Divas and Scholars

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Divas and Scholars Page 90

by Philip Gossett


  ———. “La composizione di Un ballo in maschera.” In the program for Un ballo in maschera at the Verdi Festival (Parma, 2001), 31–58.

  ———. “Critical Editions and Performance.” In Latham and Parker, Verdi in Performance, 133–44.

  ———. “Editorial Theory, Musical Editions, Performance: 19th-Century Faultlines from a 21st-Century Perspective.” In Giger and Mathiesen, Music in the Mirror, 217–31.

  ———. “Le fonti autografe delle opere teatrali di Rossini.” Nuova rivista musicale italiana 2 (1968): 936–60.

  ———. “Gioachino Rossini’s Moïse.” In Newsom and Mann, Music History from Primary Sources, 369–74.

  ———. “History and Works That Have No History: Reviving Rossini’s Neapolitan Operas.” In Bergeron and Bohlman, Disciplining Music, 95–115.

  ———. “Der kompositorische Prozeß: Verdis Opernskizzen.” In Engelhardt, Giuseppe Verdi und seine Zeit, 169–90.

  ———. “A New Romanza for Attila.” Studi verdiani 9 (1993): 13–35. Published in shortened form as “Giuseppe Verdi’s Attila” in Newsom and Mann, Music History from Primary Sources, 436–43.

  ———. “New Sources for Stiffelio: A Preliminary Report.” Cambridge Opera Journal 5 (1993): 199–222. Reprinted in Chusid, Verdi’s Middle Period, 19–43 (to which citations refer).

  ———. The Operas of Rossini: Problems of Textual Criticism in Nineteenth-Century Opera. Doctoral diss., Princeton University, 1970.

  ———. “Piracy in Venice: The Selling of Semiramide.” In Rosen and Brook, Words on Music, 120–37.

  ———. Review of Gioachino Rossini, L’assedio di Corinto, recording on Angel Records SCLX-3819. Musical Quarterly 61 (1975): 626–38.

  ———. “Rossini e i suoi Péchés de Vieillesse.” Nuova rivista musicale italiana 14 (1980): 7–26.

  ———. “Rossini in Naples: Some Major Works Recovered.” Musical Quarterly 54 (1968): 316–40.

  ———. “Rossini’s Operas and their Printed Librettos.” In Report of the Tenth Congress of the IMS, Ljubljana 1967, 194–202.

  ———. “Rossini’s Petite Messe Solennelle and Its Several Versions.” In Reardon and Parisi, Music Observed, 139–46.

  ———. “Rossini’s Ritornelli: A Composer and his Orchestral Soloists.” In Fauquet, Musiques-Signes-Images, 133–41.

  ———. “Scandal and Scholarship.” New Republic 225, no. 1 (2 July 2001): 23–32.

  ———. “Le sinfonie di Rossini.” Bollettino del centro rossiniano di studi [19] (1979).

  ———. “Staging Italian Opera: Dario Fo and Il viaggio a Reims.” In Antolini, Gialdroni, and Pugliese, Et facciam dolci canti, 1447–65.

  ———. “The Tragic Finale of Rossini’s Tancredi.” Bollettino del centro rossiniano di studi [16] (1976): 5–79 (English) and 89–164 (Italian).

  ———. “Translations and Adaptations of Operatic Texts.” In Bornstein and Williams, Palimpsest 285–304.

  ———. “Trasporre Bellini.” In Della Seta and Ricciardi, Vincenzo Bellini, 163–85.

  ———. “Verdi, Ghislanzoni, and Aida: The Uses of Convention.” Critical Inquiry 1 (1974): 291–334.

  ———. “Verdi’s Ideas on Interpreting His Operas.” In Della Seta, Marvin, and Marica, Verdi 2001, 399–407.

  ———. “Verdi the Craftsman.” Revista Portuguesa de Musicologia 11 (2001): 81–111.

  Grant, Michael. My First Eighty Years. Henley-on-Thames, 1994.

