Podcasts about Torquato Tasso

En este episodio de Grandes Maricas de la Historia, nos sumergimos en la figura de Torquato Tasso, autor de La Gerusalemme Liberata y uno de los nombres más ilustres de la literatura italiana. Pero más allá del esplendor de su obra, descubrimos a un hombre herido por la censura, la sospecha y el deseo. ¿Fue la locura una etiqueta para silenciar lo que no se podía nombrar? ¿Qué secretos se ocultan entre los versos que cantan batallas, pero susurran pasiones? Desde su juventud brillante en las cortes italianas hasta su reclusión en el manicomio de Sant'Anna, Tasso encarnó el conflicto entre arte, religión y sexualidad. A través de sus cartas íntimas, analizamos sus relaciones con hombres como Orazio Ariosto y Luca Scalabrino, en un Renacimiento donde el amor entre varones era tan temido como común. Y las musiquitas, aquí: https://open.spotify.com/playlist/22yGd4RmZg6hFyVRlZ5tbM?si=a6aebc5b87ec43fe

En la tercera conferencia del ciclo “El Renacimiento y la poesía épica italiana: Ariosto y Tasso”, el catedrático de Literatura de la Universidad Pompeu Fabra José María Micó repasa la figura y el mito de Torquato Tasso (1544-1595) como creador de la Jerusalén liberada, su obra maestra, con la que pretendió instaurar un nuevo clasicismo y reformular el poema épico para corregir los excesos de fantasía del romanzo. Tasso basó su epopeya moral en el hecho histórico de la Primera Cruzada, mezclando verdad y ficción, fábula y tragedia, con personajes históricos (Godofredo, Tancredo, Solimán) y otros totalmente inventados de ambos bandos.Más información de este acto

En la primera conferencia del ciclo "El Renacimiento y la poesía épica italiana: Ariosto y Tasso", el traductor y catedrático de Literatura de la Universidad Pompeu Fabra, José María Micó, analiza el contexto del Renacimiento, un periodo de grandes cambios ideológicos, religiosos y geográficos y de esplendor artístico y cultural en Europa. En este escenario, las ciudades-estado, cortes y academias de Italia fueron líderes en el terreno de la literatura, ya que fueron italianos los autores que sentaron las bases de la modernidad. Las dos obras que contribuyeron a la reconstrucción de la poesía épica clásica fueron el Orlando furioso de Ludovico Ariosto y la Jerusalén liberada de Torquato Tasso. Más información de este acto

"Quella della musica è una delle tre vie per le quali l'Anima ritorna al cielo".(Torquato Tasso)

In The Enemy in Italian Renaissance Epic: Images of Hostility from Dante to Tasso (University of Delaware Press, 2019), Andrea Moudarres examines influential works from the literary canon of the Italian Renaissance, arguing that hostility consistently arises from within political or religious entities. In Dante's Divine Comedy, Luigi Pulci's Morgante, Ludovico Ariosto's Orlando Furioso, and Torquato Tasso's Jerusalem Delivered, enmity is portrayed as internal, taking the form of tyranny, betrayal, and civil discord. Moudarres reads these works in the context of historical and political patterns, demonstrating that there was little distinction between public and private spheres in Renaissance Italy and, thus, little differentiation between personal and political enemies.  Gerry Milligan is Professor of Italian at the College of Staten Island, where he serves as Director of Honors. He is Professor in Italian and Global Early Modern Studies at the CUNY Graduate Center. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In The Enemy in Italian Renaissance Epic: Images of Hostility from Dante to Tasso (University of Delaware Press, 2019), Andrea Moudarres examines influential works from the literary canon of the Italian Renaissance, arguing that hostility consistently arises from within political or religious entities. In Dante's Divine Comedy, Luigi Pulci's Morgante, Ludovico Ariosto's Orlando Furioso, and Torquato Tasso's Jerusalem Delivered, enmity is portrayed as internal, taking the form of tyranny, betrayal, and civil discord. Moudarres reads these works in the context of historical and political patterns, demonstrating that there was little distinction between public and private spheres in Renaissance Italy and, thus, little differentiation between personal and political enemies.  Gerry Milligan is Professor of Italian at the College of Staten Island, where he serves as Director of Honors. He is Professor in Italian and Global Early Modern Studies at the CUNY Graduate Center. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In The Enemy in Italian Renaissance Epic: Images of Hostility from Dante to Tasso (University of Delaware Press, 2019), Andrea Moudarres examines influential works from the literary canon of the Italian Renaissance, arguing that hostility consistently arises from within political or religious entities. In Dante's Divine Comedy, Luigi Pulci's Morgante, Ludovico Ariosto's Orlando Furioso, and Torquato Tasso's Jerusalem Delivered, enmity is portrayed as internal, taking the form of tyranny, betrayal, and civil discord. Moudarres reads these works in the context of historical and political patterns, demonstrating that there was little distinction between public and private spheres in Renaissance Italy and, thus, little differentiation between personal and political enemies.  Gerry Milligan is Professor of Italian at the College of Staten Island, where he serves as Director of Honors. He is Professor in Italian and Global Early Modern Studies at the CUNY Graduate Center. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

In The Enemy in Italian Renaissance Epic: Images of Hostility from Dante to Tasso (University of Delaware Press, 2019), Andrea Moudarres examines influential works from the literary canon of the Italian Renaissance, arguing that hostility consistently arises from within political or religious entities. In Dante's Divine Comedy, Luigi Pulci's Morgante, Ludovico Ariosto's Orlando Furioso, and Torquato Tasso's Jerusalem Delivered, enmity is portrayed as internal, taking the form of tyranny, betrayal, and civil discord. Moudarres reads these works in the context of historical and political patterns, demonstrating that there was little distinction between public and private spheres in Renaissance Italy and, thus, little differentiation between personal and political enemies.  Gerry Milligan is Professor of Italian at the College of Staten Island, where he serves as Director of Honors. He is Professor in Italian and Global Early Modern Studies at the CUNY Graduate Center. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The Enemy in Italian Renaissance Epic: Images of Hostility from Dante to Tasso (University of Delaware Press, 2019), Andrea Moudarres examines influential works from the literary canon of the Italian Renaissance, arguing that hostility consistently arises from within political or religious entities. In Dante's Divine Comedy, Luigi Pulci's Morgante, Ludovico Ariosto's Orlando Furioso, and Torquato Tasso's Jerusalem Delivered, enmity is portrayed as internal, taking the form of tyranny, betrayal, and civil discord. Moudarres reads these works in the context of historical and political patterns, demonstrating that there was little distinction between public and private spheres in Renaissance Italy and, thus, little differentiation between personal and political enemies.  Gerry Milligan is Professor of Italian at the College of Staten Island, where he serves as Director of Honors. He is Professor in Italian and Global Early Modern Studies at the CUNY Graduate Center. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Fyra essäer om lyriska bilder som kan uppfattas som klichéer men som kan ruva på oupptäckta hemligheter. Latinforskaren Anna Blennow ger sig ut på jakt efter platsen, tillståndet och utopin Arkadien. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Essän sändes ursprungligen i maj 2018. Vi ser – på avstånd – en oljemålning med pastoralt motiv. Några herdar har samlats i skuggan av ett träd, kring ett förvittrande gravmonument. De försöker tyda den latinska inskriften: Et in Arcadia ego. Vad händer här? Vad är det här för plats? Vänta, där kommer någon vi kan fråga. – Ursäkta, var ligger Arkadien? – Det beror på vem du frågar. – Vem är du? – Jag är döden. Jag finns också i Arkadien. Landskapet Arkadien är beläget i det bergiga inlandet av den grekiska halvön Peloponnesos. Denna plats med sin vilda natur ansågs under antiken vara guden Pans hemvist. Den grekiske författaren Polybios, själv född i Arkadien, har påpekat att invånarna där hade särskild talang för musik och sång. Men ändå verkar det inte vara i Grekland som Arkadien ligger. Ty inte bara döden, utan också vitt skilda personligheter som Johann Wolfgang von Goethe och Fritiof Andersson finns i Arkadien. Så fort en lämplig glänta öppnar sig med mjukt gräs, sval skugga och en glittrande bäck, glömmer herdarna sina hjordar, sätter sig och sjunger växelsång med varandra, I Nicolas Poussins 1600-talsmålning – den som vi just nu betraktar – syns de typiska ingredienserna i ett arkadiskt landskap: herdar i antikiserande dräkt med diktens lagerkransar kring pannan. Nymfer, fauner och flockar av får och getter syns visserligen inte på bilden, men väntar runt hörnet. Livet verkar lätt i Arkadien. Det verkar inte finnas ett moln på himlen. Men var är vi? Vissa hävdar att Arkadien uppfanns på trettiotalet före vår tideräkning. Det var då den romerske poeten Vergilius författade sina tio pastorala poem, de så kallade Eklogerna. Redan i den första dikten definieras platsen: Tityrus, du ligger utsträckt i skuggan under ett bokträd, där du spelar skogens sång på ett tunt litet vasstrå – jag har lämnat mitt fädernesland och de ljuvliga fälten jag har flytt mitt land, men Tityrus, där i skuggan, lär du skogen sakta besjunga din Amaryllis. Den som talar är Meliboeus, en fattig romersk herde som förlorat sin mark. Vergilius herdar befinner sig alltså i Italien. Ändå visar det sig att deras hemvist kallas Arkadien. Och herdarnas liv är enkelt, men ändå utsökt. Kärlek och äpplen, skogsgudar och sång. Framför allt sång. Så fort en lämplig glänta öppnar sig med mjukt gräs, sval skugga och en glittrande bäck, glömmer herdarna sina hjordar, sätter sig och sjunger växelsång med varandra, och spelar på en pipa en låt av gryningsluft. Men de mörka hoten mot det enkla livet väntar strax bortom skogsbrynet. Den vackre herden Daphnis, älskad av både kvinnor och män, dör och blir besjungen. Meliboeus har blivit av med sina ägor i det romerska inbördeskrigets efterföljd, medan Tityrus besök i Rom har gett honom friheten åter genom den gudomlige kejsar Augustus. Vergilius egen samtid blandar sig in i versens skogar. Trots sin grekiska födelseattest kom Arkadien nu att få Italien som alltmer permanent adress. Men med tiden ska till och med själva döden komma att stryka på foten. Renässanspoeternas Arkadien blir till kärlekens landskap snarare än diktens. Författare som Torquato Tasso och Jacopo Sannazaro använder de antika pusselbitarna för att planlägga en utopisk, sorglös tillvaro, och den behagliga gläntan i skogen genererar erotik snarare än poesi. Landskapet är en idyllisk kuliss. Fåren har blivit lamm och går i sidenband. Arkadien blir samtidens och verklighetens antites, ett drömspel dit dåtidens bildningsaristokrati kunde ta sin tillflykt. Att vara medborgare i Arkadien innebar inte längre bara att vara diktare och herde, utan snarare att vara i exil från någonting annat. Och Arkadiens ständigt föränderliga geografi kunde nu placeras till och med mitt inne i staden. Den litterära akademin Arcadia instiftades i Rom i slutet av 1600-talet, och hade drottning Christina som sin musa. Valet av beskyddarinna var högst arkadiskt: drottningen var såväl landsflyktig som poetiskt orienterad. Verksamheten kretsade kring diktning och språkets renhet, och de som upptogs i den arkadiska kretsen fick ett eget herde- eller herdinnenamn. Ja: även kvinnor var välkomna i den arkadiska akademin, så länge de kunde dikta. Trots sin grekiska födelseattest kom Arkadien nu att få Italien som alltmer permanent adress. Auch ich in Arkadien! utropade Goethe i sin italienska resedagbok. Också jag får vara i Arkadien! Dödens hotande närvaro ersätts med individens jag, som återföds i närkontakt med den klassiska marken. Och i Italien upplever en rad författare detsamma under det reseintensiva 1800-talet, från Madame de Staël till Lord Byron. Arkadien var inte längre bara verklighetsflykt. Det var inkörsporten till ett återvunnet paradis och ett nytt liv, och dess soldränkta entré, prydd av vinrankor och flankerad av citronträd, fanns strax söder om Alperna. Och återigen måste vi fråga oss: Är Arkadien en plats eller ett tillstånd? Printz-Påhlson pekar på att Arkadien ofta är just förlorat, barndomens och ursprungets landskap: det personliga Arkadien där vi alla en gång var prinsar och prinsessor. Göran Printz-Påhlson skrev en gång att poesin är den enda litterära genre som saknar en geografisk plats. Poesins värld är den inre. Tid och rum finns inte där. Med ett undantag: den pastorala poesin och dess Arkadien. Men platsen är ändå inte plats – den är en utopi, en metafor, en förlorad värld. Printz-Påhlson pekar på att Arkadien ofta är just förlorat, barndomens och ursprungets landskap: det personliga Arkadien där vi alla en gång var prinsar och prinsessor. Dikten och berättelsen om platsen blir hemkomsten. Och ofta smälter generella bildningsideal samman med den individuella, självbiografiska upplevelsen. Författaren Vilhelm Ekelunds alldeles egna Arkadien låg i Skåne. Där var han uppvuxen, i trakten av Stehag. Det skånska landskapet var för honom vägen till tanke och dikt. I essän ”Nordiskt Arkadien” vandrar han vid Kullaberg i nordvästra Skåne, medan havet stormar nedanför i klart solsken, ”samma ljusa storm som strålar och susar i rytmerna af sången som jag läser, i Pindaros' sång”. Den eufori som den grekiska poesin väckte hos honom planterades i landskapets och havets dramatik i ett dubbelt medborgarskap mellan ordlöst ursprung och inlärd bildning. En poet som på samma sätt väver samman plats, minne och bildning är Jesper Svenbro. I sina senaste diktsamlingar har han förankrat sina arkadiska bopålar djupt i den skånska myllan. Och hela det klassiska entouraget har han med sig. Sapfo tar bussen från Landskrona i diktsamlingen ”Ekeby trafikförening”, och i ”Namnet på Sapfos dotter” från 2017 blir Svenbros egen studietid spelplats för en utopisk värld där antikens Grekland flyter samman med skånskt 1960-tal i de ”examensuppgifter” författaren uppmanas genomföra. De idealiserade studierna blir för Svenbro den arkadiska startmotor som skapar dikt och som löser de poetiska problemen. Arkadien börjar få tydligare konturer. Det är en plats och ett tillstånd. Arkadien är den plats där dikten blir till, och där vi blir till. Den magiska glänta där tiden upphör och vi plockar versrader från den blommande marken. En tillflykt, men också en flygplats för minnet och tanken, där vi kan försonas med förlusten. Men såväl frånvaron som den intensiva, behagliga närvaron är bara början på den röda matta som rullas ut framför våra ögon: Välkommen! Detta är vägen till poesin. Anna Blennow, latinforskare och skribent Musik Evert Taube: Fritiof i Arkadien. Inspelad i Milano i oktober 1937. Litteratur Vilhelm Ekelund, Antikt ideal / Båge och Lyra, Liber Förlag 1983. Jonas Ellerström, Vilhelm Ekelund: Landskap och tanke, Bokförlaget h:ström 2017. Göran Printz-Påhlson, När jag var prins utav Arkadien. Essäer och intervjuer om poesi och plats, Bonniers 1995. Stefano Fogelberg Rota, Poesins drottning. Christina av Sverige och de italienska akademierna, Nordic Academic Press 2008. Iacopo Sannazaro, Arcadia, 1504. Jesper Svenbro, Ekeby trafikförening, Albert Bonniers förlag 2015. Jesper Svenbro, Namnet på Sapfos dotter. Enskilt arbete läsåret 2015–2016, Albert Bonniers förlag 2017. Torquato Tasso, Aminta – ett herdedrama [1573], svensk översättning av Ingvar Björkeson, Natur & Kultur 2011. http://www.accademiadellarcadia.it Musik Evert Taube: Fritiof i Arkadien

