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Hunchback of Notre Dame, The Reference library
The Oxford Companion to the American Musical
...to the musical as they had with most Disney entries in the 1990s, yet the movie was extremely popular in Europe, so the company's stage version was produced in Germany. The Hunchback of Notre Dame . While the Feast of Fools is going on in the streets of Paris, the hunchback Quasimodo (pictured) celebrates far above them in the towers of Notre Dame, wishing he could be part of it all. When his wish comes true, he is humiliated by the crowd. Such potent drama was not diminished because it was an animated film; in many ways animation was ideal for such a...
Gold Diggers of Broadway Reference library
The Oxford Companion to the American Musical
...each one of the Harry Warren (music) and Al Dubin (lyrics) songs into a visual as well as a musical feast. Rogers and the chorines were dressed in outfits made of coins for the optimistic “We're in the Money;” lovers cuddled and kissed in “Pettin' in the Park” until a sudden thunder shower sent the girls scurrying for cover and they were shown changing out of their wet clothes in silhouette; and violin-playing chorus girls formed patterns and even glowed in the dark for “The Shadow Waltz.” The finale was a tribute to war veterans out of a job during...
Mommerie Reference library
The International Encyclopedia of Dance
...the streets nor the Fêtes des Fous (Feasts of Fools), in which clerics themselves participated wearing monstrous masks or disguised as women, could be suppressed. Mommeries were incorporated into fourteenth-century mystery plays and formed one of their principal attractions. German popular plays contained elements of the mommerie, as did Italian theatrical pantomimes. In England the mummers' plays to this day combine ancient fertility rites, dancing, and broad comedy, the identity of the performers hidden under masks and fantastic human and animal...
Gawain Quick reference
The Grove Book of Operas (2 ed.)
... wife of Bertilak mezzo‐soprano Fool baritone Green Knight/Bertilak de Hautdesert bass Gawain a knight, Arthur' nephew baritone Bishop Baldwin countertenor Guinevere soprano Agravain Gawain' brother bass Ywain Arthur' nephew tenor Bedevere a knight spoken Clerics, offstage chorus Setting King Arthur's Court; Hautdesert; The Green Chapel Act 1 King Arthur's court at Christmas King Arthur and his court are celebrating the Christmas feast; Morgan le Fay and Lady de Hautdesert are plotting against the court. A Fool presents a sequence of riddles, each of which...
Moresca Reference library
The International Encyclopedia of Dance
...(e.g., Nuremberg Schembart , the bakers of Strasbourg) and English Morris dancers (e.g., Oxfordshire Morris dancers) frequently make use of this pattern, taking the dance through city streets at Carnival time, on the feast of Corpus Christi, at Easter, and on May Day. John Taylor , in A Navy of Land Ships ( 1630 ) speaks of capering a “Morisca … of forty miles long” (Baskervill, 1929, p. 302). Supernumeraries such as the Fool, the Maiden (Maide Marian), the Horse (Hobby-Horse), wild men, and giants were part of such cortèges; their function was to clear...
Guild Dances Reference library
The International Encyclopedia of Dance
...of May and thus continuing the tradition of pre-Christian May celebrations, took second place; the feasts of Saint John and of patron saints came third. Another important celebration was the annual guild assembly, which usually began with attendance at Mass and ended with a banquet and a dance at night. All major guild festivals included three types of dance activities: the progressive dances, mainly part of the “running,” in which the uniformly costumed participants moved in a cortège through the streets of their city, accompanied by others dressed as fools,...
Danielpour, Richard (28 Jan 1956) Reference library
Laurie Shulman
The Grove Dictionary of American Music (2 ed.)
...qnt, 1988; Str Qt no.2 “Shadow Dances,” 1993; Urban Dances II, brass qnt, 1993; Fantasy Variations, vc, pf, 1997; Feast of Fools, bn, str qt, 1998; A Child's Reliquary, pf trio, 1999, orch. 2000; As Night Falls on Barjeantane, vn, pf, 2001; Str Qt no.4 “Apparitions,” 2001 [arr. str, hp, cel/pf, perc, 2003]; Str Qt no.5 (In Search of “La Vita Nuova”), 2004; Troubadours’ Feast, fl, cl, vn, va, vc, pf, 2005; River of Light, vn, pf, 2007; Faces of Guernica, pf trio, 2009; Kaddish, str sxt, 2009 [arr. vn, str, hp, 2011]; Str Qt no.6, “Addio,” 2009; Remembering...