  Graziano, John, ed. Cinderella (1831) Adapted by M. Rophino Lacy from Gioacchino Rossini’s “La Cenerentola.” Italian Opera in English, vol. 3. New York and London, 1994.

  Greenwald, Helen M. “Puccini, Il tabarro, and the Dilemma of Operatic Transposition.” Journal of the American Musicological Society 51 (1998): 521–58.

  ———. “Realism on the Opera Stage: Belasco, Puccini, and the California Sunset.” In Radice, Opera in Context, 279–96.

  Greetham, D. C. Textual Scholarship: An Introduction. New York and London, 1994.

  Greg, Sir Walter. “The Rationale of Copy-Text.” Studies in Bibliography 3 (1950–51): 19–36.

  Grier, James. The Critical Editing of Music: History, Method, and Practice. Cambridge, 1996.

  Grilli, Natalia, ed. Filippo Peroni scenografo alla Scala (1849–1867). Catalogue of the exhibition at the Museo Teatrale alla Scala, 12 January–9 February 1985. Milan, 1985.

  Grondona, Marco. La perfetta illusione: “Ermione” e l’opera seria rossiniana. Lucca, 1996.

  Groos, Arthur, and Roger Parker, eds. Reading Opera. Princeton, 1988.

  Grove, Sir George, ed. A Dictionary of Music and Musicians. 4 vols. 1878–1890. For a revised edition, see Sadie, The New Grove Dictionary of Music and Musicians. See also Grove Music Online.

  Grove Music Online. Edited by L. Macy. http://www.grovemusic.com.

  Guccini, Gerardo. “Direzione scenica e regia.” In La spettacolarità, vol. 5 of Storia dell’opera italiana, 123–74. Revised and translated as “Directing Opera.” In Opera on Stage (see Storia dell’opera italiana), 125–76.

  Gui, Vittorio. “Storia avventurosa di alcuni capolavori del passato.” Bollettino del centro rossiniano di studi [25] (1985): 56–60.

  Hadlock, Heather. “Sonorous Bodies: Women and the Glass Harmonica.” Journal of the American Musicological Society 53 (2000): 507–42.

  Hansell, Kathleen Kuzmick. “Il ballo teatrale e l’opera italiana.” In La spettacolarità, vol. 5 of Storia dell’opera italiana, 175–306. Revised and translated as “Theatrical Ballet and Italian Opera.” In Opera on Stage (see Storia dell’opera italiana), 177–308.

  ———. “Compositional Techniques in Stiffelio: Reading the Autograph Sources.” In Chusid, Verdi’s Middle Period, 45–97.

  Hanslick, Eduard. On the Musically Beautiful: A Contribution towards the Revision of the Aesthetics of Music. Translated and edited by Geoffrey Payzant. Indianapolis, 1986.

  Harwood, Gregory W. “Verdi’s Reform of the Italian Opera Orchestra.” 19th Century Music 10 (1986–87), 108–34.

  Haynes, Bruce. The Eloquent Oboe: A History of the Hautboy, 1640–1760. Oxford, 2001.

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  Hepokoski, James. “Genre and Content in Mid-Century Verdi: ‘Addio del passato’ (La traviata, Act III).” Cambridge Opera Journal 1 (1989): 249–76.

  ———. “Ottocento Opera as Cultural Drama: Generic Mixtures in Il trovatore.” In Chusid, Verdi’s Middle Period, 147–96.

  ———. “Overriding the Autograph Score: The Problem of Textual Authority in Verdi’s Falstaff.” Studi verdiani 8 (1992).

  ———. “Staging Verdi’s Operas: The Single ‘Correct’ Performance.” In Latham and Parker, Verdi in Performance, 11–20.

  Hepokoski, James, and Mercedes Viale Ferrero. “Otello” di Giuseppe Verdi. Musica e spettacolo: Collana di Disposizioni sceniche. Milan, 1990.

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  Holoman, D. Kern. “The Emergence of the Orchestral Conductor in Paris in the 1830s.” In Bloom, Music in Paris in the Eighteen-Thirties, 387–430.

