Review. R. Murray Schafer : String Quartets Nos. 1-7 (No. 5, Rosalind ; No. 6, Parting Wild Horse's Mane ; No. 7, with soprano obbligato), Quatuor Molinari (Olga Ranzenhofer and Johannes Jansonlus, violins ; David Quinn, viola ; Sylvie Lambert, cello). ATMA Classique, ACD22188/89, p2000, 2 compact discs. (R. Murray Schafer String Quartets 1-7. Quatuor Molinari) André Prévost : String Quartets Nos. 2-4 (No. 2 Ad Pacem), Quatuor Alcan (Brett Molzan and Nathalie Camus, violins ; Luc Beauchemin, viola ; David Ellis, cello). Chaîne culturelle de Radio-Canada (SRC), RIC 2 9984, p1999, 1 compact disc (Quatuor Alcan : André Prévost).

Compact disc (CD-ROM) computer technology have been around for at least a decade, but health educators have been slow to use this technology for health education purposes. This paper describes the process of CD-ROM production in health education.

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Five Autograph String Quartets by Giovanni Battista Sammartini

Journal of the American Musicological Society ◽

10.1525/jams.1953.6.2.03a00020 ◽

1953 ◽

Vol 6 (2) ◽

pp. 136-147

Author(s):

Henry G. Mishkin

Keyword(s):

String Quartets

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The Arrival of the Zarzuela in Budapest El rey que rabió by Ruperto Chapí

Studia Musicologica ◽

10.1556/6.2019.00012 ◽

2020 ◽

Vol 60 (1-4) ◽

pp. 243-262

Author(s):

Gloria A. Rodríguez-Lorenzo

Keyword(s):

Twentieth Century ◽

String Quartets ◽

Musical Theatre ◽

Turn Of The Century ◽

Going Public ◽

Spanish Music ◽

Written Performance

The appearance of zarzuela in Hungary is entirely unknown in musicology. In the present study, I discuss the currently unchartered reception of the zarzuela El rey que rabió (first performed in Spain in 1891) by Ruperto Chapí (1851-1909), a Spanish composer of over one hundred stage pieces and four string quartets. Premièred as Az unatkozó király in Budapest seven years later in 1898, Chapí’s zarzuela met with resounding success in the Hungarian press, a fervour which reverberated into the early decades of the twentieth century. Emil Szalai and Sándor Hevesi’s skilful Hungarian translation, together with Izsó Barna’s appropriate adjustments and reorchestration, accordingly catered the work to Budapest audiences. Through analysis of hand-written performance materials of Az unatkozó király (preserved in the National Széchényi Library), alongside a detailed study of the Hungarian reception, the profound interest in Spanish music–particularly in relation to musical theatre–amongst the turn-of-the-century Hungarian theatre-going public is revealed. This paper explores how Az unatkozó király became a success in Hungary.

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