislike of, 13,15, 43,302; as versifier, stylized or ritual, 52-53, 54-55, 67,156; Wagner, affection for, 20, 55,73Ո16. See also under Kierkegaard; Nabokov; and under Rake’s Progress: collaboration with Stravinsky; premiere of Auden, Wystan H„ works of: Age ofAnxiety, 53,71,79; “Anthem for St. Cecilia’s Day,” 54, 73П12; The Ascent of F6, 53, 95Ո31; “Balaam and
his Ass,” 79; Dance of Death, 53; The Dog Beneath the Skin, 53; Elegy ]. F. K., 50; For the Time Being, 54; “The Ironic Hero” 88, 90-92; Living Thoughts of Kierkegaard (introduction), 78,88-89; “New Year Letter,” 79; Night Mail, 52, 54; “Opera Addict,” 4,15,70, 321; The Orators 79; Poets of the English Language (editor), 50,301; “The Sea and Mirror” 79,85-86, 90-91. See also Henze: Bassarids, Elegyfor Young Lovers; Nabokov: Love’s Labour’s Lost; and Rake s Progress: libretto authenticity, 35,311,315 Babbitt, Milton, 315 Bach, J. S„ 149, 316; Art of the Fugue, 122mi; Well-Tempered Clavier, 313 Balanchine, George, 6,13,39,40, 54,97,123, 162,314; as choreographer, 40, 50, 3045,308,320; as stage director, 41,231Ո4, 270,272,273, 275, 283-84 ballet, 152,316,317; “death” of, 5, 320 Ballets Russes, 32, 52,170Ո10 Ballets Russes de Monte Carlo, 32 Ballo, Ferdinando, 256, 257-58 Balthus, Balthasar, 259 Barnes, Dr. Albert, 32 Barthes, Roland, 299 Bartok, Bela, 34, 47Ո50,102,124 Bean, Betty, 242, 251, 255-56, 257,302 Becker, Howard, 17Ո32 Beethoven, Ludwig van, 35,314,316; late quartets, 313 Beggar’s Opera, The (John Gay), 8,27,58 Bellini, Vincenzo, 178 337
338 j Index Benjamin, Walter, 33,35, 58 Benois, Alexandre, 152 Bérard, Christian, 201 Berg, Alban, 10, 29,34,124; Lulu, 5,253; Wozzeck, 5, 94, 289,306, 324Ո63 Bergling, Birger, 281,282,282-83 Bergman, Ingmar, 155, 202,278-87, 292, 294Ո29,294Ո41; Magic Flute (film), 287,294Ո31 Berio, Luciano, 7,317,323Ո28 Berlin (city): Arts Festival, 254,304,306-8, 310,323ՈՈ28-30; Congress for Cultural Freedom (1950), 38,247-48, 250-51; Deutsch Oper, 313; “peace” conference, 245; Wall, 307,310 Berlin, Isaiah, 32,34, 251, 324Ո51 Berman, Eugene, 39-40, 259, 272 Bernstein, Leonard, 265Ո28,316; Candide, 267Ո69 La Biennale. See Venice International Festival of Contemporary Music Bing, Rudolph, 269, 293Ո7 Blake (Nabokov), Patricia, 6, 40,123,245, 247; on Brothel scene, 162-63,168,169 Bohlen, Charles, 32,34,244,248,309 Bolcom, William, 318 Bondy, François, 253 Boosey Hawkes, 24, 25,123, 238,242, 258,264ШО, 266Ո57,322Ո22; formal agreement with Stravinsky, 27,241; Rake’s Progress libretto commission, 27, 61-62, 74Ո27,256. See also Ampenova; Bean; Gishford; Hawkes; Roth Boston Symphony Orchestra, 248, 305 Boston University, 275, 293Ո24 Bouchourechliev, Andre, 152 Boulanger, Nadia, 19,30-31,39,44, 46Ո36, 130 Boulez, Pierre, 5,15,30, 48Ո67,150, 289, 311, 313,324Ո63 Bourdieu, Pierre, 12-13,37-38,98-99, 304. See also disinterestedness, disposition, “feel for the game,” habitus and field bourgeois culture, 8,34, 42,57, 59,72Ո9, 216; bourgeoisie, 58,275, 304. See also middlebrow Braden, Tom, 253 Brandt, Willy, 306, 323Ո30 Brecht, Bertolt, 53,318; alienation/distance, 150-52,156,170Ո12,284, 299; Die
Dreigroschenoper, 58,70,169Ո8 Britten, Benjamin, 26, 45mi, 54; Billy Budd, 240,264П10,306,316; church parables, 317; Hymn to St. Cecilia, 54,73Ո12; Midsummer Night’s Dream, 318; Noye’s Fludde, 317; Paul Bünyan, 54; Rape of Lucretia, 26, 46Ո20 Brooklyn College, 69,71 Brown, Irving, 248-49, 250 Bugs Bunny, 201 Bünyan, John, Pilgrim’s Progress, 89 Burnham, James, 244,248,249, 250 Byrd, William, 27 Cage, John, 15; Europeras, 318 Caldwell, Sarah, 201,202, 232Ш6, 287-89, 292,294Ո50,295Ո51, 299 Cambridge University, 292Ո3 Camus, Albert, 244 Capiat, Moran, 274-75 Carr, Maureen, 73Ո16,324Ո53 Carter, Elliot, 7, 32,323Ո28 Casals, Pablo, 310 CCF. See Congress for Cultural Freedom Central City Opera, 238,241,243,258, 264П10, 269,275 Central Intelligence Agency (CIA), 244, 247,248-50, 265Ո32, 304,308,311; use of “fronts,” 245,249, 253, 266Ո44,307, 323Ո29,324Ո46 Chamber Art Society, 123-24 Chew, Geoffrey, 89-90,95Ո47 Christie, John, 268 “classical” attitude, 128-29,147П14,315 close reading, 12, 98-99 Cocteau, Jean, 266Ո60, 305,307,322Ո24. See also Stravinsky: Oedipus Rex Colciaghi, Ebe, 259 Cold War, 14,32-34, 38, 244,307,310,313 Cologne Opera, 323Ո32 Cone, Edward, 122П18 Congress for Cultural Freedom (CCF), 14, 247-51,253-54.308,310-11, 322Ո20; festivals: East-West Musical Encounter, 304,307; Masterpieces of the 20th Century, 34, 248,250, 253,304-6,308;