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  Huber, Konrad. “Giovanni Battista Rubini als Donizetti-Interpret.” In Kantner, Donizetti in Wien, 114–21.

  Hürlimann, Martin, ed. Musikerhands
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  Ingarden, Roman. The Work of Music and the Problem of Its Identity. Originally published in 1966. Translated by Adam Czerniawski and edited by Jean G. Harrell. Berkeley and Los Angeles, 1986.

  Inzaghi, Luigi, and Luigi Alberto Bianchi. Alesandro Rolla: Catalogo tematico delle opere. Milan, 1981.

  Isotta, Paolo. “I diamanti della corona: Grammatica del Rossini napoletano.” In Gioacchino Rossini: “Mosè in Egitto,” “Moïse et Pharaon,” “Mosè,” edited by Paolo Isotta. In Opera: Collana di guide musicali, 145–346. Turin, 1974.

  ———. “Da Mosè a Moïse.” Bollettino del centro rossiniano di studi [11] (1971): 87–117.

  Izzo, Francesco. “Verdi’s Un giorno di regno: Two Newly Discovered Movements and Some Questions of Genre.” Acta Musicologica 73 (2001): 165–88.

  Izzo, Francesco, and Johannes Streicher, eds. Ottocento e oltre: Scritti in onore di Raoul Meloncelli. Rome, 1993.

  Jacobshagen, Arnold. “Staging at the Opéra-Comique in Nineteenth-Century Paris: Auber’s Fra Diavolo and the livrets de mise en scène.” Cambridge Opera Journal 13 (2001): 239–60.

  Jensen, Luke. “The Emergence of the Modern Conductor in 19th-Century Italian Opera.” Performance Practice Review 4 (1991): 34–63.

  ———. Giuseppe Verdi and Giovanni Ricordi, with Notes on Francesco Lucca: From “Oberto” to “La Traviata.”New York and London, 1989.

  Jesurum, Olga. “Lo spazio del dramma: Le scenografie di Filippo Peroni.” In La Via and Parker, Pensieri per un maestro, 211–26.

  John, Nicholas, ed. A Masked Ball, Un ballo in maschera. English National Opera Guide 40. London, 1989.

  ———, ed. Simon Boccanegra. English National Opera Guide 32. London, 1985.

  Johnson, Janet. “Donizetti’s First ‘Affare di Parigi’: An Unknown Rondò-Finale for Gianni da Calais.” In Bellotto, L’opera teatrale di Gaetano Donizetti, 329–51.

  ———. “A Lost Rossini Opera Recovered: Il viaggio a Reims.” Bollettino del centro rossiniano di studi [23] (1983): 5–112.

  Johnstone, H. Diack. “Treasure Trove in Gloucester: A Grangerized Copy of the 1895 Edition of Daniel Lysons’ History of the Three Choirs Festival.” RMA Research Chronicle 31 (1998): 1–90.

  Jürgensen, Knud Arne. The Verdi Ballets. Parma, 1995.

  Kallberg, Jeffrey. “Chopin in the Marketplace.” In Chopin at the Boundaries: Sex, History, and Musical Genre, 161–214. Cambridge, MA, 1996.

  ———. “Marketing Rossini: Sei lettere di Troupenas ad Artaria.” Bollettino del centro rossiniano di studi [20] (1980): 41–63.

  Kantner, Leopold M., ed. Donizetti in Wien (Musikwissenschaftliches Symposion, 17.-18. Oktober 1997). Vienna, 1998.

  Kaufman, Thomas G. “Giulia Grisi: A Re-evaluation.” Donizetti Society Journal 4 (1980): 180–226.

  ———. “Giuseppe and Fanny Persiani.” Donizetti Society Journal 6 (1988): 122–51.

  ———. Verdi and His Major Contemporaries: A Selected Chronology of Performances with Casts. New York and London, 1990.

  Kelly, Thomas Forrest. First Nights: Five Musical Premieres. New Haven, 2000.

  Kenyon, Nicholas, ed. Authenticity and Early Music. Oxford, 1988.