Maddalena Fingerle"Pudore"Mondadori Editorewww.mondadori.itDopo Lingua madre - premio Italo Calvino, premio Comisso under 35, premio Flaiano under 35, premio di Girifalco, premio Fondazione Megamark e premio POP - arriva in libreria Pudore, un romanzo che ha una voce potente ed estremamente riconoscibile: quella di Maddalena Fingerle, autrice giovane e talentuosissima.La protagonista di questa storia è Gaia. La sua ragazza, Veronica, l'ha lasciata, e Gaia non sa proprio cosa fare. Per superare la sua prima, cocente delusione amorosa, cerca di trasformarsi nella sua amata, che per lei ha sempre rappresentato un modello irraggiungibile. Veronica, infatti, non è solo la persona di cui si è innamorata, ma anche la donna che lei vorrebbe diventare – come accade nei primi, furiosi innamoramenti.Grazie al suo monologo ora arrabbiato e rivendicativo, ora masochistico, ora spaurito, ostaggio di una miriade di sublimi ossessioni, Gaia arriverà a conoscersi meglio, fino a comprendere davvero che per rinascere dalle proprie ceneri è inevitabile appiccare un incendio.Maddalena Fingerle ha studiato germanistica e italianistica ed è ricercatrice universitaria. Nel 2021 pubblica Lingua madre (Italo Svevo) che vince il premio Italo Calvino, il premio Comisso under 35, il premio Flaiano under 35, il premio Città di Girifalco, il premio Fondazione Megamark e il premio POP. Nel 2022 esce la monografia Lascivia mascherata. Allegoria e travestimento in Torquato Tasso e Giovan Battista Marino (De Gruyter).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Giaches de Wert, il celebre maestro di cappella del ducato dei Gonzaga, fu il primo a mettere in musica alcune ottave della Gerusalemme liberata di Torquato Tasso. I risultati musicali raggiunti da Wert dovettero sorprendere non poco lo stesso poeta quando nel 1586 vide il musicista pubblicare l'Ottavo Libro a 5 voci dove sono presenti ben sei madrigali che mettono in musica dodici stanze della Gerusalemme. Nel 1590 si unisce alla cappella musicale dei Gonzaga un promettente compositore e suonatore di viola poco più che ventenne: Claudio Monteverdi che nel Terzo Libro del 1592 fa comparire accenti intensamente drammatici in particolare proprio nelle due terzine della Gerusalemme: Vivrò fra i miei tormenti (canto di disperazione di Tancredi per la morte di Clorinda) e Vattene pur crudel (l'ira di Armida respinta).Anche Luca Marenzio, all'epoca unanimemente riconosciuto come il miglior compositore di madrigali, dedicò alla Gerusalemme il brano di esordio del Quarto Libro a 5 voci del 1584. Furono dunque certamente i madrigali di Wert, Marenzio e Monteverdi che portarono nel 1594 Tasso a dire «possono i poemi eroici esser con quella sorte di musica ch'è perfettissima».

Torquato Tasso schrieb sich mit seinem Versepos "Belagerung" bzw. "Befreiung von Jerusalem" mit einem Werk ähnlich Dante mit "Die Göttliche Komödie" , Bocaccio mit "Decamerone" oder Petrarca mit "Canzonieri" in den Kanon italienischer Literatur, insbesondere der Renaiassance, ein. Dabei schuf er wie sie ein eigenes Genre, eine Mischung aus Ballade, historischer Legendenbildung und religiöser Rechtfertigung bzw. philosophische Weltanschauung des Christentums. Die zu seiner Zeit der Reformation auseinanderbrechende Welt in ihrem ursprünglichen Gottesverständnis ist deutlich spürbar und ein Grund, weshalb Goethe dem Dichter ein eigenes histroisches Drama widmete, das Bezug nimmt auf die Legendenbildung seiner göttlichen Umnachtung.

La vita, L'Aminta, La Gerusalemme liberata, Le Rime - Hai commenti o suggerimenti? Scrivi alla redazione: podcast@deascuola.it

A form at the origins of Western literature, the epic has always been theorized in contrast to other literary genres, those that would either perfect it (such as tragedy, according to Aristotle) or partially take its place, from the chivalric romance to the modern novel.  Corrado Confalonieri's Torquato Tasso and the Desire for Unity: Jerusalem Delivered and a New Theory of the Epic (Torquato Tasso e il desiderio di unità: “La Gerusalemme liberata” e una nuova teoria dell'epica) critically traces three different historical phases in the theorization of the epic: the classical poetics of Aristotle and Horace, the debates about poetics and poets in sixteenth-century Italy, and Hegelian philosophy and later twentieth-century theories of literary genres. The point of theoretical and interpretative reference throughout the volume is Torquato Tasso's epic poem Gerusalemme liberata (Jerusalem Delivered). The book's final chapter undertakes a careful rereading of Tasso's magnum opus that overcomes the traditional dichotomy between epic unity and novelistic variety by demonstrating how unity remains a desire rather than a result. Kate Driscoll is Assistant Professor of Italian and Romance Studies at Duke University. She is a specialist of early modern Italian and European literary and cultural history, with interests in women's and gender studies, performance history, and the histories of diplomacy and sociality. Her publications have appeared in The Italianist and the Routledge Encyclopedia of the Renaissance World, with forthcoming research on the intersections across affect, masculinity, early modern poetics, and Baroque opera. Email: kate.driscoll@duke.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

A form at the origins of Western literature, the epic has always been theorized in contrast to other literary genres, those that would either perfect it (such as tragedy, according to Aristotle) or partially take its place, from the chivalric romance to the modern novel.  Corrado Confalonieri's Torquato Tasso and the Desire for Unity: Jerusalem Delivered and a New Theory of the Epic (Torquato Tasso e il desiderio di unità: “La Gerusalemme liberata” e una nuova teoria dell'epica) critically traces three different historical phases in the theorization of the epic: the classical poetics of Aristotle and Horace, the debates about poetics and poets in sixteenth-century Italy, and Hegelian philosophy and later twentieth-century theories of literary genres. The point of theoretical and interpretative reference throughout the volume is Torquato Tasso's epic poem Gerusalemme liberata (Jerusalem Delivered). The book's final chapter undertakes a careful rereading of Tasso's magnum opus that overcomes the traditional dichotomy between epic unity and novelistic variety by demonstrating how unity remains a desire rather than a result. Kate Driscoll is Assistant Professor of Italian and Romance Studies at Duke University. She is a specialist of early modern Italian and European literary and cultural history, with interests in women's and gender studies, performance history, and the histories of diplomacy and sociality. Her publications have appeared in The Italianist and the Routledge Encyclopedia of the Renaissance World, with forthcoming research on the intersections across affect, masculinity, early modern poetics, and Baroque opera. Email: kate.driscoll@duke.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

A form at the origins of Western literature, the epic has always been theorized in contrast to other literary genres, those that would either perfect it (such as tragedy, according to Aristotle) or partially take its place, from the chivalric romance to the modern novel.  Corrado Confalonieri's Torquato Tasso and the Desire for Unity: Jerusalem Delivered and a New Theory of the Epic (Torquato Tasso e il desiderio di unità: “La Gerusalemme liberata” e una nuova teoria dell'epica) critically traces three different historical phases in the theorization of the epic: the classical poetics of Aristotle and Horace, the debates about poetics and poets in sixteenth-century Italy, and Hegelian philosophy and later twentieth-century theories of literary genres. The point of theoretical and interpretative reference throughout the volume is Torquato Tasso's epic poem Gerusalemme liberata (Jerusalem Delivered). The book's final chapter undertakes a careful rereading of Tasso's magnum opus that overcomes the traditional dichotomy between epic unity and novelistic variety by demonstrating how unity remains a desire rather than a result. Kate Driscoll is Assistant Professor of Italian and Romance Studies at Duke University. She is a specialist of early modern Italian and European literary and cultural history, with interests in women's and gender studies, performance history, and the histories of diplomacy and sociality. Her publications have appeared in The Italianist and the Routledge Encyclopedia of the Renaissance World, with forthcoming research on the intersections across affect, masculinity, early modern poetics, and Baroque opera. Email: kate.driscoll@duke.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

A form at the origins of Western literature, the epic has always been theorized in contrast to other literary genres, those that would either perfect it (such as tragedy, according to Aristotle) or partially take its place, from the chivalric romance to the modern novel.  Corrado Confalonieri's Torquato Tasso and the Desire for Unity: Jerusalem Delivered and a New Theory of the Epic (Torquato Tasso e il desiderio di unità: “La Gerusalemme liberata” e una nuova teoria dell'epica) critically traces three different historical phases in the theorization of the epic: the classical poetics of Aristotle and Horace, the debates about poetics and poets in sixteenth-century Italy, and Hegelian philosophy and later twentieth-century theories of literary genres. The point of theoretical and interpretative reference throughout the volume is Torquato Tasso's epic poem Gerusalemme liberata (Jerusalem Delivered). The book's final chapter undertakes a careful rereading of Tasso's magnum opus that overcomes the traditional dichotomy between epic unity and novelistic variety by demonstrating how unity remains a desire rather than a result. Kate Driscoll is Assistant Professor of Italian and Romance Studies at Duke University. She is a specialist of early modern Italian and European literary and cultural history, with interests in women's and gender studies, performance history, and the histories of diplomacy and sociality. Her publications have appeared in The Italianist and the Routledge Encyclopedia of the Renaissance World, with forthcoming research on the intersections across affect, masculinity, early modern poetics, and Baroque opera. Email: kate.driscoll@duke.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

A form at the origins of Western literature, the epic has always been theorized in contrast to other literary genres, those that would either perfect it (such as tragedy, according to Aristotle) or partially take its place, from the chivalric romance to the modern novel.  Corrado Confalonieri's Torquato Tasso and the Desire for Unity: Jerusalem Delivered and a New Theory of the Epic (Torquato Tasso e il desiderio di unità: “La Gerusalemme liberata” e una nuova teoria dell'epica) critically traces three different historical phases in the theorization of the epic: the classical poetics of Aristotle and Horace, the debates about poetics and poets in sixteenth-century Italy, and Hegelian philosophy and later twentieth-century theories of literary genres. The point of theoretical and interpretative reference throughout the volume is Torquato Tasso's epic poem Gerusalemme liberata (Jerusalem Delivered). The book's final chapter undertakes a careful rereading of Tasso's magnum opus that overcomes the traditional dichotomy between epic unity and novelistic variety by demonstrating how unity remains a desire rather than a result. Kate Driscoll is Assistant Professor of Italian and Romance Studies at Duke University. She is a specialist of early modern Italian and European literary and cultural history, with interests in women's and gender studies, performance history, and the histories of diplomacy and sociality. Her publications have appeared in The Italianist and the Routledge Encyclopedia of the Renaissance World, with forthcoming research on the intersections across affect, masculinity, early modern poetics, and Baroque opera. Email: kate.driscoll@duke.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/italian-studies

In Goethes „Torquato Tasso” von 1790 geht es um den „Klassismus“ in der Kunst und die Frage, ob Künstler Träumer oder Sachverständige in Fragen von Liebe und Politik sind.