Index Music in the Twentieth Century, 304, 306; Tradition and Change in Music, 304,308; resistance to, 307-8, 315; suspicion of, 305; Conley, Eugene, 269, 272 consumerism, 33, 35, 37, 43-44, 98-99, 3η Cooke, Deryck, 149,163,169,192 Cooper, Christiane, 261 Copland, Aaron, 246,265Ո28 Corigliano, John, Ghosts of Versailles, 318,325Ո70 ļ 339 distance (theatrical): defined, 150-52,324Ո53; in comic opera, 153-55,156-61; in music, 152-56, (diminished) 168,170Ո22; in Rake’s Progress, 191-92,198, 212, (Cantata) 301 (see also Rake’s Progress, productions: “pop”; puppet theater effect). See also Brecht, alienation; play; sincere vs. insincere; Stravinsky: expressiveness. disposition (Bourdieu), 12,72Ո9, 98,101, 304,312 counterpart funds, 247-48,250,253, 258 Covent Garden. See Royal Opera House Cowles, Chandler, 241 Cox, John, 275, 289 Craft, Robert (Bob), 314; as author/ memoirist, 11, 65-66, 245; as conductor, 50,123-24, 278,306; contradictions/ revisions Of, 17Ո24, 18Ո37, 23, 29, 44Ո2, Dolar, Mladen, 5 Don Quixote, Auden’s interpretation of, 88, 90-92,94. See also Rake’s Progress: Tom as Ironic Hero Donizetti, Gaetano, 144,178; Don Pasquale, 181,184-85 Downes, Olin, 245, 246, 270, 271 Dubinsky, David, 245, 248 45Ո13,50, 52.125- !42. 239.267Ո75, 295Ո51,305,321П7, 3231135,324Ո55; “Craft-Igor,” 25, 45Ո13, 287-88,301; Ebert, Carl, 41, 232Ո4, 238,239, 260-62, diary accounts, 6,19-20,254-55, Economic Recovery Program (ERP, Marshall Plan), 248,250, 253. See also counterpart funds Edinburgh (Festival), 232Ո4,238-39,240, 256, 258,264Ո8. See also Glyndebourne, British premiere Eliot, T. S„
78, 92, 278,316 English Opera Group, 26-27,45mi, 260-62, 266Ո56,279-80,284, 287-89, 292Ш, 294Ո41,305, 310; mistakes of, 24, 35, 46Ո27,74Ո41,147Ո23,194Ш, 265Ո30; as protégé/assistant, 13, 20,26,33,162, Stravinskys, relationship with, 40-41, 44Ո2,56,73Ո17,123,124, 146Ո3, 259, 264m. Critical responses of: See under Auden: Delia; under Rake’s Progress: libretto; text settings. Crosby, John, 275-77 Cuenod, Hugues, 262,269 cultural acts, 99 cultural capital, 38, 99. See also highbrow culture cultural moment, 3,11,13,33-34,306,313 Cumming, Naomi, 155-56 314,315,316; Dahl, Ingolf, 239 Davenport-Hines, Richard, 72 De Neufville, Lawrence, 248 Diaghilev, Serge, 3,32, 47Ո43,128, 201,237, 310, 315, 320; “World of Art” circle, 152,170П10 disinterestedness, 300, 304, 311,316; perverse economy of, 38, 309,314,320-21 273-74. 284 46Ո20,317 Erlanger, Baroness Catherine ď, 259 Esquire, 271 Europe-America Groups (EAG), 244 “Evenings on the Roof” concerts, 56,124 existential state: aimlessness, 56,81, 86; despair, 94, 99; suffering, 53. See also Kierkegaard; Sartre expressionism, 289,311; hyper-, 318 Faust legend, references to: 56, 63, 87,162, 291; Faustian pact, 78,124,311,313; Goethe’s Faust (redemption), 82-83, 87,90, 92-93,216; Mephistopheles, 10, 20, 28,80-81 (see also Rake’s Progress, characters: Nick Shadow). See also Mann, Doctor Faustus Farrell, Anthony Brady, 241
340 I Index Farfield Foundation, 253, 266Ո44, 308. See also Congress for Cultural Freedom La Fenice: Teatro, 19,21, 41,237,239, 254. 256, 258,263,271; Taverna, 22,44, 262. See also Venice “feel for the game,” 12, 20,313-14 field. See habitus and field Fleischmann, Julius, 248, 308. See also Farfield Foundation Floyd, Carlisle, 317 Ford Foundation, 306,307,311,320, 323ՈՈ28-29 Frankfurt Opera, 318,324Ո63 freedom, 34,37-38, 41, 225; artistic (“free artist”), 99,244, 245, 312; icon of, 304; postmodern, 319; Stravinsky’s terror of, 312-13. See also Auden: on opera as expression of free will Freud, Sigmund, 5; image, 291; influence on Auden, 43,56,78-81,95Ո14. See also Rake’s Progress: allegorical meaning Gabarain, Marina de, бо, 276 Geneva, 287, 292m Ghirighelli, Antonio, 239,257-58 Gide, André, 16Ո3, 87,95Ո37,126,170Ո12, 2б6п6о, 324Ո53. See also Stravinsky, Persephone Gishford, Anthony, 273 Glass, Philip, 317; Einstein on the Beach, 318, 321 Gluck, Christoph Willibald, 4,10,181; Orpheus and Euridice, 5,156,321 Glyndebourne Opera, ix, 238,239, 268; British premiere (1953), 232Ո4,262,269, 273-75,276-77; English premiere (1954), 280, 292; (1975), 287,289-90 Gramm, Donald, 299 Great artist (“genius”), 3,14,33,289,314-16; and Great work, 278; “pure” artist, 304 Greenberg, Clement, 33,35,38,43,58,244 Griffiths, Paul, 74Ո41,98,117,122Ո17,163,205, 292Ո3 Gueden, Hilde, 269,272,293Ո7 Habermas, Jürgen, 57 habitus and field, 12-13,20, 98,321; dramatized, 291 Hamburg Staatsoper, 77, 268-69,279, 286, 287, 292. 293Ո13.323ՈՅՅ Handel, Georg Friedrich, 8, 27,130,313; Semele, 20 Harbison, John,
318 Harper’s Bazaar, 34 Harrell, Mack, 269 Hartford, Huntington, 241,264ШІ Hatten, Robert, 154-55 Hawkes, Ralph, 13, 24, 26-28,45mi, 61, 238-39, 240, 264Ո8, 273,304; death of, 242,255 Heggie, Jake, 318 Henze, Han Werner, 316; operas by, 7 highbrow (elitist) culture, 35,37-38, 58,98, 311,320 Hindemith, Paul, 102, 244, 246 Hockney, David, 289-90, 292, 295Ո57 Hoffman, E. T. A., 93 Hogarth, William, 23, 27,45ՈՈ8-9,269, 275; “bourgeois cautionary tales,” 57-58, 216; image in productions, 290; works of: A Harlot’s Progress, 57; Idleness and Industry, 57, 58,88; Marriage A-laMode, 23-24,57, 61; “The Tête à Tête,” 59, бо, 73Ո25. See also A Rake’s Progress Homan, Jennifer, 320-21 Hook, Sydney, 244, 245,308,323Ո32 Horgan, Paul, 278,316 Houston Grand Opera, 319 Hulme, T. E., 129,147Ո17 humanism (liberal), 5,7, 43,317 Huxley, Aldous, 49, 52, 62 Immendorff, Jörg, 243,289, 290-92, 295Ո60 individuality. See subject Isherwood, Christopher, 53, 69 Jaffe, Rhoda, 71-72 James, Henry, 146Ո3, 201 Jonson, Ben, 302; The Alchemist, 59 Joseph, Charles, 24, 45Ո13,267Ո67 Josselson, Michael, 253,265Ո32 Juilliard School, 123, 242; Quartet, 40 Jung, Carl: individuation (shadow, anima), 80-82, 95Ո24, 95Ո30; Auden, influence on, 56,79, 80,95Ո31. See also Rake’s Progress: allegorical meaning
