Timeline of World History TIMELINE OF WORLD HISTORY
 
 

TIMELINE OF WORLD HISTORY
 

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1800 - 1899
 
 
1800-09 1810-19 1820-29 1830-39 1840-49 1850-59 1860-69 1870-79 1880-89 1890-99
1800 1810 1820 1830 1840 1850 1860 1870 1880 1890
1801 1811 1821 1831 1841 1851 1861 1871 1881 1891
1802 1812 1822 1832 1842 1852 1862 1872 1882 1892
1803 1813 1823 1833 1843 1853 1863 1873 1883 1893
1804 1814 1824 1834 1844 1854 1864 1874 1884 1894
1805 1815 1825 1835 1845 1855 1865 1875 1885 1895
1806 1816 1826 1836 1846 1856 1866 1876 1886 1896
1807 1817 1827 1837 1847 1857 1867 1877 1887 1897
1808 1818 1828 1838 1848 1858 1868 1878 1888 1898
1809 1819 1829 1839 1849 1859 1869 1879 1889 1899
 
 
 
 
 
 
 
CONTENTS
  BACK-1870 Part II NEXT-1870 Part IV    
 
 
     
An Unfortunate Experiment
1870 - 1879
YEAR BY YEAR:
1870-1879
History at a Glance
 
YEAR BY YEAR:
1870 Part I
Alfonso XII
Leopold of Hohenzollern
"Ems Telegram"
Franco-Prussian War
BATTLE OF SEDAN
Lenin Vladimir
Vladimir Lenin
Smuts Jan
 
YEAR BY YEAR:
1870 Part II
Adler Alfred
Keble College
Papal infallibility
Ludwig Anzengruber: "Der Pfarrer von Kirchfeld"
Bunin Ivan
Disraeli: "Lothair"
Kuprin Aleksandr
Ivan Goncharov: "The Precipice"
Jules Verne: "Twenty Thousand Leagues Under the Sea"
 
YEAR BY YEAR:
1870 Part III
Barlach Ernst
Ernst Barlach
Corot: "La perle"
Dante Gabriel Rossetti: "Beata Beatrix"
Borisov-Musatov Victor
Victor Borisov-Musatov
Benois Alexandre
Alexandre Benois
Denis Maurice
Maurice Denis
Soldiers and Exiles
Impressionism Timeline (1863-1899)
Delibes: "Coppelia"
Tchaikovsky: "Romeo and Juliet"
Wagner: "Die Walkure"
Lehar Franz
Franz Lehar - Medley
Franz Lehar
Balfe Michael
Michael Balfe - "The Bohemian Girl"
 
YEAR BY YEAR:
1870 Part IV
Biogenesis
Przhevalsky Nikolai
Peaks and Plateaus
Johnson Allen
Gloucestershire County Cricket Club
Luxemburg Rosa
Standard Oil Company
Lauder Harry
Lloyd Marie
 
YEAR BY YEAR:
1871 Part I
Siege of Paris
Treaty of Versailles
Treaty of Frankfurt
Paris Commune
Treaty of Washington
Law of Guarantees
British North America Act, 1871
"Kulturkampf"
Ebert Friedrich
 
YEAR BY YEAR:
1871 Part II
Old Catholics
Charles Darwin: "The Descent of Man"
Jehovah's Witnesses
Russell Charles Taze
John Ruskin: "Fors Clavigera"
Lewis Carroll: "Through the Looking Glass"
Crane Stephen
Dreiser Theodore
George Eliot: "Middlemarch"
Mann Heinrich
Morgenstern Christian
Ostrovsky: "The Forest"
Proust Marcel
Valery Paul
Zola: "Les Rougon-Macquart"
 
YEAR BY YEAR:
1871 Part III
Gabriele Rossetti: "The Dream of Dante"
White Clarence
History of photography
Clarence White
Rouault Georges
Georges Rouault
Feininger Lyonel
Lyonel Feininger
Balla Giacomo
Giacomo Balla
Sloan John
John Sloan
The 'Terror'of the Commune
Impressionism Timeline (1863-1899)
Royal Albert Hall
"The Internationale"
Verdi: "Aida"
 
YEAR BY YEAR:
1871 Part IV
Schweinfurth Georg August
Quotations by Georg August Schweinfurth
Stanley Henry
Henry Morton Stanley
Further Exploration of the Nile
Heinrich Schliemann begins to excavate Troy
Ingersoll Simon
Rutherford Ernest
The Industrialization of War
The Industrialization of War
Bank Holiday
Great Chicago Fire
 
YEAR BY YEAR:
1872 Part I
Third Carlist War
Carlist Wars
Burgers Thomas Francois
Ballot Act 1872
Amnesty Act of 1872
Blum Leon
Coolidge Calvin
 
YEAR BY YEAR:
1872 Part II
Russell Bertrand
Klages Ludwig
Beerbohm Max
Samuel Butler: "Erewhon, or Over the Range"
Alphonse Daudet: "Aventures prodigieuses de Tartarin de Tarascon"
Alphonse Daudet
"Tartarin de Tarascon"
Diaghilev Sergei
Duse Eleonora
Thomas Hardy: "Under the Greenwood Tree"
Turgenev: "A Month in the Country"
Jules Verne: "Around the World in 80 Days"
Lever Charles
 
YEAR BY YEAR:
1872 Part III
Bocklin: "Self-Portrait with Death"
Whistler: "The Artist's Mother"
Mondrian Piet
Piet Mondrian
Beardsley Aubrey
Aubrey Beardsley
The Rise of Durand-Ruel
Impressionism Timeline (1863-1899)
Scriabin Alexander
Scriabin - Etudes
Alexander Scriabin
Williams Vaughan
Williams - Fantasia on a Theme by Thomas Tallis
Vaughan Williams
 
YEAR BY YEAR:
1872 Part IV
Bleriot Louis
Tide-predicting machine
Westinghouse George
Elias Ney
Hague Congress
Scotland v England (1872)
Scott Charles Prestwich
Nansen Ski Club
 
YEAR BY YEAR:
1873 Part I
First Spanish Republic
Mac-Mahon Patrice
Financial Panic of 1873
League of the Three Emperors
Bengal famine of 1873–1874
 
YEAR BY YEAR:
1873 Part II
Moore G. E.
Barbusse Henri
Ford Madox Ford
Maurier Gerald
Reinhardt Max
Rimbaud: "Une Saison en enfer"
Tolstoi: "Anna Karenina"
Bryusov Valery
 
YEAR BY YEAR:
1873 Part III
Cezanne: "A Modern Olympia"
Gulbransson Olaf
Manet: "Le bon Bock"
Gathering of the Future Impressionists
Impressionism Timeline (1863-1899)
Bruckner: Symphony No. 2
Carl Rosa Opera Company
Caruso Enrico
Enrico Caruso - Pagliacci No!
The greatest opera singers
Enrico Caruso
Chaliapin Feodor
Feodor Chaliapin - "Black Eyes"
The greatest opera singers
Feodor Chaliapin
Reger Max
Max Reger - Piano Concerto in F-minor
Max Reger
Rachmaninoff Sergei
Rachmaninoff plays Piano Concerto 2
Sergei Rachmaninov
Rimsky-Korsakov: "The Maid of Pskov"
Tchaikovsky: Symphony No. 2
Slezak Leo
Leo Slezak "Wenn ich vergnugt bin" 
The greatest opera singers
Leo Slezak
 
YEAR BY YEAR:
1873 Part IV
James Clerk Maxwell: "Electricity and Magnetism"
Euler-Chelpin Hans
Frobenius Leo
Payer Julius
Weyprecht Karl
Franz Josef Land
Cameron Verney Lovett
E. Remington and Sons
Remington Eliphalet
Hansen Gerhard Armauer
World Exposition 1873 Vienna
Wingfield Walter Clopton
 