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Oggi a Cult, il quotidiano culturale di Radio Popolare in onda alle 11.30: il “Boris Godunov” apre la stagione del Teatro alla Scala, la mostra dedicata a Maria Mulas a Palazzo Reale, lo spettacolo “Torquato Tasso” di Giuseppe Isgro' all'Elfo Puccini e Corrado Spanger sul nuovo bando del Premio Carlo Annoni per la drammaturgia LGBTQ+. Cult è condotto da Ira Rubini e realizzato dalla redazione culturale di Radio Popolare. Cult è cinema, arti visive, musica, teatro, letteratura, filosofia, sociologia, comunicazione, danza, fumetti e graphic-novels… e molto altro! Cult è in onda dal lunedì al venerdì dalle 11.30 alle 12.30. La sigla di Cult è “Two Dots” di Lusine. CHIAMA IN DIRETTA: 02.33.001.001

Synopsis Franz Liszt, the inventor of the "symphonic poem," wrote 13 of them. The second, "Tasso," had its first performance on today's date in 1849. The occasion was a festival celebrating the 100th birthday of the great German national poet and playwright Johann Wolfgang von Goethe, the author of "Faust." The festival was in Weimar, Germany, the city where Goethe died and was buried in 1832. Liszt's "Tasso" was written to serve as the overture to Goethe's drama about the Italian poet "Torquato Tasso," and its premiere performance was conducted by its composer. The main theme of the work is said to be a tune Liszt claimed he heard sung by an Italian gondolier in Venice. One of the more surprising tributes to Goethe occurred not in Germany, but in scenic Aspen, Colorado, when the Aspen Music Festival was founded in Goethe's honor in 1949 – on the 200th anniversary of his birth. The Aspen Music Festival has grown over the years and today draws some 30,000 visitors annually. One of the original founders of the Festival was French composer Darius Milhaud, who taught at the Aspen Music School for many years. This music is from Milhaud's "Aspen Serenade," written in 1957. More recently, during conductor David Zinman years as the Festival's Music Director, many contemporary American composers, including John Corigliano, Richard Danielpour, Christopher Rouse, and Augusta Read Thomas, have had their works performed – and occasionally premiered – in Aspen. Music Played in Today's Program Franz Liszt (1811-1886) –Tasso (Orchestre de Paris; Sir Georg Solti, cond.) London 417 513 Darius Milhaud (1892-1974) –Aspen Serenade, Op 361 (Stuttgart Radio Symphony; Gilbert Varga, cond.) CPO 999114

La actriz y cantante se presentará en el Torquato Tasso (Defensa 1575, San Telmo) el viernes 19 y 26 de agosto a las 22 horas con SOMOS, su espectáculo musical basado en tangos, poemas y canciones, con un repertorio que va girando en torno a grandes compositores como Enrique Cadícamo, Homero Manzi, Homero Expósito, Virgilio Expósito, Chabuca Granda, Atahualpa Yupanqui, Chico Buarque, entre otros. “El rock tiene algo que es único en el que le pondré mi impronta en algunos temas”, adelantó Cortese y agregó que “estar arriba de un escenario es un rito pagano en el que das y recibís”. Asimismo, el show contará con la participación de Ariel Polenta en piano y Algo Vallejos en guitarra.

Rinaldo (HWV 7) is an opera by George Frideric Handel, composed in 1711, and was the first Italian language opera written specifically for the London stage. The libretto was prepared by Giacomo Rossi from a scenario provided by Aaron Hill, and the work was first performed at the Queen's Theatre in London's Haymarket on 24 February 1711. The story of love, war, and redemption, set at the time of the First Crusade, is loosely based on Torquato Tasso's epic poem Gerusalemme liberata ("Jerusalem Delivered"), and its staging involved many original and vivid effects. It was a great success with the public, despite negative reactions from literary critics hostile to the contemporary trend towards Italian entertainment in English theatres.Purchase the music (without talk) at:Handel: Rinaldo, HWV 7 (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

En el marco de la presentación del proyecto de ley para la creación del Museo Nacional Carlos Gardel, la artista expresó su alegría y destacó que "este tipo de cosas nos sirve a todos, como ejercicio de memoria sobre las cosas que se hicieron". "Tenía que aparecer. Muchas cosas han pasado y se han perdido", señaló; al tiempo que recordó a las numerosos poetas y figuras de la escena. Rinaldi se encuentra presentándose todos los sábados de julio en el Torquato Tasso a las 21 hs. Además, participará el sábado 23 de julio  junto a Osvaldo Piro y su orquesta cerrando el Festival de Tango de La Falda. Encuentro Nacional, lunes a viernes de 17.00 a 19.00 Con Luisa Valmaggia, Jorge Halperín, Nora Lafón, Eduardo Anguita, Silvia Bacher, Claudio Leveroni, Luciana Peker, Leticia Martínez, y Carla Ruíz.

En esta edición de Bichos de radio, desde España, un diálogo imperdible con David Marugán, consultor, especialista en seguridad y en radiocomunicaciones. Dolores Solá nos invita al Torquato Tasso junto con Charo Bogarín. Los 20 mandamientos de Charly García para componer música. Elecciones en Colombia, donde Gustavo Petro y Francia Márquez del Pacto Histórico están al frente en los sondeos.

Narrami tu se in alcun istante della tua vita ti ricordi di aver detto con piena sincerità ed opinione: io godo. Ben tutto giorno dicesti e dici sinceramente: io godrò; e parecchie volte, ma con sincerità minore: ho goduto. Di modo che il piacere è sempre o passato o futuro, e non mai presente. G. LEOPARDI (poeta italiano, 1798-1837), Operette morali, Dialogo di Torquato Tasso e del suo Genio

La cantante de Tango y docente, Lidia Borda, habló de la propuesta musical que estará presentando junto a Ariel Ardit, Daniel Godfrid y Andres Linetzki, en el Torquato Tasso los sábados 7, 14, 21 y 28 de mayo. “Es una propuesta que se propone un reencuentro con lo que nos une, el tango, y ver qué nos pasó en el camino mientras estábamos distanciados”, expresó. Sumado a eso, la cantante Sandra Corizzo inauguró la nueva sección del programa, “Mundo interior”, la cual invitará a cantantes de todo el mundo para conversar acerca de sus producciones. En esta ocasión, el músico, Rodrigo Carazo, habló de su curiosidad por la música africana y sus distintas sonoridades, su forma de maravillarse con la expresión humana y su interés por la cultura musical nacional.

La cantante de Tango y docente, Lidia Borda, habló de la propuesta musical que estará presentando junto a Ariel Ardit, Daniel Godfrid y Andres Linetzki, en el Torquato Tasso los sábados 7, 14, 21 y 28 de mayo. “Es una propuesta que se propone un reencuentro con lo que nos une, el tango, y ver qué nos pasó en el camino mientras estábamos distanciados”, expresó. Sumado a eso, la cantante Sandra Corizzo inauguró la nueva sección del programa, “Mundo interior”, la cual invitará a cantantes de todo el mundo para conversar acerca de sus producciones. En esta ocasión, el músico, Rodrigo Carazo, habló de su curiosidad por la música africana y sus distintas sonoridades, su forma de maravillarse con la expresión humana y su interés por la cultura musical nacional.

Invitada a Una Mujer, la cantante y actriz Julia Zenko recorrió su carrera, la publicación de sus primeros discos, algunos de los momentos más destacados de su trayectoria y anticipó su show del próximo jueves 12 de mayo en el Torquato Tasso, donde presentará su nuevo grupo, "Julia Zenko Trío". https://www.radionacional.com.ar/wp-content/uploads/2022/04/Una-mujer-29-4.mp3DESCARGAR   Julia contó como fue introducida al mundo de la música de la mano de su hermano, haciéndola escuchar sus primeros discos y como la gran variedad musical a la que estuvo expuesta logró que en su amplia trayectoria pudiera abordar una multiplicidad de géneros. También se refirió al repertorio que se encuentra presentando, la vuelta a los escenarios y dio detalles acerca de su nuevo disco “Vuelvo a ser luz”, con dirección musical y arreglos de Lito Vitale. Finalmente relató su experiencia en distintos escenarios de europa y adelanto su próxima actuación junto a la opera de Oslo donde interpretara temas de Astor Piazzolla.  

An English translation by Max Wickert of Gerusalemme liberata by Torquato Tasso, published in 1581. As always, maps and sources available at https://my.captivate.fm/historyoftheoutremer.wordpress.com (historyoftheoutremer.wordpress.com) and new episodes every other week. Feel feel to drop a few bucks into my digital tin can- https://www.paypal.com/donate?hosted_button_id=EPV66V5KYPQR2 (https://www.paypal.com/donate?hosted_button_id=EPV66V5KYPQR2)

Fabio Morabito"Nessun nome per Emilio"Traduzione di Adrian N. Bravi e Marino MaglianiExòrma Edizionihttp://www.exormaedizioni.com/Emilio gironzola ogni giorno nel cimitero semiabbandonato dietro casa, cercando il proprio nome tra quelli ancora leggibili sulle lapidi scolorite. È un bambino con una memoria prodigiosa e anomala che non può fare a meno di “comprimere tutti i nomi dei morti nel pantheon portatile della sua testa”. Il suo nome però non può pronunciarlo se prima non lo trova, perché i defunti lo sentirebbero e, pur di appropriarsene, cercherebbero di farlo morire.Nei vialetti invasi dalle erbacce, Emilio incontra una donna che ha l'età di sua madre e il richiamo del sesso si fa potente, è una forza scontrosa, incontrollabile, che lo consegna all'irrequietezza della pubertà, giocosa e morbosa.Mentre Emilio affronta le ansie dell'adolescente e flirta con la morte, la narrazione conserva a oltranza quel modo di conoscere proprio dell'infanzia e che ha nella fantasia il suo cuore pulsante, come se fosse possibile portarselo dietro, intatto, quel mondo nutrito dall'incanto.Fabio MorábitoNato in Egitto da genitori italiani, ha passato la sua infanzia a Milano. Dai quattordici anni vive a Città del Messico. Nonostante l'italiano sia la sua lingua madre, ha scritto tutti i suoi libri in spagnolo.Poeta, prosatore e saggista è molto noto in Spagna e America Latina. La sua vasta produzione ha ottenuto numerosi premi, tanto per la poesia quanto per la narrativa, l'ultimo in Francia nel 2018: il prestigioso premio Roger Caillois, per la totalità della sua opera.Ha scritto il libro per bambini Cuando las panteras no eran negras (White Raven Prize), pubblicato in Italia da Salani (Quando le pantere non erano nere). Ha raccolto e pubblicato Cuentos populares mexicanos, un libro di 125 racconti orali messicani, (White Raven Prize).È traduttore dall'italiano di numerosi romanzi, poesie, saggi e libri per bambini. Nel 2005, Galaxia Gutenberg ha pubblicato la sua traduzione dell'opera completa di poesia di Eugenio Montale. Dall'italiano ha tradotto anche libri di Torquato Tasso e di Patrizia Cavalli.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Love is when he gives you a piece of your soul, that you never knew was missing. Written by Torquato Tasso

Carlo Gesualdo liefert nicht nur brisante Schlagzeilen, sondern auch ebenso waghalsige Musik. Der komponierende italienische Fürst ging in die Geschichte ein mit kühnen Harmonien und einem brutalen Doppelmord. (Autor: Martin Zingsheim)

L'Aminta, dal 9 al 14 novembre al Teatro Trastevere, dal capolavoro di Torquato Tasso diretto da Sergio Basile.

In realtà li adoro, così come mi piacciono le opere corali in musica, al cinema e in letteratura. Per questo oggi parliamo del coro greco (della sua parodia, per evitare di prenderci troppo sul serio), del coro dell'Atto I dell'Aminta di Torquato Tasso, de I Promessi Sposi, opera corale per eccellenza, de La Storia di Elsa Morante, grande affresco delle sofferenze umane, e di un coro teatrale di Patroni Griffi che coro non è. Come al solito fanno capolino qua e là delle comparse e delle parentesi sconclusionate a depistare l'ascoltatore. Tutto concorre a ricordarci che "nessun uomo è un'isola" e che la psicanalisi l'hanno inventata i Greci.

En una emisión a pura música, los Bichos conversaron con el acordeonista, compositor y fundamentalmente chamamecero que va más allá de una propuesta musical típica. Contó sobre su espectáculo "Música y Palabras" con el que se presenta los jueves en la sala Chacarerean, acompañado por el guitarrista y percusionista Marcos Villalba. "Es una charla musicalizada, un concierto hablado donde el intercambio con la gente es mucho más fluido. Está permitido hablar y yo contesto las inquietudes de la gente. El concierto se construye en el ida y vuelta" Además, Dolores Solá con "La Lola Gira Sola", su primer espectáculo solista, donde interpreta canciones escritas por ella, con músicas propias y de otros compositores, que enhebradas como las cuentas de un collar, relatan su propia historia. Las funciones serán los sábados 16 y 23 de octubre en el Torquato Tasso.   Entre archivos y memoria, la radio celebra los primeros 70 años de la TV en Argentina y para ello, el libro "Pantalla Partida", de Natalí Schejtman.   Bichos de Radio, con Ingrid Beck y Adrián Korol Viernes 23hs

Goethe nos lleva hasta Ferrara, su paso por la ciudad es breve pero nos regala el pretexto para visitar una autentica joya. En este episodio recordaremos al gran poeta Torquato Tasso, uno de los personajes que más fascinaron a Goethe. Nos puedes apoyar en www.patreon.com/teatrostrappato  

Tutte le ouvertures di G. Donizetti III parte24. Marino Faliero 25. Maria Stuarda 26. Olivo e Pasquale 27. Parisina28. Poliuto - Sinfonia 'O nume pietoso' (Les Martyrs) 29. Roberto Devereux 30. Rosmonda d'Inghilterra 31. Torquato Tasso 32. Ugo di Parigi 33. Zoraida di Granata Artisti vari.

“Luego de haber estado guardado, de haber cantado a la nada y de extrañar los aplausos, uno necesita volver; la cuestión del streaming es algo muy frio para una música tan fervorosa como el tango, que necesita una respuesta inmediata”, manifestó el músico, anunciando la presentación de su show de tango en el Torcuato Tasso el próximo sábado 21 a las 21 horas, luego del párate obligado en marzo. “Retomamos en junio las funciones luego de un gran párate, pero por suerte seguimos vendiendo entradas. Es difícil hacerlo para los artistas del tango, ya que es muy complicado para uno conseguir visibilidad porque no hay suficiente difusión, siendo una música nacional”, aseguró el artista.