Index Kagel, Mauricio, 317 Kaliman, Chester, 263,273; on Baba, 201, 269; death of, 313; defense of act breaks, 196-98; as manic-depressive, 71; outline of Auction duet, 46Ո27, 202,203,205. See also Auden: collaboration with; relationship with; Delia. See also under Rake’s Progress: interpretation; as Opera, tribute to; libretto; notes (1964); scenario, criticism of. See also under Stravinsky Kendall, Raymond, 239-40 Kennan, George, 32, 244, 248 Kennedy, Jacqueline, 309-10,315 Kennedy, John F„ 50, 310,315 Kerman, Joseph, 52, 83,87-88,92-93,225 Khrennikov, Tikhon, 309 Kierkegaard, Søren: on Don Giovanni, 82-83, 89, 93; influence on Auden, 56, 78-79, 92; “leap into the absurd,” 88, 216, 224; “sensuous genius,” 73П10,83; state of anxiety, 89, 94, 232Ո24. See also existential state; Rake’s Progress: allegorical meaning Kirstein, Lincoln, 4,13, 54, 70,123, 201, 240-41,314 kitsch, 35, 70, 291,301,324Ո51. See also Greenberg, Clement Klemperer, Otto, 239 Koestenbaum, Wayne, 70 Kolodin, Irving, 270, 273-74 Kramer, Jonathan, 319 Kramer, Lawrence, 7 Kristol, Irving, 244 Labroca, Mario, 239, 243, 249, 251-53, 254, 258 Lancaster, Osbert, 273-75,276, 290 Lasky, Melvin, 247, 308 Leibowitz, Rene, 13,30-31, 39,41,46Ո33, 471139,48Ո67,100, 312 Leitner, Ferdinand, 196, 255, 259, 261,262 Levitz, Tamara, 16Ո3 Lewis, Richard, 60,276 Lieberman, Rolf, 286 Ufe (magazine), 34 Ligiti, György, 7; Le Grand Macabre, 317 London. See Royal Opera House ļ 341 Los Angeles, culture of European émigrés in, 42-43 Los Angeles Times, 82 Love’s Labour’s Lost (Shakespeare), 17Ո18, 44. See also Nabokov, works of
Lupishko, Marina, 147Ո14 MacDonald, Dwight, 244 Machaut, Guillaume de, 314,316 MacLeish, Archibald, 32 Maggio Musicale Fiorentino (Florence Music Festival), 251, 254, 256 Mahler, Gustav, 271 Mann, Erika, 43 Mann, Klaus, 43, 53 Mann, Thomas, 13,29, 237; Doctor Faustus, 8, 17Ш8, 41-44, 84, 87, 94, 225, 301,311-12 Marion, André, 303 Marshall Plan. See Economic Recovery Program Marxism (Marx), 43-44; Adorno’s, 34, 311-12; Brecht’s, 150 mass culture, 35,41, 44, 244. See also consumerism; totalitarianism Mayer, Elizabeth, 70, 255, 260 Mayer, Martin, 271 McCarthy, Mary, 244-45, 248, 308 McFadden, George, 67, 85,88-90, 95Ո9 Mechem, Kirk, Tartuffe, 325Ո70 Mendelson, Edward, 54,71,201 Menotti, Giancarlo, 241,293Ո13,317; operas by, 240 Messiaen, Olivier, 7,30, 317 Metropolitan Opera, The, 62,70,196, 201, 238,258, 318,320,321; American premiere, 41,262, 269-72, 273-74, 275, 293Ո7, 29ՅՈ13 Meyerhold, Vsevolod, 152, 260 middlebrow culture, 37-38; 47Ո60, 241,300-1, 303-4,316. See also bourgeois, kitsch Milan. See La Scala Mitchell, Donald, 101-2 modern era, 4, 5,7,11,16,34,37, 80, 287,316; act of faith, 315; condition, 98; ears, 153; hero, 93; sensibilities, 292; society, 43 modernism (twentieth-century), 7,11,15,37, 44; as antipopular, 35; as antirealist, 128,153; Stravinskian, 129
342 I Index modernist crisis, 3-4,29, 53, 95Ո9, 99; hero, 88, 94; music, 28, 41-42,101-2,306, 311-12, (Soviet condemnation of) 244, 246; opera, 10, 25,318; theater, 150-52 modernity, 35,311 Monk, Meredith, 318 Monteverdi, Claudio, 225,228; L Orfeo, 8, 152-53,163; “La Musica,” 212 Monteux, Pierre, 305 Mozart, Wolfgang Amadeus, 4, 5, 26, 144,169,185, 271,316 (see also Rake’s Progress, as model for); Works of; Così fan tutte, 82,150,153-55,166,168, 170Ո19; “Di scrivermi,” 156-61,166, 191; “Di scrivermi,” performances of, 28, 238; Don Giovanni, 23,82,87, 90,95Ո28,97,150,181, 232Ո23; Don Giovanni, enlarged orchestra for, 271; Don Giovanni, Kierkegaard on, 73Ո10, 82-83, 89, 93; Die Entführung aus dem Seraglio, 23; Le Nozze di Figaro, 70, 181; Die Zauberflöte, 8, 95Ո24; film, 287, 294Ո31. See also Rake’s Progress·. intertextural references Musgrave, Thea, 317 “music (work) itself,” 11-12,98 mythology. See Rake’s Progress: allegorical meaning Nabokov, Nicolas (Nika or “Nicky”): Auden, relationship with, 32, 62,78; “bohemian” private life, 244,265Ո23; as cosmopolitan, 34,38; death, 313; as elitist, 34-35,38, 43; as “kitschy,” 35,301; opposition to Soviet Union, 34, 244-48; Rake’s Progress, interest in, 4,6,15,19-20,22, 40,44Ո2; Rake’s Progress, as liaison for premiere, 33, 237, 243-44,253-54; Rake’s Progress, letter of December 1950,78,239, 249, 251,252, 266Ո48; as secretary-general of CCF, 33, 266Ո44,323Ո32 (see also Berlin Arts Festival; Congress for Cultural Freedom); Stravinsky, relationship with, 13,32, 47Ո44; Stravinsky, as friend, 39,40,41,306-7,309,313; Stravinsky, as
