Manita en el suelo von Alejandro García Caturla und Alejo Carpentier:
Gespeichert in:
| Beteilige Person: | |
|---|---|
| Format: | Buch |
| Sprache: | Deutsch |
| Veröffentlicht: |
Frankfurt am Main ; Berlin ; Bern ; Bruxelles ; New York ; Oxford ; Wien
Peter Lang
2008
|
| Schriftenreihe: | Perspektiven der Opernforschung
15 |
| Schlagwörter: | |
| Links: | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016288143&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| Umfang: | 282 Seiten Illustrationen, Notenbeispiele 230 mm x 160 mm |
| ISBN: | 9783631566336 3631566336 |
Internformat
MARC
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|---|---|---|---|
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| 100 | 1 | |a Meier, Silke |e Verfasser |4 aut | |
| 245 | 1 | 0 | |a Manita en el suelo von Alejandro García Caturla und Alejo Carpentier |c Silke Meier |
| 264 | 1 | |a Frankfurt am Main ; Berlin ; Bern ; Bruxelles ; New York ; Oxford ; Wien |b Peter Lang |c 2008 | |
| 300 | |a 282 Seiten |b Illustrationen, Notenbeispiele |c 230 mm x 160 mm | ||
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| 490 | 1 | |a Perspektiven der Opernforschung |v 15 | |
| 600 | 1 | 4 | |a Carpentier, Alejo <1904-1980> |t Manita en el suelo |
| 600 | 1 | 4 | |a García Caturla, Alejandro <1906-1940> |t Manita en el suelo |
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| 600 | 1 | 7 | |a García Caturla, Alejandro |d 1906-1940 |t Manita en el suelo |0 (DE-588)7593733-5 |2 gnd |9 rswk-swf |
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Datensatz im Suchindex
| _version_ | 1819270659031695360 |
|---|---|
| adam_text | Inhaltsverzeichnis
I.Einleitung...................................................................................................................13
IL Die
afrokubanische Kultur: Eine Einführung in deren Religion, Literatur und
Musik.............................................................................................................................19
1. Präliminarien.........................................................................................................21
1.1 Synkretismus....................................................................................................21
1.2 transculturacion und
lo criollo........................................................................
22
1.3 Geschichtliche Hintergründe...........................................................................23
2. Die
Santería
...........................................................................................................25
S.DerÑafiiguismoiDieAbakuá-Geheimgesellschañen..........................................
29
4.
Regla
de
Palo
Monte.............................................................................................35
5. Der Afrocubanismo und der
Grupo Minorista......................................................
37
6.
Poesía
Negrista und
Negritude.............................................................................
45
7. Die Musik auf Kuba..............................................................................................49
7.1 Die Musik der Indianer: Spurensuche einer verlorenen Kultur.......................49
7.2 Das spanische Erbe..........................................................................................50
7.3 Der französische Einfluß.................................................................................51
7.4 Chinesische Elemente......................................................................................52
7.5 Der Afrocubanismo in der Musik....................................................................52
7.5.1
Danzón
......................................................................................................63
7.5.2
Conga........................................................................................................
64
7.5.3
Guajira
.......................................................................................................65
7.5.4
Son
.............................................................................................................66
III.
Zum
Libretto
...........................................................................................................71
l.Carpentier als
Librettist
.........................................................................................73
1.1 Biographisches.................................................................................................73
1.2
Carpentiere
Frühwerk......................................................................................75
1.3 Carpentier und der Surrealismus.....................................................................79
2. Analyse des Librettos............................................................................................85
2.1 Analyse der einzelnen Personen......................................................................89
2.1.1
Papá Montero............................................................................................
90
2.1.2 Manita
en el suelo
.....................................................................................91
2.1.3
El Capitán General de España
und die
Ocho Guardias Civiles
................92
2.1.4
El Chino de la Charada
.............................................................................92
2.1.5
Los Tres Juanes
.........................................................................................95
2.1.6
La Virgen de la Caridad del Cobre
...........................................................96
2.1.7
El Gallo Motoriongo
.................................................................................99
2.1.8
Tata Cufiengue,
Candita la
Loca
und die
Negras y Negros
......................99
2.1.9
Luna Número
1,
Luna Número
2............................................................101
2.2 Zur Sprache von
Manita en el suelo
..............................................................102
2.3
Analyse
der einzelnen Szenen.......................................................................106
1. Szene-
Charada
primera............................................................................
106
2. Szene
-ios Tres Juanes
..............................................................................HO
3. Szene
-Elegía
del Enkiko
-
Baile de Santo
................................................114
4. Szene -
El huracán
......................................................................................118
5. Szene -
Charada segunda
[FINAL]
..............................................................122
3. Vergleich der Librettofassungen.........................................................................127
IV.
