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Hawke gets Sebastian to lighten up and have a bit of fun. Though Hawke will always be Hawke, he also helps her deal with the politics and nobility when she starts to get involved with the upper class. These two could talk all night and never run out of things to talk about.
Cuddling and talking is a favorite hobby for them. What I love about this romance is how badly Cullen wants to initiate things but is always too nervous to, but Evelyn always gives him the opportunity. The desk scene and first kiss are prime examples, and some of my favorite moments are when Cullen finally takes a chance and goes for it. Thank you so much for these! They were fun questions! The summer is ending, and with its departure the gates of our hospitable city open to all the artists and admirers of the Andrzej Markowski International Festival Wratislavia Cantans.
I believe that, following a tradition of several decades, the 52nd edition of the Festival will delight us with the sublime beauty of music. The programme is full of musical delicacies, surely to be appreciated by connoisseurs. Your presence testifies to our everlasting need of elevating experiences and sensitivity to beauty, unfettered by the hustle and bustle of everyday life.
My best wishes go to all the artists, the Festival Team and audiences. Dear Ladies and Gentlemen! It is my great pleasure to invite you to participate in the 52nd International Festival Wratislavia Cantans, which is one of the most important European events of this kind.
The past 51 years have seen plethora of artistic achievements, hundreds of concert and unusual programmes — performed masterfully, moving, many times quite simply delightful and going down in our memory with unforgettable experiences. Over these years, we could admire the art of conductors, orchestras, consorts and soloists from all over the world.
I believe that the 52nd edition of Wratislavia Cantans will give us a lot to remember, as the programme abounds in masterpieces being part of the great European cultural heritage. I am happy to see such a rich programme, featuring both superb soloists and conductors and the wide range of music genres and forms to be presented. May I wish all who create the International Festival Wratislavia Cantans and all who visit us for its concerts, seeking indelible musical impressions, profound satisfaction and joy deriving from yet another triumph of music.
The most wonderful gift of the Andrzej Markowski International Festival Wratislavia Cantans are music and singing performed by outstanding artists. Virtuosos, genius conductors, extraordinary soloists — a genuine constellation of stars we have been able to admire for decades. The work on creating this musical universe requires experience and commitment of the whole Team.
This is the right occasion to say thank you and to congratulate Maestro Andrzej Kosendiak on successfully fulfilling his mission at the National Forum of Music. At the same time, it is an invitation to a journey into the beguiling world of the works presented, to get familiar with important contexts of European culture. This year also sees the th anniversary of Reformation, with a concert celebrating this important point in history at the Basilica of St Elizabeth. Finally, let me wish success to the whole festival Team responsible for producing the 52nd International Festival Wratislavia Cantans.
The late-Renaissance Florentine opera dramma per musica was at first only accessible to courts, and only to the most affluent, as a sign of wealth, taste and prestige. Consequently the genre was soon adopted by the Gonzagas of Mantua, later by the Barberini circle in Rome and other centres fascinated by the splendour of these pioneering ones. However, neither the first composers of opera or its noble patrons expected it would so quickly become p u b l i c entertainment, quite egalitarian in fact and accessible to anyone willing to buy a ticket for the performance.
This happened in Venice, whose specific oligarchic-republican political system favoured forms of patronage different from other courtly centres. This we do not know, but it seems probable that he was. After his move to Venice he composed a few more theatrical works for Mantua and one Proserpina rapita, for the Mocenigo family of Venetian patricians staged in their palace; all these works have been lost. It was obviously expected that the adored maestro would supply new and original compositions in the genre; it was less obvious that he would agree.
We do not know how the collaboration between the poet debuting as librettist and the experienced composer proceeded, as the latter had a reputation for being abrasive and domineering, hence it could not have been easy. There are also 13 various surviving copies of the libretto, including two dating back to the times of its premiere. Doubts were raised regarding a significant differences between the libretto and the score, the main issue being that the libretto has five acts while the score only three.
NB in an unprecedented move at the time, the work was also revived in Venice. According to George Burrows this amendment has particular consequences to the essence of the work, the dramatic and moral weight falling to Penelope rather than the adventures of the titular Ulysses.
Nevertheless, instrumental accompaniment remains very frugal, the singing is basically supported only by the improvised bass line of the continuo the then practice allowing of course for great variety in the set up of continuo group, in accordance with the dramatic content and expressive situations , with only sporadic entrances in several short ritornellos and sinfonias e.
The singing is dominated by affective declamation, often developing into arioso and closed forms of quasi-arias of varied structures — variation, ostinato, and, frequently, refrain ones, occasionally of a dance-like character, deemed by early commentators as a rather conservative feature. The distinctiveness of social status and individual personalities is underlined by differing types of recitar cantando — aristocratic protagonists sing with genteel moderation, the gods — with greater emphasis, evil and treacherous personae — with grotesquely exaggerated ornamentation.