defender/promoter, 31, 33-34,304,308,309,315,322Ո20,3231133; unreliability of, 32-33, 250. See also “feel for the game” Nabokov, Nicolas (Nika or “Nicky”), works of: Love’s Labour’s Lost, 7,17Ո18,313; Ode, 32, 47Ո43; Rasputin’s End, 323Ո32; Return of Pushkin, 40; Union Pacific, 32, 35; writings of: “The Atonal Trail,” 31,38,47Ո41; Bagázh, 32,250 Nabokov, Vladimir, 32 Nazi Germany (Nazis), 30, 42-43, 53; de-Nazification, 32 neoclassicism, 12,15-16, 29,44,101,128, 272, 300-1; neoclassical clutter, 318; play, 289. See also under Stravinsky: periods New York City Ballet (Ballet Society), 40, 240,305,308,320 New York Intellectuals, 244 New York Times, 19, 24,26,162, 245,310 Nietszche, Friedrich, 42,73Ո16,78 Nijinsky, Vaslav, 317 Non-Communist Left (NCL), 34, 244 Nono, Luigi, 317 Nouvel, Walter, 25, 45Ո15 Offenbach, Jacques: Les Contes d’Hoffman, 202, 259 opera: “ballet opera,” 152; conventional (“Opera”), 4,7-8,150,169, (real) 300, 314,316,318 (see also Rake’s Progress as Opera); as cultural relic, 5,15; “death” of, 4-5,7-8,10,98,306,317; “death” of, “non-actual” demand for, 319-21; English-language, renewal of, 26,54; Golden Age of, 4-5, 8, 25; impracticality of, 25-26; sung drama, 7-8,153,192,318, 320-21; transvestism in, 201 opera, types of, historical: ballad opera, 28; bel canto, 130,144,149, (multipart structure) 178, 268,319; grand opera, 205; masque, 7,26,302,303; musical theater, 8; music drama, 7, 8, 9-11,16, 27,56, 272; opera buffa, 8, 9,15, 27-28, 44,153,157, (finale) 181, 280; opera seria, 7-8,181; operetta, 28,155; recitative style (Monteverdi), 225,228; semi
opera, 7, 26, 54 opera, types of, recent: anti-opera (Musiktheater), 317,318-19; neo-opera,
Index 289; postopera, 15-16,318,321; religious drama, 316,317 Opéra Comique, 305 Opera News, 272 opera queens, 14, 70, 99, 201 Ortega y Gasset, José, 37-38,98,319; “The Dehumanization of Art,” 35,128-30, 152,168-69 Paris, Grand Opéra, 257,258,304-5 Partisan Review, 30, 41 “Peace, Cultural and Scientific Conference for,” 38, 245, 248 Peabody School of Music, 249 Peele, George, The Old Wives Tale, 303 Peirce, Charles, 155 Pergolesi, Giovanni Battista, 62 Perle, George, 314 Picasso, Pablo, 12, 289, 269,305, 310, 314 Piovesan, Alessandro, 252 Piper, John, 46Ո20, 259 Pirandello, Luigi, 35,152 play, 150; parody, 154-55,161, (“camp”) 201; “seeing as,” 156. See also distance; sincere vs. insincere; Rake’s Progress, as parody postmodern: age, 5,7, 292; culture (postmodernism), 99, 201,287,289,319; Rake’s Progress as, 15-16,291; scholars, 3. See also under opera, recent types of Poulenc, Francis, 30, 46Ո36 Pousseur, Henri, 317 Previn, Andre, 318 Price, Leontyne, 306,307,323Ո29 Prokofieff, Serge, 32,34, 47Ո50,244 Puccini, Giacomo, 5,300; Turandot, 238 Purcell, Henry, 26-27,130,163, 228; King Arthur, 54; The Fairy Queen, 149-51 Radio Audizioni Italiane (RAI), 251,253,262, 267Ո78 Rake’s Progress, A (Hogarth), 23-24,28, 35-37, 57-58, 61,83; as catabasis, 56, 92-93; Hockney’s, 289; “Sarah Young” in, 36, 57,83,225; images of: “The Heir,” (print) 36, (painting) 37; “The Levee,” 8,9,36; “The Orgy,” 58, 59; “The Marriage,” 61; “The Gaming ļ 343 House,” 63; “The Madhouse,” 63, 64, 83, 87,224 Rake’s Progress, The (Stravinsky) act breaks; Stravinsky’s frustration with stops, 196-97, 231Ո4, 262;
two-act division, 232Ո4,279-81 allegorical meaning: as artist (Immendorff), 291, 295Ո60; as Auden/ Kaliman relationship, 71-72,75Ո54; as classical myth, 56,84-87,90,92-93; as Freudian self/super-ego/volition, 79-80, 83 (see also Freud); as Jungian shadow/ anima, 80-81,83,90, 92-93, 224 (see also Jung); as Kierkegaardian ascent (redemption), 81, 88-90,92-94, 201, 216, 224 (see also Kierkegaard); as Opera, 11, 29; as Progress/Return, 28-29, 65, 82, 87, 93, 212,215, 224; as Progress, threestage (wishes), 63-64, 76-78,79, 88, 280; as seasonal cycle, 85-87 Auden/Stravinsky collaboration, 6, 8-9, 20, 40,51,50-53, 61,190; November 1947 meeting, 28, 54-55, 62-63, 74Ո34, 94 (see also under Auden: Delia; Rake’s Progress: scenario; Stravinsky: Auden) Broadway, potential for, 23, 54, 240-41, 301 chords, favorite, 104-5, no, H9 162,163, 181,188,189,192,194Ո7, 212, 232Ո21 chorie parabasis, 62,155,231 chronology, 194m cuts to, 280, 294Ո29 “dolce” markings, 152-53,212, 214 initial ideas, abandoned, 55, 61-63, 76-77, 85,196,198,201 interpretation/rationale: Auden’s, 71,76, 80; Kallman’s, 63 intertextural references, 20-23,103; Les Contes d’Hoffman, 202; Così, 20,161, 163,166,181,184; Don Giovanni, 23, 232Ո23; Don Pasquale, 181,184-85; “Dove sono,” 178-80; L’Orfeo, 152-53 libretto, 50; commissioning of, 27, 61-62, 74Ո27,256; critical responses to, 50, 52, 56-57,77, 299; exact attribution, 66-67; revisions to, 6, 78,87,147П10,189-91; Stravinsky’s reaction to, 40,74Ո39 (see also Auden: Kaliman, collaboration with)