“Rideva insieme e insieme ella arrossia, ed era nel rossor più bello il riso e nel riso il rossor”. principale nonché più importante poeta della Controriforma, Tasso suscita da sempre un notevole fascino su poeti e non; il suo capolavoro, “la Gerusalemme liberata” è, ad oggi, uno dei poemi più belli mai scritti. Interlinea, vostra radio di cultura preferita, vi racconta la storia del poeta, del poema, della donna guerriera (notate l’assonanza) e ve ne legge pure una parte! Già siamo in zona rossa, rendete il tutto meno patetico ed ascoltateci mentre vi raccontiamo “di natura il più bel pregio”

Gigliola Fragnito"La Sanseverino"Giochi erotici e congiure nell'ltalia della ControriformaIl Mulino Editorehttps://www.mulino.it/Barbara Sanseverino Sanvitale, contessa di Sala, signora di Colorno (1550-1612), fu per bellezza e spirito fra le donne più ammirate del suo tempo. «Donna, per cui Amor trionfa e regna», come la celebrò Torquato Tasso, fu cantata dai poeti e ricercata dalle corti dove era «il condimento di ogni passatempo» grazie alla sua inclinazione al divertimento. Fu organizzatrice instancabile di feste che sconfinavano spesso in incontri licenziosi, da lei stessa favoriti. In pari tempo fu lungamente impegnata in complesse controversie soprattutto circa l'amato feudo di Colorno, per il quale si scontrò con l'ambizione di incamerarlo del duca di Parma Ranuccio Farnese. Nel 1612 finì per rimanere implicata in una congiura di altri nobili parmensi avversi alle mire del duca, e come loro arrestata, processata e infine giustiziata.Gigliola Fragnito ha insegnato Storia moderna nell'Università di Parma. Con il Mulino ha pubblicato anche «La Bibbia al rogo. La censura ecclesiastica e i volgarizzamenti della Scrittura» (1997, nuova ed. 2015), «Proibito capire. La Chiesa e il volgare nella prima età moderna» (2005), «Cinquecento italiano. Religione, cultura e potere dal Rinascimento alla Controriforma» (2012), «Storia di Clelia Farnese. Amori, potere, violenza nella Roma della Controriforma» (2013, nuova ed. 2016), «Rinascimento perduto. La letteratura italiana sotto gli occhi dei censori» (2019).IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Quell'antico tronco d'albero che si vede ancor oggi sul Gianicolo a Roma, secco, morto, corroso e ormai quasi informe, tenuto su da un muricciolo dentro il quale è stato murato acciocché non cada o non possa farsene legna da ardere, si chiama la quercia del Tasso perché, avverte una lapide, Torquato Tasso andava a sedervisi sotto, quand'essa era frondosa. --- Send in a voice message: https://anchor.fm/faustino-stigliani/message

In The Enemy in Italian Renaissance Epic: Images of Hostility from Dante to Tasso (University of Delaware Press, 2019), Andrea Moudarres examines influential works from the literary canon of the Italian Renaissance, arguing that hostility consistently arises from within political or religious entities. In Dante's Divine Comedy, Luigi Pulci's Morgante, Ludovico Ariosto's Orlando Furioso, and Torquato Tasso's Jerusalem Delivered, enmity is portrayed as internal, taking the form of tyranny, betrayal, and civil discord. Moudarres reads these works in the context of historical and political patterns, demonstrating that there was little distinction between public and private spheres in Renaissance Italy and, thus, little differentiation between personal and political enemies.  Gerry Milligan is Professor of Italian at the College of Staten Island, where he serves as Director of Honors. He is Professor in Italian and Global Early Modern Studies at the CUNY Graduate Center. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The Enemy in Italian Renaissance Epic: Images of Hostility from Dante to Tasso (University of Delaware Press, 2019), Andrea Moudarres examines influential works from the literary canon of the Italian Renaissance, arguing that hostility consistently arises from within political or religious entities. In Dante's Divine Comedy, Luigi Pulci's Morgante, Ludovico Ariosto's Orlando Furioso, and Torquato Tasso's Jerusalem Delivered, enmity is portrayed as internal, taking the form of tyranny, betrayal, and civil discord. Moudarres reads these works in the context of historical and political patterns, demonstrating that there was little distinction between public and private spheres in Renaissance Italy and, thus, little differentiation between personal and political enemies.  Gerry Milligan is Professor of Italian at the College of Staten Island, where he serves as Director of Honors. He is Professor in Italian and Global Early Modern Studies at the CUNY Graduate Center. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The Enemy in Italian Renaissance Epic: Images of Hostility from Dante to Tasso (University of Delaware Press, 2019), Andrea Moudarres examines influential works from the literary canon of the Italian Renaissance, arguing that hostility consistently arises from within political or religious entities. In Dante's Divine Comedy, Luigi Pulci's Morgante, Ludovico Ariosto's Orlando Furioso, and Torquato Tasso's Jerusalem Delivered, enmity is portrayed as internal, taking the form of tyranny, betrayal, and civil discord. Moudarres reads these works in the context of historical and political patterns, demonstrating that there was little distinction between public and private spheres in Renaissance Italy and, thus, little differentiation between personal and political enemies.  Gerry Milligan is Professor of Italian at the College of Staten Island, where he serves as Director of Honors. He is Professor in Italian and Global Early Modern Studies at the CUNY Graduate Center. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The Enemy in Italian Renaissance Epic: Images of Hostility from Dante to Tasso (University of Delaware Press, 2019), Andrea Moudarres examines influential works from the literary canon of the Italian Renaissance, arguing that hostility consistently arises from within political or religious entities. In Dante's Divine Comedy, Luigi Pulci's Morgante, Ludovico Ariosto's Orlando Furioso, and Torquato Tasso's Jerusalem Delivered, enmity is portrayed as internal, taking the form of tyranny, betrayal, and civil discord. Moudarres reads these works in the context of historical and political patterns, demonstrating that there was little distinction between public and private spheres in Renaissance Italy and, thus, little differentiation between personal and political enemies.  Gerry Milligan is Professor of Italian at the College of Staten Island, where he serves as Director of Honors. He is Professor in Italian and Global Early Modern Studies at the CUNY Graduate Center. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The Enemy in Italian Renaissance Epic: Images of Hostility from Dante to Tasso (University of Delaware Press, 2019), Andrea Moudarres examines influential works from the literary canon of the Italian Renaissance, arguing that hostility consistently arises from within political or religious entities. In Dante's Divine Comedy, Luigi Pulci's Morgante, Ludovico Ariosto's Orlando Furioso, and Torquato Tasso's Jerusalem Delivered, enmity is portrayed as internal, taking the form of tyranny, betrayal, and civil discord. Moudarres reads these works in the context of historical and political patterns, demonstrating that there was little distinction between public and private spheres in Renaissance Italy and, thus, little differentiation between personal and political enemies.  Gerry Milligan is Professor of Italian at the College of Staten Island, where he serves as Director of Honors. He is Professor in Italian and Global Early Modern Studies at the CUNY Graduate Center.

In The Enemy in Italian Renaissance Epic: Images of Hostility from Dante to Tasso (University of Delaware Press, 2019), Andrea Moudarres examines influential works from the literary canon of the Italian Renaissance, arguing that hostility consistently arises from within political or religious entities. In Dante's Divine Comedy, Luigi Pulci's Morgante, Ludovico Ariosto's Orlando Furioso, and Torquato Tasso's Jerusalem Delivered, enmity is portrayed as internal, taking the form of tyranny, betrayal, and civil discord. Moudarres reads these works in the context of historical and political patterns, demonstrating that there was little distinction between public and private spheres in Renaissance Italy and, thus, little differentiation between personal and political enemies.  Gerry Milligan is Professor of Italian at the College of Staten Island, where he serves as Director of Honors. He is Professor in Italian and Global Early Modern Studies at the CUNY Graduate Center. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

- Ospedale Sant'Anna - Alfonso II d'Este - Renata di Francia - Bernardo Tasso - Santa Inquisizione --- Send in a voice message: https://anchor.fm/stefanodambrosio/message

Il 31 ottobre del 1765 nasce l'artigiano Pietro Torquato Tasso.Testo: Istituto di Storia Contemporanea di Ferrara Voce: Domenico LugasMontaggio: Sofia De Ecclesiis

La rosa è da molti considerata la “regina dei fiori” come d’altronde la chiamò Saffo: si pensi che quando i greci la introdussero nel Mediterraneo, La Rosa soppiantò il fiore di loto e il giglio, considerati in quel momento addirittura fiori sacri. Le frasi sulle rose ci raccontano appunto dei sentimenti che questo meraviglioso fiore ci provoca. La rosa tra mitologia e storia Appartiene alla famiglia delle Rosaceae, è originaria dell’Asia e dell’Europa e se ne contano almeno 150 specie tra le quali la Gallica, La Canina e la Sempervirens. Letteratura, mitologia e resoconti storici narrano di una passione infinita per questo fiore, al quale da sempre sono attribuiti simbolismi e significati sin dalla notte dei tempi. La più amata è La Rosa rossa, simbolo di amore per eccellenza: è probabile che all’origine di questo ci sia la famosa leggenda greca di Adone che, conteso da Afrodite e Semele, fu attaccato da un cinghiale inviato da Marte. Afrodite lo mise al riparo in un cespuglio di rose bianche che divennero rosse al contatto col sangue di Adone. Proprio le sacerdotesse della dea indossavano ghirlande di rose e mirto e sollevano camminare sui petali di rose. L’amore per le rose in Grecia era espresso anche nella presenza di roseti a Lesbo e Rodi, senza dimenticare gli affreschi e i resti di ceramiche raffiguranti le rose rinvenuti nel sito del Palazzo di Cnosso. Proprio come è avvenuto con gli scavi di Ercolano e Pompei: si immagini infatti che i romani coltivavano veri e propri vivai nel sud-Italia per compiacere imperatori come Nerone ed Eliogabalo. Le Rose nella cristianità e nella letteratura Secondo la tradizione cristiana anche il Giardino dell’Eden aveva le sue rose, ma erano senza spine: il Cantico dei Cantici, scritto con molta probabilità da Salomone, cita la leggendaria Rosa di Saron, simbolo del popolo ebraico, senza quelle spine che compariranno solo con il verificarsi del peccato originale. C’è poi Dante che nel paradiso celebra La Rosa bianca simbolo di un amore divino e spirituale, descrivendo le anime pure sedute su panche a forma di rose. Anche per letterati come Petrarca, Catullo e Ariosto questo splendido fiore di colore bianco era sinonimo di purezza. La Rosa rossa, come precedentemente accennato, è certamente l’emblema di un sentimento assai appassionato ma Torquato Tasso ci vede in lei anche una punta di sofferenza, riconducendo la rosa a un’emozione meno poetica e più umana, fatto di gioie e dolori. Come poi non ricordare William Shakespeare che nel suo Romeo e Giulietta usa La Rosa per descrive un amore eterno a prescindere dal nome che si può dare a questo sentimento.

Il 24 giugno del 1581 venne pubblicata, approvata dall'autore Torquato Tasso, la prima edizione della Gerusalemme Liberata.Testo: Istituto di Storia Contemporanea di FerraraVoce: Domenico LugasMontaggio: Pietro Perelli

Das RaceBets Podcast-Team zieht mit in die Startboxen der neuen "Wetten, dass 2.0“-Aktion ein, bei der es Viererwetten auszutüfteln gilt. Als Wetteinsatz müssen 180 Euro gesetzt werden, dazu kommen noch 120 Euro in der Siegwette. Dafür ist das komplette Team am Start: David Connolly-Smith, Nika S. Daveron, Frauke Delius, Christian Jungfleisch, Ronald Köhler und Catrin Nack. Zusammen tüfteln wir, diskutieren und haben auch viel zu lachen. Wir wünschen Euch viel Spaß bei der ersten Viererwette für das 8. Rennen am Samstag in Dortmund. Wer nicht wagt, der nicht gewinnt.Weitere Themen sind natürlich die Derby-Vorprüfungen in Köln - mit dem Union-Rennen und dem Sieger Wonderful Moon - und in München - mit Dicaprio im Derby-Trial. Wir sprechen außerdem mit Peter Michael Endres, dem Präsidenten des Düsseldorfer Reiter- und Rennvereins, über seine Derbykandidaten Adrian, Torquato Tasso und Oriental Dream. Aber wir hören ihn natürlich auch zum Sonntags-Renntag in Düsseldorf mit den Wempe 100. German 1.000 Guineas, ein klassisches Gr. II-Rennen für Stuten. Ein Podcast von Frauke Delius.

Il 25 aprile 1595 muore a Roma Torquato Tasso, primo dei moderni e grande poeta, amato da Goethe e da Leopardi. Autore della Gerusalemme Liberata, in lui vivono e si scontrano le contraddizioni della vitadi corte presso gli Este al tempo della Controriforma.

Er war genial. Er war berühmt. Und er war krank: Torquato Tasso, der für viele größte italienische Dichter des 16. Jahrhunderts. Er stammte aus einer vornehmen Adelsfamilie und galt schon früh als literarisches Wunderkind. Wirklich bekannt aber wurde Tasso, als er in Ferrara am glänzenden Hof des Herzogs Alfonso II. d’ Este 1574 sein berühmtes Werk "La Gerusalemme Liberata", "Das befreite Jerusalem", veröffentlichte, ein Epos über die Zeit des Ersten Kreuzzugs. Autorin: Jutta Duhm-Heitzmann

Torquato Tasso. Ben venga la follia. Non avremmo avuto la Gerusalemme Liberata. Non avremmo letto di Tancredi e Clorinda.