Christianity and Dance Reference library
The International Encyclopedia of Dance
...Wycliffite reformer to condemn it as “a feast of words with dancing and ditties,” lacking in any spiritual content (Pimlott, 1978, p. 17). The lower clergy, often as illiterate and superstitious as their peasant parishioners, were known to violate the sanctuary with ribald satires, gambling, lewd songs, and dancing. Their most irreverent behavior was reserved for the Feast of Fools, when they would make mockeries of bishops, cardinals, and even the mass. These burlesques proved resistant to the repeated condemnations of prelates, kings, and popes, from the...
Boris Godunov Quick reference
The Grove Book of Operas (2 ed.)
... opposite). d Entrance of Varlaam and Missail: their song is based on an old epic song Musorgsky had transcribed from the singing of the famous bard Trofim Ryabinin. e ‘Revolutionary’ chorus in da capo form: the middle section based on a song from Balakirev's anthology of 1866. f The False Dmitry's (Pretender's) procession, including Jesuit hymns; Dmitry's proclamation and the crowd's glorification of him (procession music adapted from Salammbô). g The Holy Fool laments the fate of Russia (from the end of Part 4.i, 6e opposite). Boris Godunov is the...
May Night Quick reference
The Grove Book of Operas (2 ed.)
...part to dictate the succession of musical numbers, and wherever possible he drew on authentic folk materials, particularly the collection of Ukrainian folksongs published in 1872 by his St Petersburg Conservatory colleague Alexander Rubets, from which he chose eight songs. With its feast of folksong, May Night was not only a faithful counterpart to its literary prototype. It was also a fulfilment of Gogol's own prophecy – made in 1836 , the year of A Life for the Tsar – that Glinka's example would lead to opera made out of ‘our national life’. A ct 1 A...
Siegfried Quick reference
A Dictionary of Opera Characters (2 ed.)
...tolerate being with him. He picks up the latest sword and smashes it against the anvil. He starts to ask about his mother and Mime tells him that he has been both father and mother to him. Siegfried is not fooled—he knows he does not look like Mime, as animals look like their parents. Siegfried persists with his questions and Mime recounts the story of his birth, showing him the sword fragments in evidence. Siegfried insists Mime must forge a sword from the pieces. With it, Siegfried tells him, he will leave the cave and hopes never to see Mime again. All in...
Roman Empire Reference library
The International Encyclopedia of Dance
...(The Stupid), Bucco (The Fool), Pappus (The Grandfather), and Manducus (The Chewer), a humpbacked character, and possibly one or two others. Titles such as The Fullers, The Transalpine Gauls, Young Friends, The Pimp , and The Brothel give an idea of some of the subjects treated in the farces. The crudity and coarseness of some of the racier titles had an especially great appeal for imperial audiences. The Atellan farces were used as afterpieces following tragedies and comedies and retained their popularity down to the end of the Empire, although by then...
Matachins Reference library
The International Encyclopedia of Dance
...parts of spectacular events. One was a grotesque dance of “fools”; the other, a skilled sword dance performed by young noblemen before an aristocratic audience. A third type, particularly popular in parts of southern Europe, was a solemn ritual dance for religious occasions (e.g., dance of death), a mattaccino or moresca that apparently spread via the Spanish Conquest to Mexico and other parts of the Spanish Empire. References to the grotesque aspects of the matachins abound. John Florio ( A Worlde of Wordes , 1598 ) calls the dance “a kind of antique...
Diemer, Emma Lou (24 Nov 1927) Reference library
J. Michele Edwards
The Grove Dictionary of American Music (2 ed.)