YEAR BY YEAR:
1874 Part I
Anglo-Ashanti Wars (1823-1900)
Brooks–Baxter War
Swiss constitutional referendum, 1874
Colony of Fiji
Hoover Herbert
Weizmann Chaim
Churchill Winston
 
YEAR BY YEAR:
1874 Part II
Berdyaev Nikolai
Cassirer Ernst
Chesterton Gilbert
G.K. Chesterton quotes
G.K. Chesterton 
Flaubert: "La Tentation de Saint Antoine"
Frost Robert
Robert Frost
"Poems"
Thomas Hardy: "Far from the Madding Crowd"
Hofmannsthal Hugo
Hugo von Hofmannsthal
"Poems"
Victor Hugo: "Ninety-Three"
Maugham Somerset
Stein Gertrude
 
YEAR BY YEAR:
1874 Part III
Roerich Nicholas
Nicholas Roerich
Max Liebermann: "Market Scene"
Renoir: "La Loge"
The Birth of Impressionism
Impressionism Timeline (1863-1899)
Schmidt Franz
Franz Schmidt "Intermezzo" Notre Dame
Franz Schmidt
Schoenberg Arnold
Schoenberg: Verklarte Nacht
Arnold Schoenberg
Holst Gustav
Gustav Holst - Venus
Gustav Holst
Ives Charles
Charles Ives - Symphony 3
Charles Ives
Moussorgsky "Boris Godunov"
Johann Strauss II: "Die Fledermaus"
Verdi: "Requiem"
 
YEAR BY YEAR:
1874 Part IV
Bosch Carl
Marconi Guglielmo
Curtius Ernst
Shackleton Ernest
Stanley: Expedition to the Congo and Nile
Still Andrew Taylor
Bunker Chang and Eng
Universal Postal Union
Society for the Prevention of Cruelty to Children
Gerry Elbridge Thomas
Outerbridge Mary Ewing
 
YEAR BY YEAR:
1875 Part I
Guangxu Emperor
Herzegovina Uprising of 1875–77
Public Health Act 1875
Congregations Law of 1875
Theosophical Society
Jung Carl
Congregations Law of 1875
Buchan John
Deledda Grazia
Mann Thomas
Rejane Gabrielle
Rilke Rainer Maria
 
YEAR BY YEAR:
1875 Part II
Bouguereau William-Adolphe
William-Adolphe Bouguereau
Monet: "Woman with a Parasol"
An Unfortunate Experiment
Impressionism Timeline (1863-1899)
Bizet: "Carmen"
Brull Ignaz
Ignaz Brull - Das goldene Kreuz
Coleridge-Taylor Samuel
Coleridge Taylor Samuel - Violin Concerto
Samuel Coleridge-Taylor
Karl Goldmark: "Die Konigin von Saba"
Ravel Maurice
Ravel - Rapsodie espagnole
Maurice Ravel
Tchaikovsky: Piano Concerto No.1
Boisbaudran Lecoq
Gallium
Schweitzer Albert
Webb Matthew
 
YEAR BY YEAR:
1876 Part I
Japan–Korea Treaty of 1876
Ethio-Egyptian War
April Uprising
Batak massacre
Murad V
Abdulhamid II
Serbian–Ottoman War (1876–78)
Montenegrin–Ottoman War (1876–78)
Colorado
Tilden Samuel Jones
Hayes Rutherford Birchard
Ottoman constitution of 1876
Groselle Hilarion Daza
Adenauer Konrad
 
YEAR BY YEAR:
1876 Part II
Bradley Francis Herbert
Trevelyan George Macaulay
Pius XII
Felix Dahn: "Ein Kampf um Rom"
London Jack
Mallarme: "L'Apres-Midi d'un faune"
Mark Twain: "The Adventures of Tom Sawyer"
Modersohn-Becker Paula
Paula Modersohn-Becker
Renoir: "Le Moulin de la Galette"
THE SECOND IMPRESSIONIST EXHIBITION
Impressionism Timeline
(1863-1899)
 
YEAR BY YEAR:
1876 Part III
Brahms: Symphony No. 1
Casals Pablo
Leo Delibes: "Sylvia"
Falla Manuel
Manuel de Falla - Spanish dance
Manuel de Falla
Ponchielli: "La Gioconda"
Wagner: "Siegfried"
Walter Bruno
Wolf-Ferrari Ermanno
Ermanno Wolf-Ferrari - "Intermezzo"
Alexander Bell invents the telephone
Johns Hopkins University
Hopkins Johns
Bacillus anthracis
Macleod John James Rickard
Brockway Zebulon Reed
Centennial International Exhibition of 1876
 
YEAR BY YEAR:
1877 Part I
Russo-Turkish War of 1877–78
Siege of Plevna
Satsuma Rebellion
 
YEAR BY YEAR:
1877 Part II
Granville-Barker Harley
Hesse Hermann
Hermann Hesse
"Siddhartha"
Ibsen: "The Pillars of Society"
Henry James: "The American"
Zola: "L'Assommoir"
Praxiteles: "Hermes"
Dufy Raoul
Raoul Dufy
Winslow Homer: "The Cotton Pickers"
Kubin Alfred
Alfred Kubin
Manet: "Nana"
THE THIRD IMPRESSIONIST EXHIBITION
Impressionism Timeline (1863-1899)
 
YEAR BY YEAR:
1877 Part III
Brahms: Symphony No. 2
Dohnanyi Ernst
Erno Dohnanyi - Piano Concerto No. 1
Camille Saint-Saens: "Samson et Delila"
Tchaikovsky: "Francesca da Rimini"
Ruffo Titta
Titta Ruffo: Di Provenza
Aston Francis William
Barkla Charles
Cailletet Louis-Paul
Pictet Raoul-Pierre
Liquid oxygen
Schiaparelli observes Mars' canals
Martian canal
German patent law
Madras famine of 1877
Maginot Andre
 
YEAR BY YEAR:
1878 Part I
Umberto I
Ten Years War 1868-1878
Battle of Shipka Pass
Jingoism
Epirus Revolt of 1878
Treaty of San Stefano
Treaty of Berlin 1878
Anti-Socialist Laws
Italian irredentism
Stresemann Gustav
 
YEAR BY YEAR:
1878 Part II
Buber Martin
Leo XIII
Romanes George John
Treitschke Heinrich
Stoecker Adolf
Christian Social Party
Thomas Hardy: "The Return of the Native"
Kaiser Georg
Masefield John
Sandburg Carl
Sinclair Upton
 
YEAR BY YEAR:
1878 Part III
Malevich Kazimir
Kazimir Malevich
Kustodiev Boris
Boris Kustodiev
Petrov-Vodkin Kuzma
Kuzma Petrov-Vodkin
Multiple Disappointments
Impressionism Timeline (1863-1899)
Ambros August Wilhelm
Boughton Rutland
Boughton: The Queen of Cornwall
 
YEAR BY YEAR:
1878 Part IV
Mannlicher Ferdinand Ritter
Pope Albert Augustus
Watson John
Blunt and Lady Anne traveled in Arabia
Blunt Anne
Benz Karl
New Scotland Yard
Deutscher Fussballverein, Hanover
Paris World Exhibition 1878
 
YEAR BY YEAR:
1879 Part I
Anglo-Zulu War
Alexander of Battenberg
Second Anglo–Afghan War (1878-1880)
Treaty of Gandamak
Tewfik Pasha
Alsace-Lorraine
Stalin Joseph
Joseph Stalin
Trotsky Leon
 