  Kern, Bernd-Rüdiger. “Verfassungsgeschichtliche Aspekte der Oper Il viaggio a Reims von Rossini.” In Kilian, Dichter, Denker und der Staat, 233–59.

  Kilian, Michael, ed. Dichter, Denker und der Staat: Essays zu einer Beziehung ganz eigener Art. Tübingen, 1993.

  Kimbell, David. Italian Opera. Cambridge, 1991.

  ———. Vincenzo Bellini: “Norma.” Cambridge, 1998.

  Kivy, Peter. Authenticities: Philosophical Reflections on Musical Performance. Ithaca, 1995.

  Koury, Daniel J. Orchestral Performance Practices in the Nineteenth Century: Size, Proportions, and Seating. Ann Arbor, MI, 1986.

  Kundera, Milan. “You’re Not in Your Own House Here, My Dear Fellow.” New York Review of Books 42 (21 September 1995): 21–24.

  Lacombe, Hervé. Les Voies de l’opéra français au XIXe siècle. [Paris], 1997. Translated by Edward Schneider as The Keys to French Opera in the Nineteenth Century. Berkeley, 2001.

  Langer, Arne. Der Regisseur und die Aufzeichnungspraxis der Opernregie im 19. Jahrhundert. Frankfurt, 1997.

  Langford, Jeffrey. “Poetic Prosody and Melodic Rhythm in Les Vêpres siciliennes.” Verdi Newsletter 23 (1996): 8–18.

  Latham, Alison, and Roger Parker, eds. Verdi in Performance. Oxford, 2001.

  Lavagetto, Mario. Un caso di censura: Il “Rigoletto.” Milan, 1979.

  La Via, Stefano, and Roger Parker. Pensieri per un maestro: Studi in onore di Pierluigi Petrobelli. Turin, 2002.

  Lawton, David. “The Autograph of Aida and the New Verdi Edition.” Verdi Newsletter 14 (1986): 4–14.

  ———. “The Revision of Recitatives from Il trovatore to Le Trouvère.” Verdi Forum 26–27 (1999–2000): 17–32.

  ———. “Le Trouvère: Verdi’s revision of Il trovatore for Paris.” Studi verdiani 3 (1985): 79–119.

  Lawton, David, and David Rosen. “Verdi’s Non-definitive Revisions: The Early Operas.” In Atti del III° Congresso internazionale di studi verdiani, 189–237.

  le Hurray, Peter. Authenticity in Performance: Eighteenth-Century Case Studies. Cambridge, 1990.

  Letterature comparate, problemi e metodo: Studi in onore di Ettore Paratore. Bologna, 1981.

  Lettere di G. Rossini. Edited by Giuseppe Mazzatinti, Fanny Manis, and G. Manis. Florence, 1902.

  Levin, David J., ed. Opera through Other Eyes. Stanford, 1994.

  ———. “Reading a Staging / Staging a Reading.” Cambridge Opera Journal 9 (1997): 47–71.

  Liebling, Estelle, ed. Gioachino Rossini’s “Cavatina from the opera Il barbiere di Siviglia.” In Arrangements and Editings for Coloratura Voice with Piano. New York, 1938.

  Lindegren, Erik. Maskeradbalen (Gustaf III): Opera i tre akter av Verdi. Stockholm, 1958.

  Lippmann, Friedrich. “Romani e Bellini: I fatti e i principi della collaborazione.” In Sommariva, Felice Romani, 83–113.

  ———. “Su ‘La Straniera’ di Bellini.” Nuova rivista musicale italiana 5 (1971): 565–605.

  ———. “Sull’estetica di Rossini.” Bollettino del centro rossiniano di studi [8] (1968): 62–69.

  ———. Versificazione italiana e ritmo musicale: I rapporti tra verso e musica nell’opera italiana dell’Ottocento. Translated by Lorenzo Bianconi. Naples, 1986.

  Lomnäs, Bonnie, and Erling Lomnäs. Stiftelsen Muikkulturens främjande (Nydahl Collection): Catalogue of Music Manuscripts. Stockholm, 1995.