La actriz y cantante Rita Cortese estuvo en diálogo con Liliana Hendel y se refirió a la presentación que hará durante enero en el teatro Torquato Tasso. Además se refirió a cómo ve la política nacional luego de la asunción de Alberto Fernández como Presidente y a la designación de Luis Puenzo como Presidente del Incaa.

"Ve ne sono anche altri, che il popolo chiama folletti, che abitano nelle case dei semplici contadini e che non sono scacciati né dall’acqua né dagli esorcismi, e, poiché non sono visti, entrando in pietre, legname e suppellettili domestiche, le affliggono, e le loro parole si odono comunque come voce umana, e le loro immagini non appaiono." 1) Tutte le lettere famigliari di Torquato Tasso sono scaricabili gratuitamente qui: http://bit.ly/2kXFlkM 2) Gervasio di Tilbury - Otia Imperialia 3) Gerolamo Cardano - De Rerum Varietate ( http://bit.ly/2lglkpP ) 4) Girolamo Menghi - Compendio dell’arte essorcistica 5) Francesco del Bailo - Fabrica del mondo ( http://bit.ly/2myhU1C ) -- Un paio di brani... --     1497 [ma 1520/21], Cesena     Fantaguzzi, Giuliano (2012). Caos [a cura di Pistocchi, Andrea Michele]. Roma: Istituto storico italiano per il medio evo, pp. 120-121.     Fo ditto che molti anni fa […] che la donna fo de Piero de Gualaghino [Pietro Gualaguini] avea un folletto in casa el quale la serviva. Et Catarina sorella naturale de miser Francesco Casino, donna de Nicollò da Rimo cortesano del signor Malatesta et poi donna d’Almerico da Pesare [?-1492], aveva uno folletto el quale era gelloso de lei e sbrettòlla una volta acunza per andare a festa e servivalla facendolli le bugate e cosina et letto e spazavalli la casa.     In questo anno [1497] in casa de madonna Bevegnuta sorella de Guaspero Martinello li era uno spirito overo folletto inamorato de la Gentile sua masara gioveneta venerea, el quale di continuo faceva svoltare uno bacile in torno e sonarlo.      2.   1508, Bologna     Gigli, Giacomo (2008). Cronica 1494-1513 [a cura di Fortunato, Bruno]. Bologna: Costa, p. 155     [De uno spirto per altro nome chiamato foletto]     Io non lasciarò passare che ad confirmatione de //1508// la nostra sancta fede io non facia memoria come a calendi del mese de giugno [=il primo del mese] cominciò uno spirto per nome vulgare chiamato Foletto a fare de molte e varie cose in casa mia, cioè primamente cominciò a guastare lo letto dele massare [=serve] et fare strepido de mandare suso e gioso [=su e giù] lo calçedro [=“recipiente di rame col fondo tondo”] dela cusina di sopra, et dapoi essendo io andato ad abitare al Ziglio mio fuora de San Mamolo fece lo simile più volte de guastare li letti et altre cose; le quale seriano da ridere a nararle, et inter cetera parendomi el fusse invaghito de Casandra mia neça figliola naturale de Ieronimo mio figliolo fece questo: havendo io posto lo mio carnirolo [=contenitore, sacchetto] in suso la tavola dali panni in la mia camera, in lo quale carnirolo erano più cose, et inter alias erano dinari et in uno bursolino erano due anelle, tolse lo dicto carnirolo in suso l’hora dela cena, et cenando pose le dicte due anelle in dito alla dicta Casandra et poi in suso l’hora del dormire remise lo carnirolo nel loco suo cum ogni cosa dentro.     Io recorsi ala benedictione dele case ma non restette imperò a seguire lo intento suo per multi giorni. -- e infine: --  A) Fabio Giunta - Il corpo incantato di Torquato Tasso ( http://bit.ly/2mZRpCH ) B) M. Biondi - Sulla natura del Poltergeist, Quaderni di Parapsicologia 2011, 43, 44-56 ( http://bit.ly/2mrvO5W ) --- Send in a voice message: https://anchor.fm/unpuntofermo/message

Anabella Zoch entrevistó a Facundo Ramírez en relación al homenaje que realizará junto a “La Bruja” Salguero en el marco del cincuentenario de la creación de Mujeres argentinas, una de las obras cumbre de la música argentina compuesta por la música de Ariel Ramírez y los poemas de Félix Luna. Son ocho canciones inolvidables: Gringa chaqueña, Juana Azurduy, Rosarito Vera, maestra, Dorotea la cautiva, Alfonsina y el mar, Manuela la tucumana, Las cartas de Guadalupe y En casa de mariquita. La obra en su nueva versión se presentó en el Festival Nacional de Jesús María 2019 y será grabado en vivo el 8 de diciembre en el CCK. Con nuevos arreglos realizados por Facundo Ramírez y bajo su dirección musical desde el piano, el espectáculo concebido por el hijo del recordado maestro Ariel Ramírez tendrá un doble carácter. Por un lado el estrictamente musical con la voz de La Bruja Salguero, y por otro, un carácter profundamente emocional ya que la banda de músicos que interpretará la obra estará integrada por músicos que estuvieron vinculados a la trayectoria artística tanto de Ariel Ramírez como de Mercedes Sosa: el propio Facundo Ramírez en el piano, Rodolfo Ruiz en el charango (quien acompañó al maestro Ariel Ramírez durante 20 años en conciertos por todo el mundo interpretando la Misa Criolla) más los propios músicos de Facundo Ramírez, que, junto a él, homenajearon los 50 años de la Misa Criolla en el Vaticano interpretando la monumental obra para el Papa Francisco. Persentan el homenaje el viernes 26 de julio a las 22 hs  en el Torquato Tasso, Defensa 1575,  Ciudad de Buenos Aires.  

Anabella Zoch entrevistó a Hernán Lucero. El reconocido cantor vuelve al Torquato Tasso acompañado de su Orquesta dirgida por Ramiro Boero. Creada para grabar el exitoso disco Gardeliano (nominado a los Premios Gardel 2016 como Mejor Disco Cantante Masculino de Tango, la Orquesta es una de las más sutiles y musicales del medio, creando el marco ideal para que Lucero despliegue su estilo íntimo, exquisito. El cantor interpretará canciones de todos sus discos, de Gardeliano y sobre todo, adelantará algunas que formarán parte del próximo trabajo discográfico, ya en preparación. Todo esto con artistas invitados. Se presentan el jueves 18 de julio  a las 22 hs en el Torquato Tasso, Defensa 1575, Ciudad de Buenos Aires.

Con Claudio Strinati scopriamo un vero e proprio tesoro nascosto sul Colle del Gianicolo, in uno dei luoghi più suggestivi della città eterna. Ammiriamo le lunette del Domenichino dell'ingresso esterno e poi entriamo nel portico e nella ...

En la Argentina, sólo el 10 por ciento de la población accede a cuidados paliativos, el 90 por ciento restante atraviesa el final de su vida con dolor, sufrimiento y en soledad, sin la compañía de alguien que los cuide. Casa de Bondad es una institución que brinda mucho más que cuidados paliativos, busca dignificar el final. En esta edición de Cuento con voz, María Areces recibe en el estudio a María Laura Grané y a Cecilia Sidders, voluntarias de esta casa, que cuentan cómo reciben a esas personas que están cerca del final, cómo las asisten y acompañan. Además Denise Sciammarella líder de Sciammarella Tango, nos adelanta algo de la presentación de su nuevo disco "Tangos Franco-argentinos" que tendrá lugar en el Torquato Tasso de Defensa 1575 en la ciudad de Buenos Aires, el próximo 27 de Marzo.  

Fyra essäer om lyriska bilder som kan uppfattas som klichéer men som kan ruva på oupptäckta hemligheter. Latinforskaren Anna Blennow ger sig ut på jakt efter platsen, tillståndet och utopin Arkadien. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Essän sändes ursprungligen i maj 2018. Vi ser på avstånd en oljemålning med pastoralt motiv. Några herdar har samlats i skuggan av ett träd, kring ett förvittrande gravmonument. De försöker tyda den latinska inskriften: Et in Arcadia ego. Vad händer här? Vad är det här för plats? Vänta, där kommer någon vi kan fråga.   Ursäkta, var ligger Arkadien? Det beror på vem du frågar. Vem är du? Jag är döden. Jag finns också i Arkadien. Landskapet Arkadien är beläget i det bergiga inlandet av den grekiska halvön Peloponnesos. Denna plats med sin vilda natur ansågs under antiken vara guden Pans hemvist. Den grekiske författaren Polybios, själv född i Arkadien, har påpekat att invånarna där hade särskild talang för musik och sång. Men ändå verkar det inte vara i Grekland som Arkadien ligger. Ty inte bara döden, utan också vitt skilda personligheter som Johann Wolfgang von Goethe och Fritiof Andersson finns i Arkadien. Så fort en lämplig glänta öppnar sig med mjukt gräs, sval skugga och en glittrande bäck, glömmer herdarna sina hjordar, sätter sig och sjunger växelsång med varandra, I Nicolas Poussins 1600-talsmålning den som vi just nu betraktar syns de typiska ingredienserna i ett arkadiskt landskap: herdar i antikiserande dräkt med diktens lagerkransar kring pannan. Nymfer, fauner och flockar av får och getter syns visserligen inte på bilden, men väntar runt hörnet. Livet verkar lätt i Arkadien. Det verkar inte finnas ett moln på himlen. Men var är vi? Vissa hävdar att Arkadien uppfanns på trettiotalet före vår tideräkning. Det var då den romerske poeten Vergilius författade sina tio pastorala poem, de så kallade Eklogerna. Redan i den första dikten definieras platsen: Tityrus, du ligger utsträckt i skuggan under ett bokträd, där du spelar skogens sång på ett tunt litet vasstrå jag har lämnat mitt fädernesland och de ljuvliga fälten jag har flytt mitt land, men Tityrus, där i skuggan, lär du skogen sakta besjunga din Amaryllis. Den som talar är Meliboeus, en fattig romersk herde som förlorat sin mark. Vergilius herdar befinner sig alltså i Italien. Ändå visar det sig att deras hemvist kallas Arkadien. Och herdarnas liv är enkelt, men ändå utsökt. Kärlek och äpplen, skogsgudar och sång. Framför allt sång. Så fort en lämplig glänta öppnar sig med mjukt gräs, sval skugga och en glittrande bäck, glömmer herdarna sina hjordar, sätter sig och sjunger växelsång med varandra, och spelar på en pipa en låt av gryningsluft. Men de mörka hoten mot det enkla livet väntar strax bortom skogsbrynet. Den vackre herden Daphnis, älskad av både kvinnor och män, dör och blir besjungen. Meliboeus har blivit av med sina ägor i det romerska inbördeskrigets efterföljd, medan Tityrus besök i Rom har gett honom friheten åter genom den gudomlige kejsar Augustus. Vergilius egen samtid blandar sig in i versens skogar. Trots sin grekiska födelseattest kom Arkadien nu att få Italien som alltmer permanent adress.  Men med tiden ska till och med själva döden komma att stryka på foten. Renässanspoeternas Arkadien blir till kärlekens landskap snarare än diktens. Författare som Torquato Tasso och Jacopo Sannazaro använder de antika pusselbitarna för att planlägga en utopisk, sorglös tillvaro, och den behagliga gläntan i skogen genererar erotik snarare än poesi. Landskapet är en idyllisk kuliss. Fåren har blivit lamm och går i sidenband. Arkadien blir samtidens och verklighetens antites, ett drömspel dit dåtidens bildningsaristokrati kunde ta sin tillflykt. Att vara medborgare i Arkadien innebar inte längre bara att vara diktare och herde, utan snarare att vara i exil från någonting annat. Och Arkadiens ständigt föränderliga geografi kunde nu placeras till och med mitt inne i staden. Den litterära akademin Arcadia instiftades i Rom i slutet av 1600-talet, och hade drottning Christina som sin musa. Valet av beskyddarinna var högst arkadiskt: drottningen var såväl landsflyktig som poetiskt orienterad. Verksamheten kretsade kring diktning och språkets renhet, och de som upptogs i den arkadiska kretsen fick ett eget herde- eller herdinnenamn. Ja: även kvinnor var välkomna i den arkadiska akademin, så länge de kunde dikta. Trots sin grekiska födelseattest kom Arkadien nu att få Italien som alltmer permanent adress. Auch ich in Arkadien! utropade Goethe i sin italienska resedagbok. Också jag får vara i Arkadien! Dödens hotande närvaro ersätts med individens jag, som återföds i närkontakt med den klassiska marken. Och i Italien upplever en rad författare detsamma under det reseintensiva 1800-talet, från Madame de Staël till Lord Byron. Arkadien var inte längre bara verklighetsflykt. Det var inkörsporten till ett återvunnet paradis och ett nytt liv, och dess soldränkta entré, prydd av vinrankor och flankerad av citronträd, fanns strax söder om Alperna. Och återigen måste vi fråga oss: Är Arkadien en plats eller ett tillstånd? Printz-Påhlson pekar på att Arkadien ofta är just förlorat, barndomens och ursprungets landskap: det personliga Arkadien där vi alla en gång var prinsar och prinsessor. Göran Printz-Påhlson skrev en gång att poesin är den enda litterära genre som saknar en geografisk plats. Poesins värld är den inre. Tid och rum finns inte där. Med ett undantag: den pastorala poesin och dess Arkadien. Men platsen är ändå inte plats den är en utopi, en metafor, en förlorad värld. Printz-Påhlson pekar på att Arkadien ofta är just förlorat, barndomens och ursprungets landskap: det personliga Arkadien där vi alla en gång var prinsar och prinsessor. Dikten och berättelsen om platsen blir hemkomsten. Och ofta smälter generella bildningsideal samman med den individuella, självbiografiska upplevelsen. Författaren Vilhelm Ekelunds alldeles egna Arkadien låg i Skåne. Där var han uppvuxen, i trakten av Stehag. Det skånska landskapet var för honom vägen till tanke och dikt. I essän Nordiskt Arkadien vandrar han vid Kullaberg i nordvästra Skåne, medan havet stormar nedanför i klart solsken, samma ljusa storm som strålar och susar i rytmerna af sången som jag läser, i Pindaros sång. Den eufori som den grekiska poesin väckte hos honom planterades i landskapets och havets dramatik i ett dubbelt medborgarskap mellan ordlöst ursprung och inlärd bildning. En poet som på samma sätt väver samman plats, minne och bildning är Jesper Svenbro. I sina senaste diktsamlingar har han förankrat sina arkadiska bopålar djupt i den skånska myllan. Och hela det klassiska entouraget har han med sig. Sapfo tar bussen från Landskrona i diktsamlingen Ekeby trafikförening, och i Namnet på Sapfos dotter från 2017 blir Svenbros egen studietid spelplats för en utopisk värld där antikens Grekland flyter samman med skånskt 1960-tal i de examensuppgifter författaren uppmanas genomföra. De idealiserade studierna blir för Svenbro den arkadiska startmotor som skapar dikt och som löser de poetiska problemen. Arkadien börjar få tydligare konturer. Det är en plats och ett tillstånd. Arkadien är den plats där dikten blir till, och där vi blir till. Den magiska glänta där tiden upphör och vi plockar versrader från den blommande marken. En tillflykt, men också en flygplats för minnet och tanken, där vi kan försonas med förlusten. Men såväl frånvaron som den intensiva, behagliga närvaron är bara början på den röda matta som rullas ut framför våra ögon: Välkommen! Detta är vägen till poesin.  Anna Blennow, latinforskare och skribent   Musik Evert Taube: Fritiof i Arkadien. Inspelad i Milano i oktober 1937. Litteratur Vilhelm Ekelund, Antikt ideal / Båge och Lyra, Liber Förlag 1983. Jonas Ellerström, Vilhelm Ekelund: Landskap och tanke, Bokförlaget h:ström 2017. Göran Printz-Påhlson, När jag var prins utav Arkadien. Essäer och intervjuer om poesi och plats, Bonniers 1995. Stefano Fogelberg Rota, Poesins drottning. Christina av Sverige och de italienska akademierna, Nordic Academic Press 2008. Iacopo Sannazaro, Arcadia, 1504. Jesper Svenbro, Ekeby trafikförening, Albert Bonniers förlag 2015. Jesper Svenbro, Namnet på Sapfos dotter. Enskilt arbete läsåret 20152016, Albert Bonniers förlag 2017. Torquato Tasso, Aminta ett herdedrama [1573], svensk översättning av Ingvar Björkeson, Natur & Kultur 2011. http://www.accademiadellarcadia.it Musik Evert Taube: Fritiof i Arkadien