З44 I Index Rake’s Progress, The (Stravinsky) (cont.) libretto, as parody (critique) of: ‘Tacte gratuit 34,37,77,89, 225 (see also Sartre); Augustan poets, 301; Christian tragic hero, 92; enlightened thought, 58-59, 89; “grand” theater, 197; nursery rhyme, 55,135 metronome markings, 126, 210-12 Mozart, as model for, 9,15,19,27-28, 98, 130,144,150,189,192 off-stage voices, 198, 202,286 as Opera: conventional (vs. Music Drama), 7,9-11.15. 23. (pure) 50,130,153,237,272, 300; apotheosis of, 98,319-21; “number,” 9,27-28, 69,135,180; tribute to, 11,29 orchestration: winds (reeds), 152,175,212, 216-17, 224; harpsichord (cembalo), 149, 210-12, 215, 271; string harmonics, 207 program (liner) notes: (1951) 23, 26; (1953) 9,11,23, 45n8,50, 52; (1964) 9-10,11, 66 productions, stylized: baroque, 281,284, 282-83; “mod,” 287-89; “pop,” 289-90; postmodern, 290-91; puppet theater effect, 282-83, 284,286, 291; “off-kilter,” 273, 274-75.276-77. See also Bergman, Caldwell, Geneva, Glyndebourne, Hamburg, Hockney, Immendorff, Metropolitan, Opéra Comique, Royal Opera, Santa Fe, Vienna reuse of melodies, 90,174,210,207-9, 216 reviews: Boston, 288; Glyndebourne, 149, 273-74. 287, 289-90; Hamburg, 77-78; Metropolitan, 270-71; Royal Swedish, 279, 284; Salzburg, 290-91; Venice, 11,19. See also text settings, critical reactions to scenario (outline), 28,46Ո27,63-65, 84, 161,198; Kallman’s criticism of, 66, 76, 78. See also initial ideas sketches: (1.1) 126-27,130; (1.2) 138-40,139, 165; (1.3) 140-45,142-43; (2.2) 187-88, 192; (3-і) 198,132, т-34.198; (3-2) 30. 103-4,110-11,172,173,217, 220; (3.3) 109
Stravinsky’s artistic crisis, as prompting, 14-15,301,304 Stravinsky’s assessment of staging: Bergman’s, 279,286; Caldwell’s, 288; Ebert’s, 41,261-62 Stravinsky’s preference for small theater, 238-39. 258, 271-72 synopsis, 10 text settings: approach to, 124-25,129-30; critical reactions to, 125-26,130,142, 147Ո10; heightened, 140-46,185, 207, 228-31; natural, 129-35; subverted, 135-40,185 text settings, English: as determining factor, 26-27,254; timidity about, 28 time: suspension of, (Graveyard) 64-65, 88, 210, 214-15; timelessness, sense of, 89, 216, 221-24; turning back of (Brothel), 161-62 tonal symbolism, 118,122Ո17,163,168,172, 174-75.178,198; in Così, 170Ո19; “sharps vs. flats,” 205; tonal illusion/posttonal reality, 118-19,166,189,194, 224-31,299 Rake’s Progress, The (Stravinsky), characters Anne, 10; as determined, 81,175,185,194; as doubtful, 181,185,192; as faithful Girl, 28, 63; “goodness” of, 68, 80 (see also Jung: anima); as “Venus,” 29, 83, 84-87 Baba, 10, 23,50,52,76,181,189-90; as “Artist,” 201; depth of, 81,169, 205; as “homosexual joke,” 200-1; as “mechanical,” 202 Mother Goose, 55,81,85 Nick, 50,52,55; as actor, 80,168; as Mephistopheles, 10,78-81, ւ6ւ֊շ (see also Jung: shadow); as preacher, 90; as puppeteer, 168,198, 286; as Villain, 28, 63-65 Seilern, 55,198,288 Tom, 10, 55,194; as “Adonis,” 65, 84-87, 216-17; death of, 231,299; as Faust, 83, 87; as Hero, 28, 63-65; as Ironic Hero, 88,90-94; as manic-depressive, 71,76; as static, 29,178 Rake’s Progress, The (Stravinsky), motives (+1, -2): (1.2) 163-64; (1.3) 178-80; (2.2) 181-83,187,189,192-93.194;
(3-і) 205-6; (3.2) 106,110-11; (3.3) 119-21,299 “B-A-C-H,” 106,110,122ՈՈ “C-C#/Db,” 111,126,165,172-74,188, 212; “Db-D§,” 224-25,231
Index motivic spans, 180,192-94,212-13, 225, շշ8 “trill,” 174, 216-20, 221-23 Rake’s Progress, The (Stravinsky), premiere of, 21,263 Auden’s disgruntlement with: accommodations, 260; Ebert’s staging, 260-61; fee/royalties, 255-56, 266Ո60, 302; Stravinsky’s conducting, 255 Auden’s wish to direct, 238, 260,261-62 celebration, 20,22, 29, 44 Stravinsky’s efforts to “cash in on,” 240-42, 251,252, 254-55, 259 See also La Fenice, Venice Festival of Contemporary Music Rake’s Progress, The (Stravinsky), specific scenes and numbers (1.1) prelude, 152-53,174; introduction, 212-14; duet, 85,126-27,155.174; aria, 58, 71, 79-80,89; arioso, 20, 68; duettino, 174; terzetto, 20, 23 (1.2) opening chorus, 85,147П10, 280; catechism, 55, 80-81,156-59; cavatina, 20, 71,89,146,149-50, 161-69; “Lanterloo,” 135-40,174; whores’ chorus, 20,166,168 (1.3) 81,175-78; introduction, 212-14; aria, 68,117-18,130,140-46,146,178; prayer, 174,178; cabaletta, 5-6, 71,174,178-80 (2.1) Tom’s aria, 67,72, 82, 84, 90,162, 178; Nick’s aria, 77,80, 89,131,162,276; duet, 90 (2.2) 180-83; introduction, 181-85,286; arioso, 82,174,185-88,215; duet, 188-89; trio, 146,189-93; finale, 190,192-94; 277,283 (2.3) aria, 60,131,155; Bread machine, 59, 89-90, 92,154, 280-80; prayer, 90, 162,174 (3.1) 172,196-99, 204; opening chorus, 198-200; aria, 55, 58,125,131-35.198; Baba’s awakening, 202; ballad tune, 67, 172, 202, 207-10, 286; duet with chorus, 69, 81, 202-6 (3.2) 63-65, 210-11,213; prelude, 40,103-7, 110-16,172; duet 67-68,174, 216-18; ballad tune, 207-9; card-guessing game, 55,82,87,89,94,131,212-15; I 345 Anne’s