YEAR BY YEAR:
1879 Part II
Beveridge William
Henry George: "Progress and Poverty"
Giffen Robert
Forster Edward Morgan
Ibsen: "A Doll's House"
Henry James: "Daisy Miller"
Meredith: "The Egoist"
Stevenson: "Travels with a Donkey"
Strindberg: "The Red Room"
Valera Juan
 
YEAR BY YEAR:
1879 Part III
Picabia Francis
Francis Picabia
Steichen Edward Jean
Edward Steichen
Cameron Julia Margaret
Cameron Julia
Klee Paul
Paul Klee
Renoir: "Mme. Charpentier"
THE FOURTH IMPRESSIONIST EXHIRITION
Impressionism Timeline (1863-1899)
Suppe: "Boccaccio"
Tchaikovsky: "Eugene Onegin"
Respighi Ottorino
Respighi - Three Botticelli Pictures
Ottorino Respighi
Bridge Frank
Frank Bridge - The Sea
Einstein Albert
Albert Einstein
Aitken Maxwell
 
 
 

FANTIN-LATOUR. A Studio in the Batignolles Quarter. 1870
 
 
 
 
 HISTORY, RELIGION, PHILOSOPHY, ART, LITERATURE, MUSIC, SCIENCE, TECHNOLOGY, DAILY LIFE
 
 
 
 
YEAR BY YEAR:  1800 - 1899
 
 
 
1870 Part III
 
 
 
1870
 
 
Barlach Ernst
 

Ernst Barlach, (born January 2, 1870, Wedel, Germany—died October 24, 1938, Güstrow, Germany), outstanding sculptor of the Expressionist movement whose style has often been called “modern Gothic.” Barlach also experimented with graphic art and playwriting, and his work in all media is notable for its preoccupation with the sufferings of humanity.

 

Ernst Barlach
  Barlach studied art in Hamburg, Germany, and later in Dresden and Paris. Influenced early in his career by Jugendstil, Germany’s Art Nouveau style, he vacillated between pursuing sculpture and the decorative arts.

In 1906 he traveled to Russia, where the strong bodies and expressive faces of the peasants stimulated his commitment to sculpture and to the development of his mature style, which characteristically features bulky, monumental figures in heavy drapery.

In works such as The Solitary One (1911), details of the figure are eliminated and the massive forms seem ready to explode with bound energy. Barlach achieved a rough-hewn quality by preferring wood, the material used in late Gothic sculpture. Even when he worked with other, more-contemporary materials, as in his bronze Death (1925), he often emulated the raw quality of wood sculpture to achieve a more brutal effect.

Starting about 1910, Barlach began to pursue a career as a dramatist. His most notable dramas, Der tote Tag (1912; “The Dead Day”) and Der Findling (1922; “The Foundling”), combine symbolism and realism to present the tragic futility of existence. He often created woodcuts and lithographs to accompany his written works.

Barlach achieved great fame in the 1920s and early 1930s, when he executed, among other works, the celebrated war memorials in Magdeburg and Hamburg and the religious figures for the Church of St. Katherine in Lübeck (all in Germany).

 
 
Although his work was removed from German museums under the Nazi regime and categorized as “degenerate art,” after World War II his talent was once again recognized. Barlach’s former studio in Güstrow, Germany, was made into a museum, and the Ernst Barlach House in Hamburg exhibits a large collection of his sculptures, drawings, and prints.

Encyclopćdia Britannica

 
 

Ernst Barlach. Der Berserker. 1910
 
 
 
     
 

Ernst Barlach
     
 
 
     
  Art of the 20th century

Art of the 20th century Timeline (1900-1999)
     
 
 
 
1870
 
 
Corot: "La perle"
 
 

Corot Jean Baptiste Camille. Femme ŕ la perle
Portrait of Berthe Goldschmidt
 
 

Corot Jean Baptiste Camille. Femme ŕ la perle. (detail)
 
 
 
     
 
Jean Baptiste Camille Corot
     
 
 
     
  Neoclassicism and Romanticism
Realism, Impressionism and
Post-Impressionism
Symbolism
     
 
 
 
 
1870
 
 
Dante Gabriel Rossetti: "Beata Beatrix"
 

Beata Beatrix is an oil on canvas painting by Pre-Raphaelite artist Rossetti Dante Gabriel, completed in 1870. It depicts Beatrice Portinari from Dante Alighieri's poem La Vita Nuova at the moment of her death. The painting's title in English translates to 'Blessed Beatrice'. La Vita Nuova had been a story that Rossetti had found of interest from childhood and he had begun work translating it into English in 1845 and published it in his work, The Early Italian Poets.

 
Rossetti modeled Beatrice after his deceased wife and frequent model, Elizabeth Siddal, who died in 1862. The painting was created from the numerous drawings that Rossetti had made of Siddal during their time together. The symbolism in the painting of a red dove, a messenger of love, relates back to Rossetti's love for Siddal with the white poppy representing laudanum and the means of her death. Several of Siddal's friends found the painting to bear little resemblance to the drawings of her—the facial features were harder and the neck is out of proportion. Beata Beatrix is one of Rossetti's most recognized works and has made Siddal's name to be one that is frequently linked with Dante Alighieri's Beatrice.

In an 1873 letter to his friend William Morris, Rossetti said he intended the painting "not as a representation of the incident of the death of Beatrice, but as an ideal of the subject, symbolized by a trance or sudden spiritual transfiguration."

This painting is on display in the Tate Britain. It was a gift in memory of Francis, Baron Mount-Temple by his wife, Georgiana in 1889.

 
 

Dante Gabriel Rossetti. "Beata Beatrix"
 
 
Replicas by Rossetti
Rossetti was commissioned by William Graham to make a replica of Beata Beatrix. This oil replica, dated 1872, is almost the same size as the original but has a predella depicting Dante Alighieri and Beatrice meeting in paradise with a frame designed by Rossetti. It was given by bequest and on display at the Art Institute of Chicago.

Several other replica works were made by Rossetti of Beata Beatrix—a watercolor, a chalk drawing and another oil painting that was begun in 1877. This replica was still unfinished at the time of his death. His lifelong friend, Ford Madox Brown, completed it. In this painting, in contrast to the original, the bird flying towards Beatrice is a white dove holding red poppies in its beak. This painting is in Birmingham Museum and Art Gallery, England.

From Wikipedia, the free encyclopedia
 
 
 
     
 
Dante Gabriel Rossetti
     
 
 
     
  Neoclassicism and Romanticism
Realism, Impressionism and
Post-Impressionism
Symbolism
     
 
 
 
1870
 
 
Borisov-Musatov Victor
 
Victor Elpidiforovich Borisov-Musatov (Russian: Ви́ктор Эльпидифо́рович Бори́сов-Муса́тов), (April 14 [O.S. April 2] 1870 - November 8 [O.S. October 26] 1905) was a Russian painter, prominent for his unique Post-Impressionistic style that mixed Symbolism, pure decorative style and realism. Together with Mikhail Vrubel he is often referred as the creator of Russian Symbolism style.
 

Victor Borisov-Musatov. Self-portrait. 1905
  Biography
Victor Musatov was born in Saratov, Russia (he added the last name Borisov later). His father was a minor railway official who had been born as a serf. In his childhood he suffered a spinal injury, which made him humpbacked for the rest of his life. In 1884 he entered Saratov real school, where his talents as an artist were discovered by his teachers Fedor Vasiliev and Konovalov.

He was enrolled in the Moscow School of Painting, Sculpture and Architecture in 1890, transferring the next year to the Imperial Academy of Arts in Saint-Petersburg, where he was a pupil of Pavel Chistyakov.