...of Life, children's chorus, 1970; Geronimo, children's chorus, 1970 I Will Sing of Mercy and Judgment, chorus, pf/org, 1970 [from Anniversary Choruses]; O to Make the Most Jubilant Song (W. Whitman, A. Tennyson), chorus, pf/org, 1970; Why so Pale and Wan? (J. Suckling), chorus, 1971; 3 Madrigals (W. Shakespeare, T. Campion, J. Donne), chorus, pf/org, 1972; O to Praise God Again, chorus, 1972; Jesus, Lover of My Soul, chorus, fl, pf/org, 1974; Laughing Song (W. Blake), chorus, pf 4 hands/pf, 1974 Love is a Sickness, Full of Woes, SAB, 1974; Men Are Fools that...
Götterdämmerung Quick reference
The Grove Book of Operas (2 ed.)
...they tell him of the dangers the curse‐laden ring brings he says he will not succumb to threats. The Rhinemaidens abandon the ‘fool’, leaving Siegfried to meditate on the oddity of women's behaviour. Hagen's voice and falling semitone are heard, and Siegfried calls the hunting party over (scene ii). He tells them that the only game he has seen was three wild water‐birds, who told him he would be murdered that day. Siegfried drinks jovially from a horn, but Gunther can see only Siegfried's blood in his. Siegfried is asked to tell the story of his life, and he...
Italy Reference library
The International Encyclopedia of Dance
...councils' prohibitions of dance may have referred to the location rather than to the activity per se . [See Christianity and Dance , article on Early Christian Views .] The church's opposition became stronger when various forms of expression later became freer, allowing some nonreligious elements, for example, in the Feste dei Folli (Feast of Fools), which was held shortly after Christmas. Ecclesiastical authorities repeatedly condemned the immoderateness of these celebrations, since they involved the temporary upsetting of the social hierarchy and...
Great Britain Reference library
The International Encyclopedia of Dance
...of the twentieth century, the White Boys Mummers performed a six-man Sword Dance and play, perhaps akin to the long-sword dance dramas of England. For a finale the swords were woven into a seat. A character called the Doctor was put on this chair, hoisted shoulder high, and chaired out. “The Salmon Leap” was a ceremonial dance carried out by the fishermen of Dalby. There were the Skipper, Mate, and Fool, plus six dancers who carried peeled hazel rods. Figures included reels of three and the forming of a circle with the hazel rods, through which the Fool...
Thomson, Virgil (25 Nov 1896) Reference library
Anthony Tommasini and Richard Jackson
The Grove Dictionary of American Music (2 ed.)
...pf; The Feast of Love (from Pervigilium veneris, trans. Thomson), Bar, orch, 1964 , arr. with pf, unpubd; From Byron's Don Juan, T, orch, 1967 , unpubd With instruments: 5 Phrases from The Song of Solomon, S, perc, 1926 ; Stabat mater (M. Jacob), S, str qt. 1931 , rev. 1981 , arr. S, str orch, unpubd, arr. 1v, pf, 1960 ; 4 Songs to Poems of Thomas Campion, Mez, cl, va, harp, 1951 , arr. Mez, pf, arr. SATB, pf, 1955 With piano: The Sunflower (W. Blake), 1920 , unpubd; Vernal Equinox (A. Lowell), 1920 , unpubd; 3 Sentences from The Song of Solomon, ...
Sweden Reference library
The International Encyclopedia of Dance
...form and ideas and were judged the equal of contemporary French works. Beaulieu was then succeeded by his assistant, Des Aunez (also written Desaunai and de Sonnes), and Stiernhielm retired to the country. Urban Chevreau's Les Liberalités des Dieux (The Bounties of the Gods; 1652 ) was written for twenty-two couples and had only fifteen entrées . One concerned three Swedish ghosts, evidence of a growing interest in native folklore. Christina made a last appearance in the 1653 ballet Gudarnas Högtid (The Feast of the Gods), a bergerette or pastoral....
Germany Reference library
The International Encyclopedia of Dance
...of peasants. In this period, German folk dance became truly distinct from elite social dance, although the two genres continued to influence each other. Rural Folk Dances The traditional dances of German countryfolk were characterized by vital, spirited hopping and jumping, which contrasted with the dignified, measured steps of court dances. In rural areas, the occasions for dancing and entertainment included Carnival, Easter, ember days, sowing, the driving out of the cattle, May Day, the feasts of Saint John the Baptist and Saint Martin, the anniversary of...