Despite being greatly admired by its contemporaries, the work fell into oblivion. It could be that the presence of the only surviving manuscript of Ulisse in Vienna attests to its having been staged there, although there is no proof to support it — the manuscript could just as easily have been acquired for study or collection purposes.
Prologue Human Frailty is anxious about her helplessness in the face of Time, Fortune and Love personified by the divine Cupid. Waking up, Ulisse does not realise he has landed in his homeland of which fact he is informed by Minerva disguised as a shepherd. The goddess assures him of the constancy and virtue of his faithfully waiting wife and promises to help him regain his throne.
Ulisse must first get to the court unrecognised. He is to be assisted by his faithful servant Eumete and his son Telemaco, in search of whom Minerva departs. Ulisse enters disguised by Minerva as an old beggar — unrecognised he assures the delighted Eumete that the king lives and his return is imminent. Act II Minerva returns in a chariot with Telemaco who has been wandering in search of his father — he is greeted joyfully by Eumete and Ulisse the beggar.
When the servant goes to impart the joyous news to Penelope a bolt of fire sent from the gods descends on Ulisse restoring his kingly robes and revealing his true identity to his son. Both are delighted to see each other, then Telemaco makes his way to the palace and Ulisse promises to follow shortly.
Meanwhile, Melanto complains to Eurimaco that Penelope still refuses to accept the offers of her suitors. The latter try to cheer her up by organising singing and dancing at the palace — but she continues to reject them. Eumete arrives and informs the queen that her son Telemaco has returned but she refuses to believe him. They are deterred from this act by a divine symbol in the form of an eagle — and renew their efforts to win Penelope, this time with gold.
Minerva assures Ulisse of her support, while he, again disguised as a beggar, makes his way to the palace, where he is challenged to a duel by Iro, who thinks he is dealing with a vagrant and hence loses. None of the three pretenders are able to succeed in the task. The king, still disguised as a beggar, asks to try though renounces the prize.
Act III Iro, servant to the murdered suitors, bewails his loss and wants to commit suicide. Melanto tries to warn the queen of the danger presented by the mysterious and dangerous newcomer — but she is only interested in memories of her lost husband. Eumete and Telemaco try to convince her that he lives and has returned, but Penelope refuses to believe them. Minerva, who is sympathetic to Ulisse, begs Giunone, Giove and Nettuno to restore Ulisse to the throne.
The old nurse Ericlea finally recognises Ulisse by the scar on his back. However, Penelope continues to disbelieve even when Ulisse appears in his true form and Ericlea confirms his identity. Together they sing to celebrate their renewed happiness. Biographies of artists and ensembles are provided in an alphabetical order on pages — Rectus del Contrapunctus a 3 Canon per Augmentationem in Contrario Motu Canon in Hypodiapason Canon alla Decima [in] Contrapunto alla Terza Canon alla Duodecima in Contrapunto alla Quinta Fuga a 3 Soggetti 41 Programme note Why is it that Bach — the greatest master of counterpoint in history — failed to leave a manual on counterpoint that would reveal all his secrets and preserve them for posterity?
Indeed there is no doubt that he was aware of the unique knowledge and talent he possessed and knew that the art of counterpoint was inevitably receding into the past with the advent of fashion for the stile galante. We know his library consisted of numerous theoretical works dedicated to counterpoint, nonetheless he decided to leave a work of practical use.
Many great maestros often guarded it jealously. Those who wished to gain insight into it, had to do it through hearing. While the rules imparted to us were good and comprehensive there was a lack of essential examples. It is well-known however how fruitless teaching is without examples and experience shows there are far greater benefits to be gained from practical study than theoretical pointers.
This work, which we would like to draw to the attention of the Public is entirely practical and realises what many talented people for years promised in their works. The task was realised in the two-volume manual the first theoretical work on the fugue, though of course not on the counterpoint Abhandlung von der Fuge written in —54 by Friedrich Wilhelm Marpurg, who had visited Leipzig at a time when Bach was working on his Art of Fugue.
The author did not specify for which instrument it had been composed, hence it can be played on a keyboard instrument but sounds just as fine when performed by an instrumental ensemble. Bach started work on Kunst der Fuge at the beginning of the s. In he completed the final draft of an early version, which consisted of 14 parts: 12 fugues and 2 canons.
Nonetheless he continued to work on The Art of Fugue. In he reworked and extended fugues nos. In the work was prepared for publication with the increasingly blind Bach still overseeing work on note engravings. This highly imaginative story induced numerous musicians to attempt a completion of the last fugue, however perspicacious researchers have recently posed the question of whether work on the piece was indeed interrupted by death.
Christoph Wolff notes that the last page of the surviving manuscript could prove that by interrupting the piece in bar , Bach may have had no intention of writing anything further — the following staves are drawn so carelessly that it would have been impossible to write anything on them — and Bach would not have started writing on a page unfit for purpose.
Perhaps he left the fugue unfinished as a challenge to his readers — learned musicians like his friends from the Mizler Society. In its printed version the collection therefore has 23 components and an additional chorale.
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