The damp climate of Saint-Petersburg was not good for Victor's health and in 1893 he was forced to return to Moscow and re-enroll to the Moscow School of painting, sculpturing and architecture. His earlier works like May flowers, 1894 were labelled decadent by the school administration, who sharply criticised him for making no distinction between the girls and the apple trees in his quest for a decorative effect. The same works however were praised by his peers, who considered him to be the leader of the new art movement.

In 1895 Victor once again left Moscow School of painting, sculpturing and architecture and enrolled in Fernand Cormon's school in Paris. He studied there for three years, returning in summer months to Saratov. He was fascinated by the art of his French contemporaries, and especially by the paintings of "the father of French Symbolism" Pierre Puvis de Chavannes and by the work of Berthe Morisot.

 
 
In 1898 Borisov-Musatov returned to Russia and almost immediately fell into what it is called "fin de sičcle nostalgia". He complained about "the cruel, the truly iron age", "dirt and boredom", "devil's bog", and he had acute money problems that were somewhat alleviated only in the last years of his life when collectors started to buy his paintings. Musatov's response was creating a half-illusory world of the 19th century nobility, their parks and country-seats. This world was partially based on the estate of princes Prozorvky-Galitzines Zubrilovka and partially just on Musatov's imagination. Borisov-Musatov also abandoned oil-paintings for the mixed tempera and watercolor and pastel techniques that he found more suitable for the subtle visual effects he was trying to create.

Borisov-Musatov was a member of the Union of Russian Artists and one of the founders and the leader of the Moscow Association of Artists, a progressive artistic organization that brought together Pavel Kuznetsov, Peter Utkin, Alexander Matveyev, Martiros Saryan, Nikolai Sapunov, and Sergei Sudeikin.

The most famous painting of that time is The Pool, 1902. The painting depicts two most important women in his life: his sister, Yelena Musatova and his bride (later wife), artist Yelena Alexandrova. The people are woven into the landscape of an old park with a pond.

 
 

Victor Borisov-Musatov. The Pool, 1902
 
 
Another famous painting is The Phantoms. 1903 depicting ghosts on the steps of an old country manor. The painting was praised by the contemporary Symbolist poets Valery Bryusov and Andrey Bely.

In 1904 Borisov-Musatov had a very successful solo exhibition in a number of cities in Germany, and in the spring of 1905 he exhibited with Salon de la Société des Artistes Français and became a member of this society.

The last finished painting of Borisov-Musatov was Requiem. Devoted to the memory of Nadezhda Staniukovich, a close friend of the artist, the painting may indicate Borisov-Musatov's evolution towards the Neo-classical style.

Borisov-Musatov died on October 26, O.S. 1905 of a heart attack and is buried on a bank of Oka River near Tarusa. On his tomb there is a sculpture of a sleeping boy by Musatov's follower Alexander Matveyev.

From Wikipedia, the free encyclopedia
 
 

Victor Borisov-Musatov. Self-Portrait with sister, 1898
 
 
 
     
 
Victor Borisov-Musatov
 
     
 
 
     
  Art of the 20th century

Art of the 20th century Timeline (1900-1999)
     
 
 
 
1870
 
 
Benois Alexandre
 
Alexandre Nikolayevich Benois (Russian: Алекса́ндр Никола́евич Бенуа́, also spelled Alexander Benois; 3 May [O.S. 21 April] 1870, Saint Petersburg – 9 February 1960, Paris), was an influential artist, art critic, historian, preservationist, and founding member of Mir iskusstva (World of Art), an art movement and magazine. As a designer for the Ballets Russes under Sergei Diaghilev, Benois exerted what is considered a seminal influence on the modern ballet and stage design.
 

Portrait of Alexandre Benois by Léon Bakst, 1898
 
 
Early life and education
Alexandre was born into the artistic and intellectual Benois family, prominent members of the 19th and early 20th-century Russian intelligentsia. His mother Camilla (ru: Камилла Альбертовна Кавос, and then Бенуа) was the granddaughter of Catterino Cavos. His father was Nicholas Benois, a noted Russian architect. His brothers included Albert, a painter, and Leon, also a notable architect. His sister, Maria, married the composer and conductor Nikolai Tcherepnin (with whom Alexandre would work). Not planning a career in the arts, Alexandre graduated from the Faculty of Law, Saint Petersburg Imperial University, in 1894.
 
 
Entry into art career
Three years later while in Versailles, Benois painted a series of watercolors depicting Last Promenades of Louis XIV. When exhibited by Pavel Tretyakov in 1897, they brought him to attention of Sergei Diaghilev and the artist Léon Bakst. Together the three men founded the art magazine and movement Mir iskusstva (World of Art), which promoted the Aesthetic Movement and Art Nouveau in Russia.

During the first decade of the new century, Benois continued to edit Mir iskusstva, but also pursued his scholarly and artistic interests. He wrote and published several monographs on 19th-century Russian art and Tsarskoye Selo.

In 1903, Benois printed his illustrations to Pushkin's poem The Bronze Horseman, a work since recognized as one of the landmarks in the genre. In 1904, he published his “Alphabet in Pictures,” at once a children’s primer an elaborate art book, copies of which fetch as much as $10,000US at auction.
Illustrations from this volume were featured at a video presentation during the opening ceremony of the Winter Olympics in Sochi in 2014.

 
Alexandre Benois. Greenhouse. 1906
 
 
In 1901, Benois was appointed scenic director of the Mariinsky Theatre in Saint Petersburg, the performance space for the Imperial Russian Ballet. He moved to Paris in 1905 and thereafter devoted most of his time to stage design and decor.

During these years, his work with Diaghilev's Ballets Russes was groundbreaking. His sets and costumes for the productions of Les Sylphides (1909), Giselle (1910), and Petrushka (1911), are counted among his greatest triumphs. Although Benois worked primarily with the Ballets Russes, he also collaborated with the Moscow Art Theatre and other notable theatres of Europe.

Surviving the upheaval of the Russian Revolution of 1917, Benois achieved recognition for his scholarship; he was selected as curator of the gallery of Old Masters in the Hermitage Museum at Leningrad, where he served from 1918 to 1926. During this time he secured his brother's heirloom Leonardo da Vinci painting of the Madonna for the museum. It became known as the Madonna Benois. Benois published his Memoirs in two volumes in 1955.

In 1927 he left Russia and settled in Paris. He worked primarily as a set designer after settling in France.

 
 

Alexandre Benois. Set design for Le Pavillon d'Armide, Ballets Russes, 1909
 
 

Family
Benois's son, Nicola Alexandrovich Benois (also known as Nikolai Benois), was born in 1901, and went on to become a celebrated opera designer, creating costumes and sets for opera companies all over the world.

Benois's nephew, Nikolai Albertovich Benois, married the opera singer Maria Nikolaevna Kuznetsova.

Benois was also the uncle of Eugene Lanceray and Zinaida Serebriakova, who became recognized Russian artists, and one of the great-uncles of the British actor Sir Peter Ustinov.

From Wikipedia, the free encyclopedia

 
 

Alexandre Benois.
Parade in the Reign of Paul l. 1907
 
 
 
     
 
Alexandre Benois
 
     
 
 
     
  Art of the 20th century

Art of the 20th century Timeline (1900-1999)
     
 
 
 
1870
 
 
Denis Maurice
 

Maurice Denis (November 25, 1870 – November 13, 1943) was a French painter and writer, and a member of the Symbolist and Les Nabis movements. His theories contributed to the foundations of cubism, fauvism, and abstract art.