Arkadien är ett landskap i Grekland. Men också någonting mer. Latinforskaren Anna Blennow ger sig ut på jakt efter platsen, tillståndet och utopin Arkadien. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Vi ser på avstånd en oljemålning med pastoralt motiv. Några herdar har samlats i skuggan av ett träd, kring ett förvittrande gravmonument. De försöker tyda den latinska inskriften: Et in Arcadia ego. Vad händer här? Vad är det här för plats? Vänta, där kommer någon vi kan fråga.   Ursäkta, var ligger Arkadien? Det beror på vem du frågar. Vem är du? Jag är döden. Jag finns också i Arkadien. Landskapet Arkadien är beläget i det bergiga inlandet av den grekiska halvön Peloponnesos. Denna plats med sin vilda natur ansågs under antiken vara guden Pans hemvist. Den grekiske författaren Polybios, själv född i Arkadien, har påpekat att invånarna där hade särskild talang för musik och sång. Men ändå verkar det inte vara i Grekland som Arkadien ligger. Ty inte bara döden, utan också vitt skilda personligheter som Johann Wolfgang von Goethe och Fritiof Andersson finns i Arkadien. Så fort en lämplig glänta öppnar sig med mjukt gräs, sval skugga och en glittrande bäck, glömmer herdarna sina hjordar, sätter sig och sjunger växelsång med varandra, I Nicolas Poussins 1600-talsmålning den som vi just nu betraktar syns de typiska ingredienserna i ett arkadiskt landskap: herdar i antikiserande dräkt med diktens lagerkransar kring pannan. Nymfer, fauner och flockar av får och getter syns visserligen inte på bilden, men väntar runt hörnet. Livet verkar lätt i Arkadien. Det verkar inte finnas ett moln på himlen. Men var är vi? Vissa hävdar att Arkadien uppfanns på trettiotalet före vår tideräkning. Det var då den romerske poeten Vergilius författade sina tio pastorala poem, de så kallade Eklogerna. Redan i den första dikten definieras platsen: Tityrus, du ligger utsträckt i skuggan under ett bokträd, där du spelar skogens sång på ett tunt litet vasstrå jag har lämnat mitt fädernesland och de ljuvliga fälten jag har flytt mitt land, men Tityrus, där i skuggan, lär du skogen sakta besjunga din Amaryllis. Den som talar är Meliboeus, en fattig romersk herde som förlorat sin mark. Vergilius herdar befinner sig alltså i Italien. Ändå visar det sig att deras hemvist kallas Arkadien. Och herdarnas liv är enkelt, men ändå utsökt. Kärlek och äpplen, skogsgudar och sång. Framför allt sång. Så fort en lämplig glänta öppnar sig med mjukt gräs, sval skugga och en glittrande bäck, glömmer herdarna sina hjordar, sätter sig och sjunger växelsång med varandra, och spelar på en pipa en låt av gryningsluft. Men de mörka hoten mot det enkla livet väntar strax bortom skogsbrynet. Den vackre herden Daphnis, älskad av både kvinnor och män, dör och blir besjungen. Meliboeus har blivit av med sina ägor i det romerska inbördeskrigets efterföljd, medan Tityrus besök i Rom har gett honom friheten åter genom den gudomlige kejsar Augustus. Vergilius egen samtid blandar sig in i versens skogar. Trots sin grekiska födelseattest kom Arkadien nu att få Italien som alltmer permanent adress.  Men med tiden ska till och med själva döden komma att stryka på foten. Renässanspoeternas Arkadien blir till kärlekens landskap snarare än diktens. Författare som Torquato Tasso och Jacopo Sannazaro använder de antika pusselbitarna för att planlägga en utopisk, sorglös tillvaro, och den behagliga gläntan i skogen genererar erotik snarare än poesi. Landskapet är en idyllisk kuliss. Fåren har blivit lamm och går i sidenband. Arkadien blir samtidens och verklighetens antites, ett drömspel dit dåtidens bildningsaristokrati kunde ta sin tillflykt. Att vara medborgare i Arkadien innebar inte längre bara att vara diktare och herde, utan snarare att vara i exil från någonting annat. Och Arkadiens ständigt föränderliga geografi kunde nu placeras till och med mitt inne i staden. Den litterära akademin Arcadia instiftades i Rom i slutet av 1600-talet, och hade drottning Christina som sin musa. Valet av beskyddarinna var högst arkadiskt: drottningen var såväl landsflyktig som poetiskt orienterad. Verksamheten kretsade kring diktning och språkets renhet, och de som upptogs i den arkadiska kretsen fick ett eget herde- eller herdinnenamn. Ja: även kvinnor var välkomna i den arkadiska akademin, så länge de kunde dikta. Trots sin grekiska födelseattest kom Arkadien nu att få Italien som alltmer permanent adress. Auch ich in Arkadien! utropade Goethe i sin italienska resedagbok. Också jag får vara i Arkadien! Dödens hotande närvaro ersätts med individens jag, som återföds i närkontakt med den klassiska marken. Och i Italien upplever en rad författare detsamma under det reseintensiva 1800-talet, från Madame de Staël till Lord Byron. Arkadien var inte längre bara verklighetsflykt. Det var inkörsporten till ett återvunnet paradis och ett nytt liv, och dess soldränkta entré, prydd av vinrankor och flankerad av citronträd, fanns strax söder om Alperna. Och återigen måste vi fråga oss: Är Arkadien en plats eller ett tillstånd? Printz-Påhlson pekar på att Arkadien ofta är just förlorat, barndomens och ursprungets landskap: det personliga Arkadien där vi alla en gång var prinsar och prinsessor. Göran Printz-Påhlson skrev en gång att poesin är den enda litterära genre som saknar en geografisk plats. Poesins värld är den inre. Tid och rum finns inte där. Med ett undantag: den pastorala poesin och dess Arkadien. Men platsen är ändå inte plats den är en utopi, en metafor, en förlorad värld. Printz-Påhlson pekar på att Arkadien ofta är just förlorat, barndomens och ursprungets landskap: det personliga Arkadien där vi alla en gång var prinsar och prinsessor. Dikten och berättelsen om platsen blir hemkomsten. Och ofta smälter generella bildningsideal samman med den individuella, självbiografiska upplevelsen. Författaren Vilhelm Ekelunds alldeles egna Arkadien låg i Skåne. Där var han uppvuxen, i trakten av Stehag. Det skånska landskapet var för honom vägen till tanke och dikt. I essän Nordiskt Arkadien vandrar han vid Kullaberg i nordvästra Skåne, medan havet stormar nedanför i klart solsken, samma ljusa storm som strålar och susar i rytmerna af sången som jag läser, i Pindaros sång. Den eufori som den grekiska poesin väckte hos honom planterades i landskapets och havets dramatik i ett dubbelt medborgarskap mellan ordlöst ursprung och inlärd bildning. En poet som på samma sätt väver samman plats, minne och bildning är Jesper Svenbro. I sina senaste diktsamlingar har han förankrat sina arkadiska bopålar djupt i den skånska myllan. Och hela det klassiska entouraget har han med sig. Sapfo tar bussen från Landskrona i diktsamlingen Ekeby trafikförening, och i Namnet på Sapfos dotter från 2017 blir Svenbros egen studietid spelplats för en utopisk värld där antikens Grekland flyter samman med skånskt 1960-tal i de examensuppgifter författaren uppmanas genomföra. De idealiserade studierna blir för Svenbro den arkadiska startmotor som skapar dikt och som löser de poetiska problemen. Arkadien börjar få tydligare konturer. Det är en plats och ett tillstånd. Arkadien är den plats där dikten blir till, och där vi blir till. Den magiska glänta där tiden upphör och vi plockar versrader från den blommande marken. En tillflykt, men också en flygplats för minnet och tanken, där vi kan försonas med förlusten. Men såväl frånvaron som den intensiva, behagliga närvaron är bara början på den röda matta som rullas ut framför våra ögon: Välkommen! Detta är vägen till poesin.  Anna Blennow, latinforskare och skribent   Musik Evert Taube: Fritiof i Arkadien. Inspelad i Milano i oktober 1937. Litteratur Vilhelm Ekelund, Antikt ideal / Båge och Lyra, Liber Förlag 1983. Jonas Ellerström, Vilhelm Ekelund: Landskap och tanke, Bokförlaget h:ström 2017. Göran Printz-Påhlson, När jag var prins utav Arkadien. Essäer och intervjuer om poesi och plats, Bonniers 1995. Stefano Fogelberg Rota, Poesins drottning. Christina av Sverige och de italienska akademierna, Nordic Academic Press 2008. Iacopo Sannazaro, Arcadia, 1504. Jesper Svenbro, Ekeby trafikförening, Albert Bonniers förlag 2015. Jesper Svenbro, Namnet på Sapfos dotter. Enskilt arbete läsåret 20152016, Albert Bonniers förlag 2017. Torquato Tasso, Aminta ett herdedrama [1573], svensk översättning av Ingvar Björkeson, Natur & Kultur 2011. http://www.accademiadellarcadia.it Musik Evert Taube: Fritiof i Arkadien

Il re pastore (The Shepherd King) is an opera, K. 208, written by Wolfgang Amadeus Mozart to an Italian libretto by Metastasio, edited by Giambattista Varesco. It is an opera seria. The opera was first performed on 23 April 1775 in Salzburg, at the Palace of the Archbishop Count Hieronymus von Colloredo. In 1775 the opera was commissioned for a visit by the Archduke Maximilian Francis of Austria, the youngest son of Empress Maria Theresa, to Salzburg. Mozart spent six weeks working on the opera. It consists of two acts and runs for approximately 107 minutes. Metastasio wrote the libretto in 1751, basing it on a work by Torquato Tasso called Aminta. The libretto was picked up when Mozart (just 19 at the time) and his father saw a performance of it set to music composed by Felice Giardini – Mozart's version, however was two acts rather than Giardini's three, and has a few substantial changes. Each act lasts for around an hour in performance. The Salzburg court chaplain Varesco was largely responsible for this editing of Metastasio's libretto. It is often referred to not as an opera, but as a serenata, a type of dramatic cantata. The appearance of a quartet of lovers (Aminta and Elisa, Agenore and Tamiri) of somewhat dubious fidelity automatically puts a modern audience in mind of Così fan tutte. The principal psychological theme of the opera is, however, the demands of love against the demands of kingship, as Aminta, the shepherd-king, tussles with his conscience, and in this Il re pastore is closer in theme to Idomeneo than any other of Mozart's operas. Indeed, Idomeneo was the next completed opera that Mozart wrote after Il re pastore, after his six-year-long break from the stage. Furthermore, the theme of qualities for kingship appears in another opera, La clemenza di Tito, his last one. Dominique Beaulieu, conductor CMD Philharmonic and Chorus of Paris in Orlean France Purchase now at: http://www.classicalsavings.com/store/p487/Mozart%3A_Il_re_pastore%2C_K._208.html

In this episode, Chris Geekie, Ph.D. student at Johns Hopkins University, shares his work on the early modern Italian poet and literary theorist, Torquato Tasso.