appearance, 174, 207,210, 215; Nick’s descent, 162; Tom as “Adonis,” 174, 216, 218 (3.3) 221,224-27; arioso, 20, 85, 280; duet, 84,89,146,149,174, 221-24; lullaby, 102-3,107-11; duettino, 87,117-19, 225; Tom’s death, 225-31; “mourning” chorus, 155,231 epilogue, 23, 52,79, 80,82-83,281-82, 299-300 Ramparts (magazine), 310 Ratto, Gianni, 259,260, 275 Ravel, Maurice: L’Heure espagnole, 23 Reiner, Fritz, 264Ո8,269-70,271, 273-74 Reinhardt, Max, 260 Rennert, Günther, 78,268 Ricketson, Frank, 241-42,258 Rimsky-Korsakov, Nicolai: Sadko, 103,311 Robinson, Paul, 70 Roland-Manuel, A!exis, 25 romanticism, 129,311 Rosbaud, Hans, 305 Rose, Billy, 241 Rosenthal, Manuel, 30 Ross, Alex, 323Ո40 Roth, Ernst, 242-43, 255, 256-58, 266Ո57, 274.305 Rothmüller, Marko, 276 Rothstein, Edward, 290, 291 Rounseville, Robert, 259-62, 267Ո69 Rossini, Gioachino, 8, 26 Royal Opera House (Covent Garden, London), 27, 238, 241-42,257, 258, 264ПЮ, 269,295Ո64 Royal Swedish Opera, ix, 278, 281,282-83, 285, 287. See also Bergman Rubinstein, Ida, ібпз Russian formalists, 102,169Ո8,170Ո12 Saariaho, Kaija, 317 St. John’s College, 32 St. Petersburg, 264m Sadler’s Wells Theater, New Opera Company at, 292Ո3 Salzburg Festival, 256,307. See also Immendorff Santa Fe Opera, ix, 271,275-77.316 Sapiro, Aaron, 200-1,238,266Ո60
34б I Index Sargent, Wintrop, 293Ո13 Sartre, Jean-Paul: “Vaete gratuite,” 37,77, 225; on emotion, 150,155,168-69; as existentialist 33-34.35. 43.77-78, 94 Saunders, Frances Stonor, 244 La Scala (Milan), 196, 238,239,241-43, 254-55. 256-62 Schaeffner, André, 30-31, 47Ո41 Schiff, David, 300 Schlesinger, Arthur Jr., 33,244,309; The Vital Center, 34 Schoenberg, Arnold, 12-13,34. 43.100 124, 244,246, 316; as character model for Mann, 42, 44,311; influence on Stravinsky, 301, 322Ո7; loneliness of, 311-12. See also Stravinsky: dualism with Schoenberg, Arnold, works of: Erwartung, 5, 289. 305,311, 324Ո51; operas, 11; Pierrot Lunaire, 12,124; Serenade, 124; SeptetSuite, 124,301; “Vielseitigkeit” from Drei Satiren, 29 Schwarzkopf, Elizabeth, 262,263,293Ո7 Scruton, Roger, 150,156 semiotics: sign/signified, 149,153-54; interpreter/interpretant, 155-56 Sharon, Yuval, 318 Shestov, Lev, 78 Shreffler, Anne, 322Ո20 sincere (real) vs. insincere (feigned, artificial), 153-62,168-69; in Cosi fan tutte, 170Ո19 Shostakovich, Dimitri, 34-35,244, 245-47, 301,310; 7th Symphony, 35,47Ո50. See also Stravinsky: dualism with Slottsteater (Drottningholm), 281 Smith, Roberta, 290 Soane’s Museum, Sir John, 24,36-37 sociological perspective, 15,17Ո32, 43, 98, 303,319,321; effect, 35; factors, 99; phenomenon, 315. See also Auden: sociologists, dislike of; Bourdieu Southern California, University of (USC), 239,242 Souvtchinsky, Pierre, 30-31, 45Ո15, 46Ո37, 232Ո24,310,315 Soviet Union (Russia), 33,309-10; Bolsheviks, 14,78,246; Red Star (newspaper), 245; Soviet music, 35, 39; stranglehold on culture, 34,40,
244, 246-47, 309. See also Cold War; Nabokov, opposition to; “Peace, Cultural and Scientific Conference for” Spender, Stephen, 146Ո3,323Ո32 State Department, US, 247-48,254,259,307, 323Ո29. See also Bohlen; Kennan Steinberg, Michael, 288 Steptoe, Andrew, 155,170Ո19 Stockhausen, Karlheinz, 7,313, 317 Stravinsky, Igor, 22,40,51,263,314 aesthetic change, 25,315. See also Rake s Progress: Stravinsky’s artistic crisis Auden: affinity/contrast with, 54-56; respect for, 7, 53,135,256. See also under Rake’s Progress audience, attempts to please, 15,304 conducting, 254-55; Cuba tour, 243,259 death, 44,314-15; burial, 237,264m eightieth birthday celebration, 254,309-10 expressiveness (“cold-hot” manner), 278,284, 286, 287; embrace of, 15-16, 126-28,129-30,168-69 (see also Rake’s Progress: (1.2) cavatina, (1.3) aria, (3.2) Anne’s appearance, (3.3) Tom’s death); resistance to, 55,152,155 (see also under distance. See also under Rake’s Progress, scenes: (2.3) bread machine; (3.1) ballad tune; (3.2) card-guessing game; epilogue) family responsibilities, 25,304 health of, 39, 45Ո13, 278,306; decline, 313 image of in productions, 289,291 income: commissions, 252,302-3, 307, 308,316, 323Ո33; conducting, 15, 252,253. 305,306; other sources, 324Ո46. See also Boosey 8t Hawkes, formal agreement with; Rake’s Progress: premiere, efforts to “cash in on” influence, susceptibility to, 3,311. See also under Schoenberg Kaliman, respect for, 65-66, 302 Mann, as character model for, 8, 41, 44 opera, feelings about, 4, 9,169Ո4 periods: Russian, 14,126,128-29, 217; neoclassical, 11,14-15,38,101,126,129,
147Ո14; serial, 14,304,309,311