 
 


Maurice Denis. Self-Portrait Under The Trees, 1891

 
 

Denis studied at the Acadйmie Julian (1888) under Jules Lefebvre and at the Ecole des Beaux-Arts. Reacting against the naturalistic tendencies of Impressionism, Denis fell under the influence of the work of Paul Gauguin, whose style was also much admired by Denis's fellow students Paul Serusier, Edouard Vuillard, Pierre Bonnard, and Ker Xavier Roussel. With these friends, Denis joined in the Symbolist movement and its later offshoot, the group of painters collectively called the Nabis (q.v.). The quasi-mystical attitude of the Nabis was perfectly suited to Denis's highly religious nature. In 1890 Denis expressed the underlying principle of much modern painting in the following often-quoted words: “It should be remembered that a picture—before being a warhorse, a nude, or an anecdote of some sort—is essentially a flat surface covered with colours assembled in a certain order.”

Later, however, after visiting Italy, Denis became greatly influenced by the works of the great Italian fresco painters ofthe 14th and 15th centuries and began to place emphasis on subject matter, traditional perspective, and modeling, as in “Homage а Cezanne” (1901). Denis's monumental mural decorations are to be seen in many French churches as well as on the ceiling of the Champs Elysees Theatre in Paris. In 1919 he, along with Georges Devalliиres, founded the Studios of Sacred Art. His work was one of the chief forces in the revival of religious art in France.

Encyclopćdia Britannica
 
 


Maurice Denis. Earthly Paradise

 
 
 
     
 
Maurice Denis
     
 
 
     
  Neoclassicism and Romanticism
Realism, Impressionism and
Post-Impressionism
Symbolism
     
 
 
 
1870
 
 
 
Impressionism Timeline (1863-1899)
 
 
1870
 
 
Soldiers and Exiles
 

Political events — the outbreak of the Franco-Prussian war, the proclamation of the Third Republic and the Siege of Paris - greatly affect the lives of the artists.
Manet, Degas and Renoir enlist; Bazille is killed in action, aged 29; and Monet and Pissarro flee to England, where they meet the Parisian dealer Paul Durand-Ruel.

 
JANUARY
Fantin-Latour paints A Studio in the Batignolles Quarter depicting most of the Batignolles group whose meetings at the Cafe Guerbois contributed to the birth of Impressionism. It was exhibited at the Salon in April.

Durand-Ruel establishes himself in an inferior gallery in the rue Lafayette. He later describes the move as 'the greatest mistake I ever made'.
 
 

FANTIN-LATOUR
A Studio in the Batignolles
Quarter
1870

The portraits in this work were painted during individual sittings in Manet's studio, and are of: (from the left) Scholderer, Manet, Renoir, Astruc (seated), Zola, Maitre, Bazille and Monet.
 
 
FEBRUARY
Monet and Renoir work, in shared poverty, at Bougival.

18th Manet exhibits The Philosopher and watercolours at the Cercle de l'Union Artistique in the Place Vendome.

23rd Manet has a duel with Edmond Duranty at the Cafe Guerbois over an insulting remark made by the critic.
Duranty is injured, but they make it up almost immediately.

MARCH
Manet virtually repaints Morisot's portrait of her mother and sister, which she is planning to send to the Salon. She is furious, and very reluctant to exhibit the painting, but eventually relents.

Bazille paints a picture of his friends in his studio - to which Manet later adds a portrait of the artist.
 
 

BAZILLE
The Artist's Studio
1870

Bazille was sharing a studio with Renoir at 9 rue de la Condamine when he painted this work. Shown are: Edmond Maitre, at the piano; Manet, looking at the easel; Monet, behind him, smoking a pipe; Zola, on the stairs; and Renoir, sitting on a table. Manet later added the tall figure of Bazille.
 
 
20th A number of progressive artists put forward a list for the Salon jury as an alternative to the one drawn up by the conservative majority.
Manet and Millet are included in the alternative list of candidates, but are not selected for the jury.
 
 
APRIL
Renoir and Bazille share rooms at 8 rue des Beaux-Arts.
Monet works in Trouville and Le Havre.

3rd Opening of the Salon.

Among the works hung are Bazille's Summer Scene; Degas' Madame Camus in Red; Manet's The Music Lesson and Portrait of Eva Gonzales; Morisot's The Mother and Sister of the Artist and Young Woman at a Window; Pissarro's Autumn, plus another landscape by him; Renoir's Bather with a Griffon and A Woman of Algeria; and two views of the Canal St-Martin by Sisley.
 
 

MORISOT
The Mother and Sister of the Artist
1870

Painted lor the Salon of 1870 and retouched by Manet against Morisot's wishes, this portrait shows Mmc Morisot reading to her daughter, Edma. The latter had recently married Adolphe Pontillon, a naval officer, and had come home to have her first child. Edma's pregnancy is not highlighted, but her reflective air and accented resemblance to her mother suggest that Morisot regarded the work as an intimate family document.
 
 

RENOIR
A Woman of Algeria
1870

Inspired by Delacroix, who visited Algiers and painted a large number of pictures with Algerian motifs, Renoir produced a few paintings in an 'Orientalist5 style, although not travelling to Algeria himself until 1881. When exhibited at the Salon of 1870, the work received favourable notice from the critics. The model was Lise Trehot, this being one of the last paintings in which she posed for Renoir.
 
 
12th Degas has a letter published in Paris-Journal calling for a better hanging of the Salon. He suggests there should be only two rows of pictures, with a space of about 30cm (12in) between each picture; oil paintings and drawings should not be separated; and each exhibitor should have the right to withdraw his work after a certain period.
 
 
MAY

18th Cezanne is a witness at Zola's wedding.

JUNE

28th Monet marries Camille Doncieux in Paris.


Greiner, Camille Monet, 1871
 
 
JULY
Manet stays at St-Germain-en-Laye with his friend the Italian painter Giuseppe de Nittis.

AUGUST

10th Following France's declaration of war against Prussia, Renoir is called up and posted to Bordeaux with the 10th Cavalry Division. Bazille enlists in the 1st Zouave Regiment.



MONET
On the Beach, Trouville
1870

Monet was working in Trouville when the Franco-Prussian war broke out. A number of the paintings from this period reveal the extent to which, both in subject matter and treatment, he was moving towards the ideals of Impressionsim. Notable in this sketch is the way he juxtaposes light and dark tones to emphasize the value of each. The figure on the left is that of his wife, Camille.



SEPTEMBER
The siege of Paris begins. Degas enlists in the National Guard and is posted with the artillery, although he is 'virtually blind in one eye'.
Manet's sends his family to Oloron-Ste-Marie in the Pyrenees, shuts up his studio, and sends thirteen of his paintings to Duret.
Mary Cassatt returns to the USA.
Monet moves to London, staying first at 11 Arundel Street, Piccadilly, then at 1 Bath Place, Kensington.
Cezanne takes refuge from conscription in L'Estaque, where he is visited by Zola.
Durand-Ruel moves to London with an extensive collection of pictures, some committed to him for safe-keeping. He takes a house for his family in Brompton Crescent and rents the unfortunately named 'German Gallery' at 168 New Bond Street.
Pissarro and his family go to stay with his friend Ludovic Piette in Brittany.
Sisley, according to one account stays in Louveciennes, according to another in Bougival. He also spends some time in Paris - where his father dies, leaving him nothing.
 


Pissarro.
Louveciennes: The Road to Versailles
1870



OCTOBER
Degas is posted to the fortifications of Paris, north of the Bois de Vincennes, where his commanding officer is Henri Rouart, a friend from school days who is an industrialist and amateur painter. (Rouart would later become an ardent patron of the Impressionists.)

NOVEMBER
Daubigny introduces Monet to Durand-Ruel in London.
Pissarro's daughter, born in October, dies.