"Tasso, lamento y triunfo" S.96 (en italiano, "Tasso, Lamento e Trionfo") es un poema sinfónico compuesto por Franz Liszt en 1849 y que posteriormente fue revisado en 1850-1851 y otra vez en 1854. Es el segundo de su ciclo de trece Poemas sinfónicos escritos durante su periodo en Weimar. Se inspira en la obra que hizo Goethe del poeta italiano Torquato Tasso, en el que se centró principalmente en su posición como poeta de la corte de la familia De Este en Ferrara dentro de las intrigas políticas de la vida en la corte. Sin embargo, Liszt fue más allá de los conflictos internos del poeta y describió los siete años que permaneció en el hospital de Santa Ana, un hospital psiquiátrico. Ese era en realidad el sufrimiento del que salió triunfante Tasso, lo que inspiró la imaginación de Liszt. En su prefacio de la obra, el compositor se refiere no sólo a la obra de Goethe, sino que también hace referencia al poema "Tasso" de Lord Byron, incluso admitiendo haber sido influido por este último (WIKIPEDIA).

Lezione scolastica su Il proemio della Gerusalemme liberata di Torquato Tasso 4C - prof. Luigi Gaudio

Lezione scolastica su La Gerusalemme liberata di Torquato Tasso 4C - prof. Luigi Gaudio

Lezione scolastica su L'intreccio tra vita e opere, seconda parte della vita di Torquato Tasso 4C - prof. Luigi Gaudio

Lezione scolastica su "L'età dell'oro realtà o sogno" dal coro del primo atto dell' Aminta di Torquato Tasso 4C - prof. Luigi Gaudio

Lezione scolastica su L'Aminta di Torquato Tasso 4C - prof. Luigi Gaudio

Lezione scolastica su La vita di Torquato Tasso (prima parte) 4C - prof. Luigi Gaudio

The 37th of a weekly series of radio programmes created by :zoviet*france: for Basic.fm. First broadcast 23 March 2013. Our thanks go out to the artists and sound recordists included here for their fine work. track list 01 :zoviet*france: - Live Radio Broadcast | De Wissel | Radio 100 | 28.11.92 [extract] 02 Geoff Sample - "When close together, singing males begin to interact." 03 Ben Ponton - H-RH 11:22 02.05.11 04 Édouard-Léon Scott de Martinville - Excerpt from Torquato Tasso's Aminta 05 Brume - Cliche #1 06 Fossil Aerosol Mining Project - Mnemonic Passage II 07 Richard Harrison - Fb.21.98 08 Penumbra - People Like That? 09 Helmut Lemke - Knistern Hinter Druckluft 10 [unknown sound recordist / BBC] - Atmospheres - Early Morning - with Seagulls and Distant Street Cleaners 11 Ultra-red - Interior Designs 12 Keith Fullerton Whitman - [title unknown - ‘Orphans' track 3]

Catherine Bott explores the life and musical settings of the work of the Italian poet Torquato Tasso, who was one of the most widely read writers in 16th Century Europe. His words were set by the great composers of the day and for many centuries after his death, but he was a troubled man who suffered from mental illness and died just days before he was due to be crowned as the king of poets by the Pope. Featuring Tasso settings from Monteverdi, Gesualdo and Handel among others.