  Lo Presti, Fulvio Stefano. “Le Duc d’Albe: The Livret of Scribe and Duveyrier.” Donizetti Society Journal 5 (1984): 243–316.

  ———. “Sylvia prima di Léonor (con interferenze di un duca).” Donizetti Society Journal 7 (2002): 145–75.

  Lorenz, Alfred. Das Geheimnis der Form bei Richard Wagner. 4 vols. Berlin, 1924–33.

  Luzio, Alessandro. Carteggi verdiani. 4 vols. Rome, 1935–47.

  Macdonald, Hugh. Berlioz’s Orchestration Treatise: A Translation and Commentary. Cambridge, 2002.

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  Mainvielle Fodor, Joséphine. Réflexions et conseils sur l’art du chant. Paris, 1857.

  Maione, Paologiovanni, and Francesca Seller. “L’ultima stagione napoletana di Domenico Barbaja (1836–1840): Organizzazione e spettacolo.” Rivista italiana di musicologia 27 (1992): 257–325.

  Mandelli, Alfredo. “I ‘fiori’ ritrovati, che Puccini non voleva eliminare.” In the program for Il trittico (Bologna, 1993), 43–65.

  Marshall, Robert. “Bach’s ‘Choruses’ Reconstituted.” High Fidelity 32, no. 10 (1982): 64–66 and 94.

  ———. Mozart Speaks: Views on Music, Musicians and the World. New York, 1991.

  Martin, George. Aspects of Verdi. New York, 1988.

  Marvin, Robert Montemorra. “Aspects of Tempo
in Verdi’s Early and Middle-Period Italian Operas.” In Chusid, Verdi’s Middle Period, 393–412.

  ———. “A Verdi Autograph and the Problem of Authenticity.” Studi verdiani 9 (1993): 36–61.

  The Mary Flagler Cary Music Collection. The Pierpont Morgan Library. New York, 1970.

  Mattsson, Inger, ed. Gustavian Opera: An Interdisciplinary Reader in Swedish Opera, Dance, and Theatre 1771–1809. Royal Swedish Academy of Music, publication no. 66. Uppsala, 1991.

  Mauceri, John. “Verdi for the Twenty-first Century.” In Della Seta, Marvin, and Marica, Verdi 2001, 2: 749–57.

  Mauceri, Marco. “La gazzetta di Gioachino Rossini: Fonti del libretto e autoimprestito musicale.” In Izzo and Streicher, Ottocento e oltre, 115–49.

  ———. “Rossini a Roma nel 1821: Nuovi documenti su un’opera mai scritta.” Bollettino del centro rossiniano di studi 28 (1988): 27–46.

  Mayr, Giovanni Simone. Medea in Corinto: A facsimile edition of the printed piano-vocal score. Edited by Philip Gossett. New York, 1986.

  McClary, Susan. Feminine Endings: Music, Gender, and Sexuality. Minnesota, 1991.

  McGann, Jerome J. A Critique of Modern Textual Criticism. Chicago, 1983.

  ———. Radiant Textuality: Literature after the World Wide Web. New York, 2001.

  ———, ed. Textual Criticism and Literary Interpretation. Chicago, 1985.

  McGowan, Margaret M. L’Art du ballet de cour en France. Paris, 1963.

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  Metelitsa, Natalia, and Helene Fedosova. “A.L. Roller, the First Scenographer of ‘La forza del destino.’” In Petrobelli and Della Seta, La realizzazione scenica dello spettacolo verdiano, 72–82.

  Meucci, Renato. “Il cimbasso e gli strumenti affini nell’Ottocento italiano.” Studi verdiani 5 (1989): 109–62. For an abbreviated English version, see “The Cimbasso and Related Instruments in 19th-Century Italy.” Translated by William Waterhouse. Galpin Society Journal 49 (1996): 143–79.

  ———. “I timpani e gli strumenti a percussione nell’Ottocento italiano.” Studi verdiani 13 (1998): 183–254.

 

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