11th Manet enlists as a lieutenant in the National Guard.

28th Bazille is killed, aged 29, in a minor skirmish at Beaune-la-Rolonde in Burgundy.

DECEMBER
Pissarro and his family move to London, living at 2 Chatham Terrace, Palace Road, Norwood. He meets Durand-Ruel.
 
7th Manet is transferred to staff headquarters, where he is in company with Meissonier and other painters.

10th Zola leaves Paris for Marseilles. He then goes to Bordeaux, where the government is situated, and is employed as secretary to a politician. Durand-Ruel's gallery in New Bond Street holds the first exhibition of the Society of French Artists (devised by Durand-Ruel largely for public relations purposes), under the patronage of Corot, Courbet, Millet, Diaz de la Pefia, Daubigny and Dupre.

The 144 works on show are mostly by earlier Romantic painters and members of the Barbizon School, but there are also two views of Sydenham and Norwood by Pissarro (which Durand-Ruel buys) and Monet's Entrance to Trouville Harbour, which the artist had brought with him from France.

 
 

MONET
The Hotel des Roches-Noires
1870

The Hotel des Roches-Noires so called because of the seaweed-covered rocks in the area -was the most sumptuous in Trouville, with 150 rooms, indoor bathing facilities and a concert hall. To emphasize its cosmopolitan flavour, Monet painted the American, French and British flags fluttering in front of it.
 
 
 
MANET'S LETTERS FROM THE SIEGE OF PARIS
 
During the siege of Paris Manet wrote regularly to his wife, Suzanne, at Oloron-Ste-Marie, the letters being delivered by the famous balloon post that kept the capital in touch with the rest of the country.

September 30th
It's a long time since I heard fromyou. Some of my letters should have reached you by the balloons that left Paris. I think there's one having tomorrow or the day after. The Prussians seem to be regretting their decision to besiege Paris. They must have thought it easier than it is. It's true that we can't have milk with our coffee any more; the butchers are only open three days a week, people queue up outside from four in the morning, and there's nothing left for the latecomers. We eat meat only once a day, and I believe all sensible Parisians must be doing the same.
I've seen the Monsot ladies recently, who are probably going to leave Passy, which is likely to be bombarded. Paris nowadays is a huge camp.

From jive in the morning until evening, the Militia and the National Guards who are not on duty do drill, and are turning into real soldiers.
Otherwise life is very boring in the evenings - all the cafe-restaurants are closed after ten, and one just has to go to bed.


An etching by Manet (1870-71) of a queue outside
a butcher's shop.



October 23rd

The weather is terrible today, my dear Suzanne. It's impossible to set foot outside, particularly since my foot is only just getting better and I can only wear very light shoes. You must have seen from the papers that the Pans army made a concerted attack on the enemy positions on Friday. The fighting went on all day and I believe the Prussians sustained great losses... We're having enough of being boxed in here without any outside contacts. A smallpox outbreak is spreading, and at the moment we're down to 75 grams of meat per person, while milk is only available to the children and the sick.

 

The dispatch of the balloon which
carried post out of Paris to unoccupied France.
  November 23rd
Marie's big cat has been killed, and we suspect somebody in the house; it was for a meal, of course, and Marie was in tears!

She's taking very good care of us. One doesn't feel like seeing anyone, it's always the same conversations; the evenings go very slowly; the Cafe Guerbois is my only distraction, and that's become pretty monotonous.

I think of you all the time and have filled the bedroom with your portraits. Tell mother not to worry and to make the most of the good weather.

We're having torrential rain here and I'm revelling in your woollen socks, which come in very handy because we're up to our ankles in mud on the fortifications.


To Eva Gonzales:

November 19th
For the past two months I've had no news from my poor Suzanne, who must be very anxious, though I write to her frequently. We're all soldiers here. Degas and I are in the artillery as volunteer gunners. I'm looking forward to having you paint my portrait in my huge gunner's greatcoat when you're back. Tissot covered himself in glory in the action at La Gonchere. My brothers and Guillemet are in the National Guard battle units, and are waiting to go into action. My paintbox and easel are stuffed into my knapsack, so there's no excuse for wasting my time, and I am going to take advantage of the facilities available.

A lot of cowards have left here, including our friend Łola, Fantin, etc. I don't think they'll be very well received when they return. We're beginning to feel the pinch here; horse meat is a delicacy, donkey is exorbitantly expensive; there are butchers' shops for dogs, cats and rats. Pans is deathly sad. When will it all end?



A view of the fort of Montrouge during the siege of Paris.

 
 
 
 
 
     
  Impressionism Timeline
1863 1864 1865 1866 1867 1868 1869 1870
1871 1872 1873 1874 1875 1876 1877 1878
1879 1880 1881 1882 1883 1884 1885 1886
1887 1888 1889 1890 1891 1892 1893 1894
1895 1896 1897 1898 1899      
     
 
 
 
1870
 
 
Delibes: "Coppelia"
 

Coppélia is a comic ballet originally choreographed by Arthur Saint-Léon to the music of Delibes Leo , with libretto by Charles-Louis-Étienne Nuitter. Nuitter's libretto and mise-en-scčne was based upon two stories by E. T. A. Hoffmann: Der Sandmann (The Sandman) and Die Puppe (The Doll). In Greek, κοπελιά means girl, young lady. Coppélia premiered on 25 May 1870 at the Théâtre Impérial l'Opéra, with the 16-year-old Giuseppina Bozzacchi in the principal role of Swanhilde. Its first flush of success was interrupted by the Franco-Prussian War and the Siege of Paris (which also led to the early death of Giuseppina Bozzacchi, on her 17th birthday), but eventually it became the most-performed ballet at the Opéra.

 
Modern-day productions are traditionally derived from the revivals staged by Marius Petipa for the Imperial Ballet of St. Petersburg in the late 19th century. Petipa's choreography was documented in the Stepanov method of choreographic notation at the turn of the 20th century. These notations were later used to stage the St. Petersburg version for such companies as the Vic-Wells Ballet (precursor of today's Royal Ballet).
 
 
Plot
Dr. Coppelius is an doctor who has made a life-size dancing doll. It is so lifelike that Franz, a village youth, becomes infatuated with it and sets aside his true heart's desire, Swanhilda. She shows him his folly by dressing as the doll, pretending to make it come to life and ultimately saving him from an untimely end at the hands of the inventor.

Act I
The story begins during a town festival to celebrate the arrival of a new bell. The town crier announces that, when it arrives, anyone who becomes married will be awarded a special gift of money. Swanhilda and Franz plan to marry during the festival. However, Swanhilda becomes unhappy with Franz because he seems to be paying more attention to a girl named Coppélia, who sits motionless on the balcony of a nearby house. The house belongs to a mysterious and faintly diabolical inventor, Doctor Coppélius. Although Coppélia spends all of her time sitting motionless and reading, Franz is mesmerized by her beauty and is determined to attract her attention. Still upset with Franz, Swanhilda shakes an ear of wheat to her head: if it rattles, then she will know that Franz loves her. Upon doing this, however, she hears nothing. When she shakes it by Franz's head, he also hears nothing; but then he tells her that it rattles. However, she does not believe him and runs away heartbroken.

Later on, Dr. Coppelius leaves his house and is heckled by a group of boys. After shooing them away, he continues on without realising that he has dropped his keys in the melée. Swanhilde finds the keys, which gives her the idea of learning more about Coppélia. She and her friends decide to enter Dr. Coppelius' house. Meanwhile, Franz develops his own plan to meet Coppélia, climbing a ladder to her balcony.

 
Photo of the ballerina Giuseppina Bozzachi (1853-1870) costumed as Swanilda in the ballet Coppélia. Paris, France, 1870.
 