George Frideric HANDEL 1685-1759Our version ofAllemande in Am (HWV 478)George Frideric HANDEL 1685-1759© 2012 Shiloh Worship Music COPY FREELY;This Recording is copyrighted to prevent misuse, however,permission is granted for non-commercial copying-Radio play permitted. Www.ShilohWorshipMusic.com Georg Friedrich Händel (1685-1759)George Frideric Handel(from Wikipedia) George Frideric Handel, born in the same year as Johann Sebastian Bach and Domenico Scarlatti. By Thomas Hudson (1749)George Frideric Handel SignatureGeorge Frideric Handel (German: Georg Friedrich Händel; pronounced [ˈhɛndəl]) (23 February 1685 – 14 April 1759) was a German-British Baroque composer, famous for his operas, oratorios, anthems and organ concertos. Handel was born in 1685, in a family indifferent to music. He received critical musical training in Halle, Hamburg and Italy before settling in London (1712) and becoming a naturalised British subject in 1727.[1] By then he was strongly influenced by the great composers of the Italian Baroque and the middle-German polyphonic choral tradition.Within fifteen years, Handel, a dramatic genius, started three commercial opera companies to supply the English nobility with Italian opera, but the public came to hear the vocal bravura of the soloists rather than the music. In 1737 he had a physical breakdown, changed direction creatively and addressed the middle class. As Alexander's Feast (1736) was well received, Handel made a transition to English choral works. After his success with Messiah (1742) he never performed an Italian opera again. Handel was only partly successful with his performances of English Oratorio on mythical and biblical themes, but when he arranged a performance of Messiah to benefit the Foundling Hospital (1750) the critique ended. The pathos of Handel's oratorios is an ethical one. They are hallowed not by liturgical dignity but by the moral ideals of humanity.[2] Almost blind, and having lived in England for almost fifty years, he died a respected and rich man.Handel is regarded as one of the greatest composers of all time, with works such as Water Music, Music for the Royal Fireworks and Messiah remaining popular. Handel composed more than forty operas in over thirty years, and since the late 1960s, with the revival of baroque music and original instrumentation, interest in Handel's operas has grown. His operas contain remarkable human characterisation—especially for a composer not known for his love affairs.Early yearsHandel's baptismal registration (Marienbibliothek in Halle)Handel was born in 1685 in Halle, Duchy of Magdeburg, to Georg Händel and Dorothea Taust.[3] His father, 63 when his son was born, was an eminent barber-surgeon who served to the court of Saxe-Weissenfels and the Margraviate of Brandenburg.[4] According to Handel's first biographer, John Mainwaring, he "had discovered such a strong propensity to Music, that his father who always intended him for the study of the Civil Law, had reason to be alarmed. He strictly forbade him to meddle with any musical instrument but Handel found means to get a little clavichord privately convey'd to a room at the top of the house. To this room he constantly stole when the family was asleep".[5] At an early age Handel became a skillful performer on the harpsichord and pipe organ.[6]Händel-Haus (2009) – birthplace of George Frideric HandelEntrance of Teatro del Cocomero in FlorenceHandel and his father travelled to Weissenfels to visit either Handel's half-brother, Carl, or nephew, Georg Christian,[7] who was serving as valet to Duke Johann Adolf I.[8] Handel and the duke convinced his father to allow him to take lessons in musical composition and keyboard technique from Friedrich Wilhelm Zachow, the organist of the Lutheran Marienkirche. He learned about harmony and contemporary styles, analysed sheet music scores, learned to work fugue subjects, and to copy music. In 1698 Handel played for Frederick I of Prussia and met Giovanni Battista Bononcini in Berlin.From Halle to ItalyThe Hamburg Opera am Gänsemarkt in 1726In 1702, following his father's wishes, Handel started studying law under Christian Thomasius at the University of Halle;[9] and also earned an appointment for one year as the organist in the former cathedral, by then an evangelical reformed church. Handel seems to have been unsatisfied and in 1703, he accepted a position as violinist and harpsichordist in the orchestra of the Hamburg Oper am Gänsemarkt.[10] There he met the composers Johann Mattheson, Christoph Graupner and Reinhard Keiser. His first two operas, Almira and Nero, were produced in 1705.[11] He produced two other operas, Daphne and Florindo, in 1708. It is unclear whether Handel directed these performances.According to Mainwaring, in 1706 Handel travelled to Italy at the invitation of Ferdinando de' Medici, but Mainwaring must have been confused. It was Gian Gastone de' Medici, whom Handel had met in 1703–1704 in Hamburg.[12] Ferdinando tried to make Florence Italy's musical capital, attracting the leading talents of his day. He had a keen interest in opera. In Italy Handel met librettist Antonio Salvi, with whom he later collaborated. Handel left for Rome and, since opera was (temporarily) banned in the Papal States, composed sacred music for the Roman clergy. His famous Dixit Dominus (1707) is from this era. He also composed cantatas in pastoral style for musical gatherings in the palaces of cardinals Pietro Ottoboni, Benedetto Pamphili and Carlo Colonna. Two oratorios, La Resurrezione and Il Trionfo del Tempo, were produced in a private setting for Ruspoli and Ottoboni in 1709 and 1710, respectively. Rodrigo, his first all-Italian opera, was produced in the Cocomero theatre in Florence in 1707.[13] Agrippina was first produced in 1709 at Teatro San Giovanni Grisostomo, the prettiest theatre at Venice, owned by the Grimanis. The opera, with a libretto by cardinal Vincenzo Grimani, and according to Mainwaring it ran for 27 nights successively. The audience, thunderstruck with the grandeur and sublimity of his style,[14] applauded for Il caro Sassone.Move to LondonGeorge Frideric Handel (left) and King George I on the River Thames, 17 July 1717, by Edouard Jean Conrad Hamman (1819–88).In 1710, Handel became Kapellmeister to German prince George, Elector of Hanover, who in 1714 would become King George I of Great Britain.[15] He visited Anna Maria Luisa de' Medici and her husband in Düsseldorf on his way to London in 1710. With his opera Rinaldo, based on La Gerusalemme Liberata by the Italian poet Torquato Tasso, Handel enjoyed great success, although it was composed quickly, with many borrowings from his older Italian works.[16] This work contains one of Handel's favourite arias, Cara sposa, amante cara, and the famous Lascia ch'io pianga.In 1712, Handel decided to settle permanently in England. He received a yearly income of £200 from Queen Anne after composing for her the Utrecht Te Deum and Jubilate, first performed in 1713.[17][18]One of his most important patrons was the young and wealthy Richard Boyle, 3rd Earl of Burlington.[19] For him Handel wrote Amadigi di Gaula, a magical opera, about a damsel in distress, based on the tragedy by Antoine Houdar de la Motte.The conception of an opera as a coherent structure was slow to capture Handel's imagination[20] and he renounced it for five years. In July 1717 Handel's Water Music was performed more than three times on the Thames for the King and his guests. It is said the compositions spurred reconciliation between the King and Handel.[21]Cannons (1717–18)Main article: Handel at CannonsThe Chandos portrait. The 1st Duke of Chandos was an important patron for Handel.In 1717 Handel became house composer at Cannons in Middlesex, where he laid the cornerstone for his future choral compositions in the twelve Chandos Anthems.[22] Romain Rolland stated that these anthems were as important for his oratorios as the cantatas were for his operas.[23] Another work he wrote for the Duke of Chandos, the owner of Cannons, was Acis and Galatea: during Handel's lifetime it was his most performed work. Winton Dean wrote, "the music catches breath and disturbs the memory".[24]In 1719 the Duke of Chandos became one of the main subscribers to Handel's new opera company, the Royal Academy of Music, but his patronage of music declined after he lost money in the South Sea bubble, which burst in 1720 in one of history's greatest financial cataclysms. Handel himself invested in South Sea stock in 1716, when prices were low[25] and sold before 1720.[26]Royal Academy of Music (1719–34)Main article: Royal Academy of Music (company)Handel House at 25 Brook Street, Mayfair, LondonIn May 1719 Lord Chamberlain Thomas Holles, the Duke of Newcastle ordered Handel to look for new singers.[27] Handel travelled to Dresden to attend the newly built opera. He saw Teofane by Antonio Lotti, and engaged the cast for the Royal Academy of Music, founded by a group of aristocrats to assure themselves a constant supply of baroque opera or opera seria. Handel may have invited John Smith, his fellow student in Halle, and his son Johann Christoph Schmidt, to become his secretary and amanuensis.[28] By 1723 he had moved into a Georgian house at 25 Brook Street, which he rented for the rest of his life.[29] This house, where he rehearsed, copied music and sold tickets, is now the Handel House Museum.[30] During twelve months between 1724 and 1725, Handel wrote three outstanding and successful operas, Giulio Cesare, Tamerlano and Rodelinda. Handel's operas are filled with da capo arias, such as Svegliatevi nel core. After composing Silete venti, he concentrated on opera and stopped writing cantatas. Scipio, from which the regimental slow march of the British Grenadier Guards is derived,[31] was performed as a stopgap, waiting for the arrival of Faustina Bordoni.In 1727 Handel was commissioned to write four anthems for the coronation ceremony of King George II. One of these, Zadok the Priest, has been played at every British coronation ceremony since.[32] In 1728 John Gay's The Beggar's Opera premiered at Lincoln's Inn Fields Theatre and ran for 62 consecutive performances, the longest run in theatre history up to that time.[citation needed] After nine years Handel's contract was ended but he soon started a new company.The Queen's Theatre at the Haymarket (now Her Majesty's Theatre), established in 1705 by architect and playwright John Vanbrugh, quickly became an opera house.[33] Between 1711 and 1739, more than 25 of Handel's operas premièred there.[34] In 1729 Handel became joint manager of the Theatre with John James Heidegger.A musical portrait of Frederick, Prince of Wales and his sisters by Philip Mercier, dated 1733, using Kew Palace as its plein-air backdropThe Queen's Theatre in the Haymarket in London by William CaponHandel travelled to Italy to engage seven new singers. He composed seven more operas, but the public came to hear the singers rather than the music.[35] After two commercially successful English oratorios Esther and Deborah, he was able to invest again in the South Sea Company. Handel reworked his Acis and Galatea which then became his most successful work ever. Handel failed to compete with the Opera of the Nobility, who engaged musicians such as Johann Adolf Hasse, Nicolo Porpora and the famous castrato Farinelli. The strong support by Frederick, Prince of Wales caused conflicts in the royal family. In March 1734 Handel directed a wedding anthem This is the day which the Lord hath made, and a serenata Parnasso in Festa for Anne of Hanover.[36]Opera at Covent Garden (1734–41)In 1733 the Earl of Essex received a letter with the following sentence: "Handel became so arbitrary a prince, that the Town murmurs". The board of chief investors expected Handel to retire when his contract ended, but Handel immediately looked for another theatre. In cooperation with John Rich he started his third company at Covent Garden Theatre. Rich was renowned for his spectacular productions. He suggested Handel use his small chorus and introduce the dancing of Marie Sallé, for whom Handel composed Terpsichore. In 1735 he introduced organ concertos between the acts. For the first time Handel allowed Gioacchino Conti, who had no time to learn his part, to substitute arias.[37] Financially, Ariodante was a failure, although he introduced ballet suites at the end of each act.[38] Alcina, his last opera with a magic content, and Alexander's Feast or the Power of Music based on John Dryden's Alexander's Feast starred Anna Maria Strada del Pò and John Beard.In April 1737, at age 52, Handel apparently suffered a stroke which disabled the use of four fingers on his right hand, preventing him from performing.[39] In summer the disorder seemed at times to affect his understanding. Nobody expected that Handel would ever be able to perform again. But whether the affliction was rheumatism, a stroke or a nervous breakdown, he recovered remarkably quickly .[40] To aid his recovery, Handel had travelled to Aachen, a spa in Germany. During six weeks he took long hot baths, and ended up playing the organ for a surprised audience.[41]Deidamia, his last and only baroque opera without an accompagnato, was performed three times in 1741. Handel gave up the opera business, while he enjoyed more success with his English oratorios.[citation needed]OratorioFurther information: List of Handel's OratoriosHandel by Philip MercierIl Trionfo del Tempo e del Disinganno, an allegory, Handel's first oratorio[42] was composed in Italy in 1707, followed by La Resurrezione in 1708 which uses material from the Bible. The circumstances of Esther and its first performance, possibly in 1718, are obscure.[43] Another 12 years had passed when an act of piracy caused him to take up Esther once again.[44] Three earlier performances aroused such interest that they naturally prompted the idea of introducing it to a larger public. Next came Deborah, strongly coloured by the Anthems[45] and Athaliah, his first English Oratorio.[46] In these three oratorios Handel laid foundation for the traditional use of the chorus which marks his later oratorios.[47] Handel became sure of himself, broader in his presentation, and more diverse in his composition.[48]It is evident how much he learnt from Arcangelo Corelli about writing for instruments, and from Alessandro Scarlatti about writing for the solo voice; but there is no single composer who taught him how to write for chorus.[49] Handel tended more and more to replace Italian soloists by English ones. The most significant reason for this change was the dwindling financial returns from his operas.[50] Thus a tradition was created for oratorios which was to govern their future performance. The performances were given without costumes and action; the performers appeared in a black suit.[51]Caricature of Handel by Joseph Goupy (1754)In 1736 Handel produced Alexander's Feast. John Beard appeared for the first time as one of Handel's principal singers and became Handel's permanent tenor soloist for the rest of Handel's life.[52] The piece was a great success and it encouraged Handel to make the transition from writing Italian operas to English choral works. In Saul, Handel was collaborating with Charles Jennens and experimenting with three trombones, a carillon and extra-large military kettledrums (from the Tower of London), to be sure "...it will be most excessive noisy".[53] Saul and Israel in Egypt both from 1739 head the list of great, mature oratorios, in which the da capo and dal segno aria became the exception and not the rule.[54] Israel in Egypt consists of little else but choruses, borrowing from the Funeral Anthem for Queen Caroline. In his next works Handel changed his course. In these works he laid greater stress on the effects of orchestra and soloists; the chorus retired into the background.[55] L'Allegro, il Penseroso ed il Moderato has a rather diverting character; the work is light and fresh.During the summer of 1741, the 3rd Duke of Devonshire invited Handel to Dublin to give concerts for the benefit of local hospitals.[56] His Messiah was first performed at the New Music Hall in Fishamble Street, on 13 April 1742, with 26 boys and five men from the combined choirs of St Patrick's and Christ Church cathedrals participating.[57] Handel secured a balance between soloists and chorus which he never surpassed.The use of English soloists reached its height at the first performance of Samson. The work is highly theatrical. The role of the chorus became increasingly import in his later oratorios. Jephtha was first performed on 26 February 1752; even though it was his last oratorio, it was no less a masterpiece than his earlier works.[58]Later yearsGeorge Frideric Handel in 1733, by Balthasar Denner (1685–1749)In 1749 Handel composed Music for the Royal Fireworks; 12,000 people attended the first performance.[59] In 1750 he arranged a performance of Messiah to benefit the Foundling Hospital. The performance was considered a great success and was followed by annual concerts that continued throughout his life. In recognition of his patronage, Handel was made a governor of the Hospital the day after his initial concert. He bequeathed a copy of Messiah to the institution upon his death.[60] His involvement with the Foundling Hospital is today commemorated with a permanent exhibition in London's Foundling Museum, which also holds the Gerald Coke Handel Collection. In addition to the Foundling Hospital, Handel also gave to a charity that assisted impoverished musicians and their families.In August 1750, on a journey back from Germany to London, Handel was seriously injured in a carriage accident between The Hague and Haarlem in the Netherlands.[61] In 1751 one eye started to fail. The cause was a cataract which was operated on by the great charlatan Chevalier Taylor. This led to uveitis and subsequent loss of vision. He died eight years later in 1759 at home in Brook Street, at age 74. The last performance he attended was of Messiah. Handel was buried in Westminster Abbey.[62] More than three thousand mourners attended his funeral, which was given full state honours.Handel never married, and kept his personal life private. His initial will bequeathed the bulk of his estate to his niece Johanna. However four codicils distributed much of his estate to other relations, servants, friends and charities.[63]Handel owned an art collection that was auctioned posthumously in 1760.[64] The auction catalogue listed approximately seventy paintings and ten prints (other paintings were bequeathed).[64]WorksSenesino, the famous castrato from SienaMain articles: List of compositions by George Frideric Handel and List of operas by Handel.Handel's compositions include 42 operas, 29 oratorios, more than 120 cantatas, trios and duets, numerous arias, chamber music, a large number of ecumenical pieces, odes and serenatas, and 16 organ concerti. His most famous work, the oratorio Messiah with its "Hallelujah" chorus, is among the most popular works in choral music and has become the centrepiece of the Christmas season. Among the works with opus numbers published and popularised in his lifetime are the Organ Concertos Op.4 and Op.7, together with the Opus 3 and Opus 6 concerti grossi; the latter incorporate an earlier organ concerto The Cuckoo and the Nightingale in which birdsong is imitated in the upper registers of the organ. Also notable are his sixteen keyboard suites, especially The Harmonious Blacksmith.Handel introduced previously uncommon musical instruments in his works: the viola d'amore and violetta marina (Orlando), the lute (Ode for St. Cecilia's Day), three trombones (Saul), clarinets or small high cornetts (Tamerlano), theorbo, horn (Water Music), lyrichord, double bassoon, viola da gamba, bell chimes, positive organ, and harp (Giulio Cesare, Alexander's Feast).[65]Handel's works have been catalogued in the Händel-Werke-Verzeichnis and are commonly referred to by an HWV number. For example, Messiah is catalogued as HWV 56.LegacyA Masquerade at the King's Theatre, Haymarket (c. 1724)Handel's works were collected and preserved by two men in particular: Sir Samuel Hellier, a country squire whose musical acquisitions form the nucleus of the Shaw-Hellier Collection,[66] and abolitionist Granville Sharp. The catalogue accompanying the National Portrait Gallery exhibition marking the tercentenary of the composer's birth calls them two men of the late eighteenth century "who have left us solid evidence of the means by which they indulged their enthusiasm".[67]After his death, Handel's Italian operas fell into obscurity, except for selections such as the aria from Serse, "Ombra mai fù". The oratorios continued to be performed but not long after Handel's death they were thought to need some modernisation, and Mozart orchestrated a German version of Messiah and other works. Throughout the 19th century and first half of the 20th century, particularly in the Anglophone countries, his reputation rested primarily on his English oratorios, which were customarily performed by enormous choruses of amateur singers on solemn occasions.Since the Early Music Revival many of the forty-two operas he wrote have been performed in opera houses and concert halls.Handel's music was studied by composers such as Haydn, Mozart and BeethovenRecent decades have revived his secular cantatas and what one might call 'secular oratorios' or 'concert operas'. Of the former, Ode for St. Cecilia's Day (1739) (set to texts by John Dryden) and Ode for the Birthday of Queen Anne (1713) are noteworthy. For his secular oratorios, Handel turned to classical mythology for subjects, producing such works as Acis and Galatea (1719), Hercules (1745) and Semele (1744). These works have a close kinship with the sacred oratorios, particularly in the vocal writing for the English-language texts. They also share the lyrical and dramatic qualities of Handel's Italian operas. As such, they are sometimes performed onstage by small chamber ensembles. With the rediscovery of his theatrical works, Handel, in addition to his renown as instrumentalist, orchestral writer, and melodist, is now perceived as being one of opera's great musical dramatists.A carved marble statue of Handel, created for the Vauxhall Gardens in 1738 by Louis-François Roubiliac, and now preserved in the Victoria & Albert Museum.Handel's work was edited by Samuel Arnold (40 vols., London, 1787–1797), and by Friedrich Chrysander, for the German Händel-Gesellschaft (105 vols., Leipzig, 1858–1902).Handel adopted the spelling "George Frideric Handel" on his naturalisation as a British subject, and this spelling is generally used in English-speaking countries. The original form of his name, Georg Friedrich Händel, is generally used in Germany and elsewhere, but he is known as "Haendel" in France. Another composer with a similar name, Handl or Händl, was an Austrian from Carniola and is more commonly known as Jacobus Gallus.Musician's musicianHandel has generally been accorded high esteem by fellow composers, both in his own time and since.[68] Bach attempted, unsuccessfully, to meet with Handel while he was visiting Halle.[69] Mozart is reputed to have said of him, "Handel understands affect better than any of us. When he chooses, he strikes like a thunder bolt."[70] To Beethoven he was "the master of us all... the greatest composer that ever lived. I would uncover my head and kneel before his tomb".[70] Beethoven emphasised above all the simplicity and popular appeal of Handel's music when he said, "Go to him to learn how to achieve great effects, by such simple means".HomagesHandel Commemoration in Westminster Abbey, 1784After Handel's death, many composers wrote works based on or inspired by his music. The first movement from Louis Spohr's Symphony No. 6, Op. 116, "The Age of Bach and Handel", resembles two melodies from Handel's Messiah. In 1797 Ludwig van Beethoven published the 12 Variations in G major on ‘See the conqu’ring hero comes’ from Judas Maccabaeus by Handel, for cello and piano. Guitar virtuoso Mauro Giuliani composed his Variations on a Theme by Handel, Op. 107 for guitar, based on Handel's Suite No. 5 in E major, HWV 430, for harpsichord. In 1861, using a theme from the second of Handel's harpsichord suites, Johannes Brahms wrote the Variations and Fugue on a Theme by Handel, Op. 24, one of his most successful works (praised by Richard Wagner). Several works by the French composer Félix-Alexandre Guilmant use Handel's themes, for example his March on a Theme by Handel uses a theme from Messiah. French composer and flautist Philippe Gaubert wrote his Petite marche for flute and piano based on the fourth movement of Handel's Trio Sonata, Op. 5, No. 2, HWV 397. Argentine composer Luis Gianneo composed his Variations on a Theme by Handel for piano. In 1911, Australian-born composer and pianist Percy Grainger based one of his most famous works on the final movement of Handel's Suite No. 5 in E major (just like Giuliani). He first wrote some variations on the theme, which he titled Variations on Handel's ‘The Harmonious Blacksmith’ . Then he used the first sixteen bars of his set of variations to create Handel in the Strand, one of his most beloved pieces, of which he made several versions (for example, the piano solo version from 1930). Arnold Schoenberg's Concerto for String Quartet and Orchestra in B flat major (1933) was composed after Handel's Concerto Grosso, Op. 6/7.VenerationHandel is honored together with Johann Sebastian Bach and Henry Purcell with a feast day on the liturgical calendar of the Episcopal Church (USA) on 28 July.He is commemorated as a musician in the Calendar of Saints of the Lutheran Church on 28 July, with Johann Sebastian Bach and Heinrich Schütz.He is commemorated as a musician along with Johann Sebastian Bach on 28 July by The Order of Saint Luke in their calendar of saints prepared for the use of The United Methodist Church.EditionsBetween 1787 and 1797 Samuel Arnold compiled a 180-volume collection of Handel's works—however it was far from complete.[72] Also incomplete was the collection produced between 1843 and 1858 by the English Handel Society (found by Sir George Macfarren).[73]The 105-volume Händel-Gesellschaft edition was published in the mid 19th century and was mainly edited by Friedrich Chrysander (often working alone in his home). For modern performance, the realisation of the basso continuo reflects 19th century practice. Vocal scores drawn from the edition were published by Novello in London, but some scores, such as the vocal score to Samson are incomplete.The still-incomplete Hallische Händel-Ausgabe started to appear in 1956 (named for Halle in Saxony-Anhalt Eastern Germany, not the Netherlands). It did not start as a critical edition, but after heavy criticism of the first volumes, which were performing editions without a critical apparatus (for example, the opera Serse was published with the title character recast as a tenor reflecting pre-war German practice), it repositioned itself as a critical edition. Influenced in part by cold-war realities, editorial work was inconsistent: misprints are found in abundance and editors failed to consult important sources. In 1985 a committee was formed to establish better standards for the edition.From Wikipedia, the free encyclopedia