• The Arts: General Issues

      Yr Eisteddfod Genedlaethol

      The National Eisteddfod

      by Rhian A. Davies

    • Pageants, parades, festivals

      The National Pageant of Wales

      by Hywel Teifi. Edwards

    • Places & peoples: pictorial works

      Great Welsh Festivals

      by Andrea. Miller

    • The Arts: General Issues
      November 2009

      Pageants and Processions

      Images and Idiom as Spectacle

      by Editor(s): Herman du Toit

      Nowadays pageants often take the form of parades of effervescent young women competing for popular recognition in hyped up media events. However, these “beauty pageants” are a mere pastiche of the elaborate historical parades of the medieval period that took significant, social, religious, or civic events and their protagonists, as subjects. Pageants were historically characterized by resplendent costuming and elaborate processions that were often given to much pomp and ceremony. Pageantry has formed an important part of the civic life of most societies, both ancient and modern, serving a variety of cultural and political purposes. The use of drama and public spectacle as an instrument of civic, social, and religious activism has recently become the focus of renewed academic inquiry. The essays in this interdisciplinary anthology provide carefully researched insights into the phenomenon of pageantry over the centuries and across broad cultural boundaries.

    • Musical scores, lyrics & libretti
      October 2007

      Giacomo Meyerbeer

      The Non-Operatic Texts

      by Editor(s): Richard Arsenty and Robert Letellier

      The fame of Giacomo Meyerbeer is associated principally with the operatic stage, but he wrote for the voice extensively in other genres as well, including non-operatic stage works, occasional public works, sacred music, choral music and songs, This volume collates and presents, in the original and in English translation, as many of these texts as have been published, or whose manuscripts have proved accessible to the editors.There are six parts devoted to the various genres . Part 1 looks at the non-operatic stage works, the dramatic cantata he wrote at the beginning of his Italian period Gli Amori di Teolinda (1817), the masque written for Prussian court festivities Das Hoffest zu Ferrara (1842), and songs included in plays.Part 2 is devoted to the occasional works Meyerbeer was asked to write throughout his life, twelve cantatas born out of commissions to celebrate dynastic events and to praise the deeds of famous men. Their festive purposes mark anniversaries of illustrious figures (like Guttenberg, Frederick the Great, Schiller, Rauch), commemorate events in national life like the Wars of Liberation recalled in the choral soliloquy, the Bayerische Schützen Marsch (1831, to words by King Ludwig I of Bavaria), or the visit of Queen Victoria to the Rhine in 1845, or the twenty-fifth wedding anniversary of the King and Queen of Prussia in 1854. Linked to these are the part songs for male chorus given in Part 4, a ubiquitous German choral tradition; most of them were written for the Friends of the Berlin Singakademie, and used the themes so typical of communal merrymaking and affirmation—unity, friendship, patriotism, homeland, hunting: Part 3 surveys the texts for sacred music, from the early oratorio Gott und die Natur (1811) to the canticle Ineffable splendeur de la gloire eternelle drawn from Thomas à Kempis (1862-3). The young composer’s skills and serious endeavours were demonstrated by the song cycle using seven religious odes by Klopstock (Sieben Geistliche Gesänge, 1812, revised 1841)—an early involvement with religious texts that continued intermittently throughout his life, and manifested itself preeminently in his eight-part setting of Psalm 91 (1853) and his beautiful choral version of the Our Father (1857).Meyerbeer also wrote songs consistently, from his six Italian ariettas of 1810 to a canon for two voices completed in December 1862. These Lieder, mélodies and canzonette reflected the circumstances of his career, the various cultural milieux he moved in. They also helped to keep his name in the public eye in the wake of his great operatic successes, gaining popular currency by publication in musical journals. Part 5 provides the words of 54 of the 83 songs that are listed in his diaries. These texts are given a visual dimension by some 36 illustrations, mostly the beautifully engraved titles pages of many of the published works.