 
Act II
Swanhilda and her friends find themselves in a large room filled with people. However, the occupants aren't moving. The girls discover that, rather than people, these are life-size mechanical dolls. They quickly wind them up and watch them move. Swanhilda also finds Coppélia behind a curtain and discovers that she, too, is a doll.

Dr. Coppelius returns home to find the girls. He becomes angry with them, not only for trespassing but for also disturbing his workroom. He kicks them out and begins cleaning up the mess. However, upon noticing Franz at the window, Coppélius invites him in. The inventor wants to bring Coppélia to life but, to do that, he needs a human sacrifice. With a magic spell, he will take Franz's spirit and transfer it to Coppélia. After Dr. Coppelius proffers him some wine laced with sleeping powder, Franz begins to fall asleep. The inventor then readies his magic spell.

However, Dr. Coppelius did not expel all the girls: Swanhilda is still there, hidden behind a curtain. She dresses up in Coppélia's clothes and pretends that the doll has come to life. She wakes Franz and then winds up all the mechanical dolls to aid their escape. Dr. Coppelius becomes confused and then saddened when he finds a lifeless Coppélia behind the curtain.

 
 
Act III
Swanhilda and Franz are about to make their wedding vows when the angry Dr. Coppelius appears, claiming damages. Dismayed at having caused such an upset, Swanhilda offers Dr. Coppelius her dowry in return for his forgiveness. However, Franz tells Swanhilde to keep her dowry and offers to pay Dr. Coppelius instead. At that point, the mayor intervenes and gives Dr. Coppelius a bag of money, which placates him. Swanhilda and Franz are married and the entire town celebrates by dancing.
 
 
Influence and background
Doctor Coppelius is not unlike Hoffmann's sinister Herr Drosselmeyer in The Nutcracker or the macabre Svengali-like travelling magician of the same name in Offenbach's The Tales of Hoffmann.

The part of Franz was danced en travesti by Eugénie Fiocre, a convention that pleased the male members of the Jockey-Club de Paris and was retained in Paris until after World War II.

The festive wedding-day divertissements in the village square that occupy Act III are often deleted in modern danced versions.

Some influence on this story comes from travelling shows of the late 18th and early 19th centuries starring mechanical automatons. This field of entertainment has been under-documented, but a recent survey of the field is contained in The Mechanical Turk by Tom Standage (2002). These shows were later to also influence Charles Babbage in his invention of the difference engine.

Alternative versions
A variation of the Coppélia story is contained in Jacques Offenbach's opera, The Tales of Hoffmann, a fictional work about the same Hoffmann who wrote the story that inspired Coppélia.

The opera consists of a prologue, three fantastic tales in which Hoffmann is a participant, and an epilogue. In the first story, based on Der Sandmann, Hoffmann falls in love with a mechanical doll, Olympia, but in this case, the story takes on a melancholy tinge as the doll breaks apart.

 
Photo by unknown of Adeline Genée in Coppélia, London, 1900.
 
 
San Francisco Ballet
In 1974, San Francisco Ballet produced a complete version of Coppélia, choreographed by Willam Christensen. It was the Company's first full-length ballet, and Christensen was the first American choreographer to produce a complete Coppélia in the 20th century. The ballet, which starred Willam Christensen as Franz, Earl Riggins as Dr. Coppelius, and Janet Reed as Swanhilda, was an instant hit.

Balanchine
In 1974, George Balanchine choreographed a version of Coppélia for the New York City Ballet. He was assisted by Alexandra Danilova, who had performed the title role many times during her dancing career. She staged the Petipa choreography for Act II. Balanchine created new choreography for Act III and for the mazurka, czardas and Frantz's variation in Act I. Patricia McBride danced the role of Swanilda; Helgi Tomasson danced the role of Frantz; Shaun O'Brian portrayed Dr. Coppélius.

Second Life - LPBA
From 2011 the Little Princess Ballet Academy (LPBA) has performed Coppélia in Second Life. The adaption follows the original in three acts, but the mime parts are problematic to perform in Second Life and has been changed, together with some changes in the sequences. All parts are played by individual avatars.

The LPBA performing Coppélia in Second Life, 23 June 2013 - from Act III.

Ballet

Below is the résumé of scenes and dances taken from the theatre program of the St. Petersburg Imperial Ballet. It is the Imperial Ballet's production as staged by Marius Petipa that serves as the basis for all modern-day productions.

From Wikipedia, the free encyclopedia

 
 
 
 
Leo Delibes - Coppelia Waltz
 
 
 
 
 
     
 
Leo Delibes
 
     
 
 
     
  Classical Music Timeline

Instruments Through the Ages

Classical Music History - Composers and Masterworks
     
 
 
 
1870
 
 
Tchaikovsky: "Romeo and Juliet"
 

Romeo and Juliet, TH 42, ČW 39, is an orchestral work composed by Tchaikovsky Peter Ilich . It is styled an Overture-Fantasy, and is based on Shakespeare's play of the same name. Like other composers such as Berlioz and Prokofiev, Tchaikovsky was deeply inspired by Shakespeare and wrote works based on The Tempest and Hamlet as well.

Unlike Tchaikovsky's other major compositions, Romeo and Juliet does not have an opus number. It has been given the alternative catalogue designations TH 42 and ČW 39.

 
Musical structure
Although styled an 'Overture-Fantasy' by the composer, the overall design is a symphonic poem in sonata form with an introduction and an epilogue. The work is based on three main strands of the Shakespeare story. The first strand, written in F-sharp minor, following Mily Balakirev's suggestion, is the introduction representing the saintly Friar Laurence. Here there is a foreboding of doom from the lower strings. The Friar Laurence theme is heard in F minor, with plucked strings, before ending up in E minor. The introduction is chorale-like.

Eventually a single B minor chord with a D natural in the bass passed back and forth between strings and woodwinds grows into the second strand in B minor, the agitated theme of the warring Capulets and Montagues, including a reference to the sword fight, depicted by crashing cymbals. There are agitated, quick sixteenth notes. The forceful irregular rhythms of the street music point ahead to Igor Stravinsky and beyond. The action suddenly slows, the key changing from B minor to D-flat (as suggested by Balakirev) and we hear the opening bars of the "love theme", the third strand, passionate and yearning in character but always with an underlying current of anxiety.

The love theme signifies the couple first meeting and the scene at Juliet's balcony. The English horn represents Romeo, while the flutes represent Juliet. Then the battling strand returns, this time with more intensity and build-up, with the Friar Laurence Theme heard with agitation. The strings enter with a lush, hovering melody over which the flute and oboe eventually soar with the love theme once again, this time loud and in D major, signaling the development section and their consummated marriage, and finally heard in E major, and two large orchestra hits with cymbal crashes signal the suicide of the two lovers.

A final battle theme is played, then a soft, slow dirge in B major ensues, with timpani playing a repeated triplet pattern, and tuba holding a B natural for 16 bars. The woodwinds play a sweet homage to the lovers, and a final allusion to the love theme brings in the climax, beginning with a huge crescendo B natural roll of the timpani, and the orchestra plays homophonic shouts of a B major chord before the final bar, with full orchestra belting out a powerful B natural to close the overture.