Zur Musik..............................................................................................................133
1. Der Komponist
Catarla
........................................................................................135
1.1 Biographisches...............................................................................................135
1.2 Einflüsse und Vorbilder.................................................................................144
1.2.1
Alejo Carpentier
und die französischen Komponisten der Avantgarde. 144
1.2.2
Ernesto
Lecuona......................................................................................145
1.2.3 Manuel Saumeil und
Ignacio
Cervantes.................................................145
1.2.4 Henry Cowell..........................................................................................147
2. Die Genese von Manita
en el suelo
.....................................................................149
3. Die Rezeptionsgeschichte von Manita
en el suelo
..............................................157
4. Quellenkritik........................................................................................................161
4.1 Libretto..........................................................................................................161
4.2 Kompositionsmanuskripte.............................................................................161
4.2.1 Manuskript 1...........................................................................................162
4.2.2 Manuskript 2...........................................................................................163
4.2.3 Manuskript 3...........................................................................................163
4.2.4 Manuskript 4...........................................................................................172
5. Analyse................................................................................................................173
5.1 Orchester- und Sängerbesetzung...................................................................173
5.1.1 Orchesterbesetzung.................................................................................173
5.1.2 Sängerbesetzung......................................................................................174
5.2 Melodik..........................................................................................................175
5.3 Rhythmik.......................................................................................................181
5.4 Harmonik.......................................................................................................186
5.5
Danzón, Guajira
und
Son:
Beispiele
fur die
von Caturla verwendeten
Gattungen afrokubanischer Musik.......................................................................195
5.5.1
Danzón
....................................................................................................195
5.5.2
Guajira.....................................................................................................
200
5.5.3
Son
...........................................................................................................201
5.6 Der
Baile
de Santo in der 3. Szene: Aspekte der Vertonung eines
afrokubanischen Rituals.......................................................................................207
5.7 Der Sturm in der 4. Szene: Die Parodie der traditionellen Oper als Buffo-
Element................................................................................................................215
5.8 Die
Elegía al
Enkiko: Anmerkungen zu Caturlas Instrumentationstechnik..221
6. Abschriften, Bearbeitungen und die
»Nueva Reconstrucción
Musical«: Ein
Vergleich zu Caturlas Original................................................................................231
6.1 Abschriften und Bearbeitungen..................,..................................................232
6.2 Die
»Nueva Reconstrucción
Musical«..........................................................235
V.Ausblick.................................................................................................................243
Anhänge......................................................................................................................247
I.
Deutsche Übersetzung des Librettos....................................................................249
II.
Quellen zur Rezeptionsgeschichte......................................................................265
1.
Hilario González, Manita en el suelo (Estreno mundial)
................................265
2. Pressestimmen zur Uraufführung von Manita
en el suelo
..............................266
3.
Umberto
Peña, Una rica experiencia visual
....................................................267
4.
Hilario González,
Schallplattenbeiheft von
Manita en el suelo
......................268
5. Szenenfotos der Uraufführung.........................................................................269
6. Bühnenbildentwürfe zur Uraufführung von Ricardo Reymena......................271
Bibliographie...............................................................................................................273
Abbildungsnachweise.................................................................................................282
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| id | DE-604.BV023085185 |
| illustrated | Illustrated |
| indexdate | 2024-12-20T13:08:17Z |
| institution | BVB |
| isbn | 9783631566336 3631566336 |
| language | German |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-016288143 |
| oclc_num | 191658488 |
| open_access_boolean | |
| owner | DE-12 DE-703 DE-11 DE-20 |
| owner_facet | DE-12 DE-703 DE-11 DE-20 |
| physical | 282 Seiten Illustrationen, Notenbeispiele 230 mm x 160 mm |
| publishDate | 2008 |
| publishDateSearch | 2008 |
| publishDateSort | 2008 |
| publisher | Peter Lang |
| record_format | marc |
| series | Perspektiven der Opernforschung |
| series2 | Perspektiven der Opernforschung |
| spellingShingle | Meier, Silke Manita en el suelo von Alejandro García Caturla und Alejo Carpentier Perspektiven der Opernforschung Carpentier, Alejo <1904-1980> Manita en el suelo García Caturla, Alejandro <1906-1940> Manita en el suelo Carpentier, Alejo 1904-1980 Manita en el suelo (DE-588)7593711-6 gnd García Caturla, Alejandro 1906-1940 Manita en el suelo (DE-588)7593733-5 gnd |
| subject_GND | (DE-588)7593711-6 (DE-588)7593733-5 |
| title | Manita en el suelo von Alejandro García Caturla und Alejo Carpentier |
| title_auth | Manita en el suelo von Alejandro García Caturla und Alejo Carpentier |
| title_exact_search | Manita en el suelo von Alejandro García Caturla und Alejo Carpentier |
| title_full | Manita en el suelo von Alejandro García Caturla und Alejo Carpentier Silke Meier |
| title_fullStr | Manita en el suelo von Alejandro García Caturla und Alejo Carpentier Silke Meier |
| title_full_unstemmed | Manita en el suelo von Alejandro García Caturla und Alejo Carpentier Silke Meier |
| title_short | Manita en el suelo von Alejandro García Caturla und Alejo Carpentier |
| title_sort | manita en el suelo von alejandro garcia caturla und alejo carpentier |
| topic | Carpentier, Alejo <1904-1980> Manita en el suelo García Caturla, Alejandro <1906-1940> Manita en el suelo Carpentier, Alejo 1904-1980 Manita en el suelo (DE-588)7593711-6 gnd García Caturla, Alejandro 1906-1940 Manita en el suelo (DE-588)7593733-5 gnd |
| topic_facet | Carpentier, Alejo <1904-1980> Manita en el suelo García Caturla, Alejandro <1906-1940> Manita en el suelo Carpentier, Alejo 1904-1980 Manita en el suelo García Caturla, Alejandro 1906-1940 Manita en el suelo |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016288143&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV009695096 |
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