Index proposed works (unrealized): Negro spirituals, 307, 323Ո30; operas: with Auden (Delia), 7, 50,54,302-3; with T. S. Eliot, 278,316; with Dylan Thomas, 316 Stravinsky’s revisionism, 322Ո23; suspicion of, 25, 46Ո29 Russian circle, 39-40, 40,308 Shostakovich, dualism with, 38 Schoenberg, dualism with, 11,13,15, 29-31, 34, 38, 41,101,301,304,315. See also Schoenberg, influence world events, effect of on, 3,25; Cold War, 304,309-10; Russian revolution, 14,101; World War II, 30,33. See also Cold War Stravinsky, Igor, compositional practices of chord transformations, 104,106,117-18, 205-6 disjunction/stratification (bitonality), 118-19,166,188,194 metrical counterpoint (polymeter), 135-40, 299. 301 modal mixture, 178-80; conflict, 212; shift, 232Ո23 modulation, 163-66, 231 octatonic scale, 119,122Ո19,162 rhythmic displacement, 107-9, m, 122Ո13, 126,135,138,144,156, 216-21,228, 301; radical/conservative barring, 135-38 recomposition (collage), 102,181 tonality, rhetorical use of, 101-2 tonal/posttonal interplay, 107-21,180,194 (see also under Rake’s Progress·, tonal illusion) Stravinsky, Igor, works of Abraham and Isaac, 308,324Ո46 Agon, 14,50,309,316, 320 Apollo (Apollon musagète) 11,32, 50,129, 268, 272,320 Cantata, 14; “Ricercar I,” 301,322Ո9, “Ricercar II,” 322Ո7 Canticum Sacrum, 14,237. 252,3°8 Circus Polka, 38 Danses concertantes, 30,123 Ebony Concerto, 38, 237 Firebird, 305,308 The Flood, 316 Four Norwegian Moods, 30,33,301 ļ 347 Histoire du Soldat (The Soldier’s Tale), 27, 38, 268, 286; as distant (cartoonish), 128,152,168,299,170Ш0; as Faust story, 63, 313; use of
polymeter in, 138,140 Jeu de Cartes, 50 Mass, 38, 40, 239,254,268 Mavra, 9, 26,130,201,268,275 Movements, 308 Les Noces (The Wedding), 9,14,26,32,38, 124,126-28,135 Oedipus Rex, 14,27, 35, 266Ո60, 275, 278; as collage, 181,301; as distant (masked), 128; as hybrid form, 9,129, 316; as Latin setting, 26,128,147Ո14; double bill with Erwartung, 305-6, 307 Orpheus, 40,50,123,129, 240, 272,305, 308,320 Persephone, 16Ո3, 27, 87,96Ո37,124,129, 254, 266Ո60; as French setting 26, 147Ո14,147Ո21; as hybrid form, 9,130 Petrushka, 32,35,43,152,155,254 Pulcinella, 3,9, 61,124,128 Renard, 128,152,170Ш0 Le Rossignol (The Nightingale), 9,26,152, 215, 254 Le Sacre du Printemps (The Rite of Spring), 12,13,304-5, 317 Scènes de ballet, 33,305 Symphonies of Wind Instruments, 123,210, 232Ո20 Symphony in C, 124 Symphony in Three Movements, 31 Symphony ofPsalms, 26,38,147Ո14 Ίhreni, 308,309,323Ո33,323Ո38,324Ո46 Violin Concerto, 122П13,129 Stravinsky, Igor, writings of: autobiography, 8, 25, 45Ո15; conversation books, 24-25, 45Ո13,138, 288, 311,314 (see also under Craft: “Craft-Igor”; revisions of); Poetics ofMusic, 25,45Ո15,101,312 Stravinsky, Theodore, 268 Stravinsky, Vera, 19, 20,22,40,73Ո13,123-24, 237,254,259, 260,306,314; diary entries, 23-24, 45Ո9,45Ո12,313; “La Prima Assoluta,” 44Ո2,129,225. See also Craft: Stravinskys’, relationship with Straus, Joseph N., ix, 109,111,118,165,172, 212,232Ո21,232Ո23
348 Į Index Strauss, Richard, 4-5, 8,10, 20, 55, 300; Ariadne 268,281; Der Rosenkavalier, 70; Elektra, 271 subject (subjectivity), 5,8,33, 41, 43,315, 318; individuated (individual), 34,35, 37-38, 42, 44,129,155-56, (illusion of) 311; postmodern, 99. See also Jung, individuation Swarthmore College, 79, 95Ո31 Tallchief, Maria, 39, 308 Tangeman, Nell, 263 Taruskin, Richard, 12,25,45Ո13,46Ո29,163, 201; “Rejoicing Discovery,” 126,129-30, 142,147Ш0 Taubman, Howard, 19, 44Ո2 Tchaikovsky, Pyotr Ilyich, 20,23 Thayer, Charles, 244 Thebom, Blanche, 201, 269 Thomas, Dylan, 316 Tippett, Michael, 317 Tomlinson, Gary, 5 totalitarianism, 33,35,37, 99, 311 Tourel, Jennie, 261,262 Théâtre de Champs-Elysées, 305 thematic reminiscence, 174, 210 Thomson, Virgil, 25,125-26,270-71; Four Saints in Three Acts, 306, 307 trajectory (Bourdieu), 12-13, Trevor-Roper, Hugh, 247 Turnage, Mark Anthony, 319 Twelve-tone method (dodecaphonicism, serialism), 14,31,38, 41-42,47Ո41, 311; music, 301; “twelve-toners,” 15,302 USC. See Southern California, University of 255-58, 259,261, 269,274-75; as venue for premiere, criticism of, 256-57; as venue for premiere, justification for, 239» 258-59- 321 Verdi, Giuseppe, 4,101,178,300; Falstaff, 70; Otello, 5,88,321; La Traviata, 202; “Willow Song,” 103 Vienna State Opera, 294Ո29, 306 Vogue, 4,15 Volga Boat Song, 20 Voltaire, Candide, 58 Von Franz, Marie Louise, 81 Wagner, Richard, 4, 20, 55, 57,87,169Ո4,197, 237- 299; Gesamtkunstwerk (anti-), 152; leitmotif, 174; Das Rheingold, 89. See also under opera, types: music drama. See also under Rake’s Progress, as Opera:
conventional (vs. Music Drama) Waldorf “Peace” Conference. See “Peace, Cultural and Scientific Conference for” Wallenstein, Alfred, 273-74 Walsh, Stephen, 24, 45Ո13,126,311 Watkins, Glenn, 102 Weber, Hans, 308 Weber, Margrit, 308 Webern, Anton, 29,124; Quartet, op. 22,301 Webster, David, 238, 240, 255,269 Webster, John: Duchess ofMalfi, 53 Weill, Kurt, 152. See also Brecht, Die Dreigroschenoper Weissberger, Arnold, 241-42 Werner galleries, Michael, 290 Wilder, Thornton: Our Town, 168 Wilson, Edmund, 70 Wilson, Robert, 318,321 Wolf, Hugo, 313 Van den Toorn, Pieter C., 12,122Ո19,147Ո14, 147Ո25-27 Várese, Edgar, 124 Venice, 14, 67,197, 237,243, 264m, 308,316; International Festival of Contemporary Music (La Biennale), 238,251-52,253, Yates Peter, 56 Zhdanov, Andrei, 244 Zimmerman, Bernd Alois, Die Soldaten, 318 Žižek, Slavoj, 5
|
| any_adam_object | 1 |
| author | Carter, Chandler |
| author_GND | (DE-588)1192411293 |
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| author_role | aut |
| author_sort | Carter, Chandler |
