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Mycenaeans 1650-1100 by Nicolas Grguric, Angus McBride

By Nicolas Grguric, Angus McBride

The undying allure of Homer's epic poem of the traditional TrojanWar, The Iliad, has intended an eduring curiosity within the Mycenaen age. glossy scholarship and new archaeological proof now permits us to recontruct with average self belief the looks of this nice warrior civilization, which ruled a lot of the japanese Mediterranean among the sixteenth and twelfth centuries BC. we will additionally make deductions, from the few surviving pictorial resources, in regards to the strategies of those armies. This soaking up textual content is illustrated with examples of the archaeological and pictorial facts, and with impressive color reconstructions of sunshine and heavy infantry and chariot warriors of the Mycenaean age.

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It’s a fine blend of Wagner’s nineteenth-century Hellenism with his extension of the Dennis–Eccles–Scheibe–Lessing–Beethoven tradition, a tradition which had a Hellenic origin too. After the Funeral March, and arguably as a result of it, the big symphonic interlude in opera comes to flourish, for example in Debussy’s score for Maeterlinck’s Pelle´as and Me´lisande and Berg’s for Bu¨chner’s Wozzeck. The interlude in the Debussy after Me´lisande is tormented by Golaud in the presence of King Arkel and that in the Berg after Wozzeck is drowned beneath a blood-red moon are especially choric in Wagner’s sense: ‘sung, so to speak, by the orchestra’.

23 By the mid-eighteenth century, however, ‘choragus’ seems to have lost most of its currency as a term referring to contemporary theatre practice, at least where opera was concerned, perhaps because the word’s natural habitat was the court or college at a time when the operatic world as a whole had become more and more dominated by commercially-minded impresarios in the public theatre: men of a tribe founded back in the Venice of the 1640s by the likes of Marco Faustini, and men who would be unlikely to include a corago on their pay-roll.

For the sake of completeness, it is worth noting in passing that several scholars prefer to backdate it to the staging of Peri’s Dafne (Florence, Carnival 1597/8), whilst few have supported the view advocated several times by Kirkendale that ‘the first extant opera is not Peri’s Euridice . . but Anima e Corpo [Rome, February 1600] of Cavalieri’: Kirkendale (2003), 636 f. 2 Fubini (1976), 110–21. 3 Largely reconstructed, it should be added, in an indirect and mediated fashion, given that the treatise writers in question had a scant or non-existent knowledge of Greek, and sometimes even of Latin: for Vicentino, see Maniates and Palisca (1996), xxv–xxxvi, for Galilei, see Palisca (2003), xxi ff.

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