    • Musical scores, lyrics & libretti
      October 2007

      Giacomo Meyerbeer

      The Non-Operatic Texts

      by Editor(s): Richard Arsenty and Robert Letellier

      The fame of Giacomo Meyerbeer is associated principally with the operatic stage, but he wrote for the voice extensively in other genres as well, including non-operatic stage works, occasional public works, sacred music, choral music and songs, This volume collates and presents, in the original and in English translation, as many of these texts as have been published, or whose manuscripts have proved accessible to the editors.There are six parts devoted to the various genres . Part 1 looks at the non-operatic stage works, the dramatic cantata he wrote at the beginning of his Italian period Gli Amori di Teolinda (1817), the masque written for Prussian court festivities Das Hoffest zu Ferrara (1842), and songs included in plays.Part 2 is devoted to the occasional works Meyerbeer was asked to write throughout his life, twelve cantatas born out of commissions to celebrate dynastic events and to praise the deeds of famous men. Their festive purposes mark anniversaries of illustrious figures (like Guttenberg, Frederick the Great, Schiller, Rauch), commemorate events in national life like the Wars of Liberation recalled in the choral soliloquy, the Bayerische Schützen Marsch (1831, to words by King Ludwig I of Bavaria), or the visit of Queen Victoria to the Rhine in 1845, or the twenty-fifth wedding anniversary of the King and Queen of Prussia in 1854. Linked to these are the part songs for male chorus given in Part 4, a ubiquitous German choral tradition; most of them were written for the Friends of the Berlin Singakademie, and used the themes so typical of communal merrymaking and affirmation—unity, friendship, patriotism, homeland, hunting: Part 3 surveys the texts for sacred music, from the early oratorio Gott und die Natur (1811) to the canticle Ineffable splendeur de la gloire eternelle drawn from Thomas à Kempis (1862-3). The young composer’s skills and serious endeavours were demonstrated by the song cycle using seven religious odes by Klopstock (Sieben Geistliche Gesänge, 1812, revised 1841)—an early involvement with religious texts that continued intermittently throughout his life, and manifested itself preeminently in his eight-part setting of Psalm 91 (1853) and his beautiful choral version of the Our Father (1857).Meyerbeer also wrote songs consistently, from his six Italian ariettas of 1810 to a canon for two voices completed in December 1862. These Lieder, mélodies and canzonette reflected the circumstances of his career, the various cultural milieux he moved in. They also helped to keep his name in the public eye in the wake of his great operatic successes, gaining popular currency by publication in musical journals. Part 5 provides the words of 54 of the 83 songs that are listed in his diaries. These texts are given a visual dimension by some 36 illustrations, mostly the beautifully engraved titles pages of many of the published works.

    • The Arts: General Issues
      November 2009

      Pageants and Processions

      Images and Idiom as Spectacle

      by Editor(s): Herman du Toit

      Nowadays pageants often take the form of parades of effervescent young women competing for popular recognition in hyped up media events. However, these “beauty pageants” are a mere pastiche of the elaborate historical parades of the medieval period that took significant, social, religious, or civic events and their protagonists, as subjects. Pageants were historically characterized by resplendent costuming and elaborate processions that were often given to much pomp and ceremony. Pageantry has formed an important part of the civic life of most societies, both ancient and modern, serving a variety of cultural and political purposes. The use of drama and public spectacle as an instrument of civic, social, and religious activism has recently become the focus of renewed academic inquiry. The essays in this interdisciplinary anthology provide carefully researched insights into the phenomenon of pageantry over the centuries and across broad cultural boundaries.

    • The Arts
      July 1995

      All Year Round

      Calendar of Celebrations, A

      by Ann Druitt, Christine Fynes-Clinton

      All Year Round is brimming with things to make, activities, stories, poems and songs to share with your family. It is full of well-illustrated ideas for fun and celebration: from Candlemas to Christmas and Midsummer's day to the Winter solstice.Observing the round of festivals is an enjoyable way to bring rhythm into children's lives and provide a series of meaningful landmarks to look forward to. Each festival has a special character of its own: participation can deepen our understanding and love of nature and bring a gift to the whole family. All Year Round invites you to start celebrating now! ;

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