| author_variant | c c cc |
| building | Verbundindex |
| bvnumber | BV046110845 |
| callnumber-first | M - Music |
| callnumber-label | ML410 |
| callnumber-raw | ML410.S932 |
| callnumber-search | ML410.S932 |
| callnumber-sort | ML 3410 S932 |
| callnumber-subject | ML - Literature on Music |
| classification_rvk | LP 94904 |
| ctrlnum | (OCoLC)1121481037 (DE-599)BVBBV046110845 |
| dewey-full | 782.1 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 782 - Vocal music |
| dewey-raw | 782.1 |
| dewey-search | 782.1 |
| dewey-sort | 3782.1 |
| dewey-tens | 780 - Music |
| discipline | Musikwissenschaft |
| era | Geschichte 1947-1951 gnd |
| era_facet | Geschichte 1947-1951 |
| format | Book |
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| id | DE-604.BV046110845 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T08:35:33Z |
| institution | BVB |
| isbn | 9780253041579 9780253041586 |
| language | English |
| lccn | 018031197 |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-031491444 |
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| owner | DE-12 DE-11 |
| owner_facet | DE-12 DE-11 |
| physical | X, 348 Seiten Illustrationen, Notenbeispiele |
| psigel | BSB_NED_20190930 |
| publishDate | 2019 |
| publishDateSearch | 2019 |
| publishDateSort | 2019 |
| publisher | Indiana University Press |
| record_format | marc |
| series2 | Russian music studies |
| spelling | Carter, Chandler Verfasser (DE-588)1192411293 aut The last opera the Rake's progress in the life of Stravinsky and sung drama Chandler Carter Bloomington, Indiana Indiana University Press [2019] X, 348 Seiten Illustrationen, Notenbeispiele txt rdacontent n rdamedia nc rdacarrier Russian music studies Includes bibliographical references and index Stravinsky, Igor 1882-1971 Auden, Wystan H. 1907-1973 The rake's progress (DE-588)7669413-6 gnd rswk-swf Stravinsky, Igor 1882-1971 The rake's progress (DE-588)300158262 gnd rswk-swf Geschichte 1947-1951 gnd rswk-swf Opera Musikalische Analyse (DE-588)4040814-0 gnd rswk-swf Entstehung (DE-588)4156614-2 gnd rswk-swf Kooperation (DE-588)4032386-9 gnd rswk-swf Stravinsky, Igor 1882-1971 The rake's progress (DE-588)300158262 u Auden, Wystan H. 1907-1973 The rake's progress (DE-588)7669413-6 u Entstehung (DE-588)4156614-2 s Kooperation (DE-588)4032386-9 s Musikalische Analyse (DE-588)4040814-0 s Geschichte 1947-1951 z DE-604 Erscheint auch als Online-Ausgabe 978-0-253-04159-3 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031491444&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031491444&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Literaturverzeichnis Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031491444&sequence=000005&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Register // Gemischte Register |
| spellingShingle | Carter, Chandler The last opera the Rake's progress in the life of Stravinsky and sung drama Stravinsky, Igor 1882-1971 Auden, Wystan H. 1907-1973 The rake's progress (DE-588)7669413-6 gnd Stravinsky, Igor 1882-1971 The rake's progress (DE-588)300158262 gnd Opera Musikalische Analyse (DE-588)4040814-0 gnd Entstehung (DE-588)4156614-2 gnd Kooperation (DE-588)4032386-9 gnd |
| subject_GND | (DE-588)7669413-6 (DE-588)300158262 (DE-588)4040814-0 (DE-588)4156614-2 (DE-588)4032386-9 |
| title | The last opera the Rake's progress in the life of Stravinsky and sung drama |
| title_auth | The last opera the Rake's progress in the life of Stravinsky and sung drama |
| title_exact_search | The last opera the Rake's progress in the life of Stravinsky and sung drama |
| title_full | The last opera the Rake's progress in the life of Stravinsky and sung drama Chandler Carter |
| title_fullStr | The last opera the Rake's progress in the life of Stravinsky and sung drama Chandler Carter |
| title_full_unstemmed | The last opera the Rake's progress in the life of Stravinsky and sung drama Chandler Carter |
| title_short | The last opera |
| title_sort | the last opera the rake s progress in the life of stravinsky and sung drama |
| title_sub | the Rake's progress in the life of Stravinsky and sung drama |
| topic | Stravinsky, Igor 1882-1971 Auden, Wystan H. 1907-1973 The rake's progress (DE-588)7669413-6 gnd Stravinsky, Igor 1882-1971 The rake's progress (DE-588)300158262 gnd Opera Musikalische Analyse (DE-588)4040814-0 gnd Entstehung (DE-588)4156614-2 gnd Kooperation (DE-588)4032386-9 gnd |
| topic_facet | Stravinsky, Igor 1882-1971 Auden, Wystan H. 1907-1973 The rake's progress Stravinsky, Igor 1882-1971 The rake's progress Opera Musikalische Analyse Entstehung Kooperation |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031491444&sequence=000001&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=031491444&sequence=000003&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=031491444&sequence=000005&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA |
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