  Composition
Tense relationship

In 1869 Tchaikovsky was a 28-year-old professor at the Moscow Conservatory. Having written his first symphony and an opera, he next composed a symphonic poem entitled Fatum. Initially pleased with the piece when Nikolai Rubinstein conducted it in Moscow, Tchaikovsky dedicated it to Balakirev and sent it to him to conduct in St. Petersburg. Fatum received only a lukewarm reception. Balakirev wrote a detailed letter to Tchaikovsky explaining the defects, but also giving some encouragement:

Your Fatum has been performed [in St. Petersburg] reasonably well ... There wasn't much applause, probably because of the appalling cacophony at the end of the piece, which I don't like at all. It is not properly gestated, and seems to have been written in a very slapdash manner. The seams show, as does all your clumsy stitching. Above all, the form itself just does not work. The whole thing is completely uncoordinated.... I am writing to you with complete frankness, being fully convinced that you won't go back on your intention of dedicating Fatum to me. Your dedication is precious to me as a sign of your sympathy towards me—and I feel a great weakness for you.

Tchaikovsky was too self-critical not to see the truth behind Balakirev's comments. He accepted Balakirev's criticism, and the two continued to correspond. (Tchaikovsky later destroyed the score of Fatum. The score was reconstructed posthumously from the orchestral parts.) Balakirev remained suspicious of anyone with a formal conservatory training but clearly recognized Tchaikovsky's great talents. Tchaikovsky liked and admired Balakirev. However, as he told his brother Anatoly, "I never feel quite at home with him. I particularly don't like the narrowness of his musical views and the sharpness of his tone."

Balakirev suggested Tchaikovsky write a piece based on William Shakespeare's Romeo and Juliet. Tchaikovsky was having difficulties writing an opera entitled Undine, which he would eventually destroy. Though he complained, "I'm completely burned out," Balakirev persisted, as was his manner. Balakirev wrote suggestions about the structure of Romeo and Juliet, giving details of the type of music required in each section, and even opinions on which keys to use.

 
 
Balakirev had suggested his own overture King Lear as a model for Romeo—a prudent move, since he had seen Tchaikovsky's weakness in writing in an unstructured musical form in Fatum. King Lear is not a symphonic poem in the manner of Liszt. It is a tragic overture in sonata form along the line of Beethoven's overtures, relying more on the dramatic potential of sonata form rather than on a literary program. Thus, Balakirev had transformed King Lear into an instrumental drama and now offered it as a model to Tchaikovsky. While basing Romeo and Juliet on King Lear was Balakirev's suggestion, reducing the plot of the former to one central conflict and then combining it with the binary structure of sonata form was Tchaikovsky's idea. However, executing that plot in the music we know today came only after two radical revisions.
 
 
First version
The first version of Romeo and Juliet contained basically an opening fugato and a confrontation of the two themes—exactly what an academically trained composer might be expected to produce. While Balakirev responded to the love theme by writing Tchaikovsky, "I play it often, and I want very much to hug you for it", he also discarded many of the early drafts Tchaikovsky sent him—the opening, for instance, sounded more like a Haydn quartet than the Liszt chorale he had suggested initially—and the piece was constantly in the mail between Moscow and St. Petersburg, going to Tchaikovsky or Balakirev.

Tchaikovsky accepted some, but not all, of Balakirev's nagging, and completed the work, dedicating it to Balakirev. The first performance on March 16, 1870 was hindered by a sensational court case surrounding the conductor, Tchaikovsky's friend Nikolai Rubinstein, and a female student. The court had found against the eminent musician the previous day, and this incited a noisy demonstration in his favour when he appeared on the concert platform, which proved much more interesting to the audience than the new overture. The result was not encouraging as a premiere for Romeo and Juliet. Tchaikovsky said of the premiere:

"After the concert we dined.... No one said a single word to me about the overture the whole evening. And yet I yearned so for appreciation and kindness."

 
 
Second version
The initial failure of Romeo and Juliet induced Tchaikovsky to fully accept Balakirev's criticisms and rework the piece. It also forced Tchaikovsky to reach beyond his musical training and rewrite much of the music into the form we know today. This included the unacademic but dramatically brilliant choice of leaving the love theme out of the development section, saving its confrontation with the first theme (the conflict of the Capulets and Montagues) for the second half of the recapitulation. In the exposition, the love theme remains shielded from the violence of the first theme. In the recapitulation the first theme strongly influences the love theme and ultimately destroys it. By following this pattern, Tchaikovsky shifts the true musical conflict from the development section to the recapitulation, where it climaxes in dramatic catastrophe.

Meanwhile, Rubinstein had become impressed with Tchaikovsky's compositional talents in general and with Romeo and Juliet in particular. He arranged for the publishing house Bote and Bock to publish the piece in 1870. This was considered an accomplishment since Tchaikovsky's music was virtually unknown in Germany at the time. Balakirev thought Tchaikovsky was rushing Romeo and Juliet to press prematurely. "It is a pity that you, or rather Rubinstein, should have rushed the publication of the Overture," he wrote to the composer. "Although the new introduction is a decided improvement, there were other changes I had wanted you to make. I had hoped that for the sake of your future compositions, this one would remain in your hands somewhat longer." Balakirev closed by hoping that P. Jurgenson would sometime agree to bring out a "revised and improved version of the Overture." The second version was premiered in St. Petersburg on February 17, 1872, under Eduard Nápravník.

 
An 1870 oil painting by Ford Madox Brown
depicting Romeo and Juliet's famous
balcony scene
 
 
Third and final version
In 1880, ten years after his first reworking of the piece, Tchaikovsky rewrote the ending and gave the piece the sub-title "Overture-Fantasia". It was completed by September 10, 1880, but did not receive its premiere until May 1, 1886, in Tbilisi, Georgia (then part of the Russian Empire), under Mikhail Ippolitov-Ivanov.

This third and final version is the one that is now in the repertoire. The earlier versions are performed occasionally as historical curiosities.

 
 
Reception
At first Romeo and Juliet was not successful in Russia and Europe. It was received lukewarmly at its world premiere in March 1870. The work was hissed when Hans Richter conducted it in Vienna in November 1876; critic Eduard Hanslick excoriated the piece afterwards. The Paris premiere two weeks later, at the Concerts Populaires under Jules Pasdeloup, went no better. According to Tchaikovsky's colleague and friend Sergei Taneyev, who attended the Paris performance, Romeo's lack of success there may have been due to Pasdeloup's failure to understand the music. Despite this, several Parisian composers and musicians, including Camille Saint-Saëns, appreciated the piece.

One group that appreciated Romeo at once was the kuchka ("The Five"). Balakirev, now having the full score, wrote of their enthusiastic response and 'how delighted everyone is with your D-flat bit [the love theme]—including Vladimir Stasov, who says: "There were five of you: now there are six!" The beginning and end are as strongly censured'—and, Balakirev added, needed rewriting. Still, such was the enthusiasm of the kuchka for Romeo that Balakirev was asked to play it every time they met. Eventually, he learned to play the piece from memory as a result of fulfilling their requests.

  Use in popular culture
The Overture's love theme has been used in many television series and movies such as Columbo, Kim Possible, The Jazz Singer (1927), Wayne's World, Animaniacs, Freakazoid, Pinky and the Brain, Road Rovers, Taz-Mania, Tiny Toons, Scrubs, Seeing Double, The Ren and Stimpy Show, South Park, Clueless, A Christmas Story, The Fresh Prince of Bel-Air, Moonraker, SpongeBob SquarePants, Pushing Daisies, Sesame Street, El Chavo, The Three Musketeers, among others.

Different variations of the overture's love theme were also played in the original The Sims video game, when two Sims successfully performed the "Kiss" interaction. How "powerful" the theme was depended on how compatible, or how in love, the interacting Sims were with each other.

Along with another Tchaikovsky piece, Dance of the Reed Flutes from the ballet The Nutcracker, the Romeo and Juliet love theme was sampled at the same time to the song "Love, so Lovely" for the direct-to-video Disney film Mickey, Donald, Goofy: The Three Musketeers.

Excerpts from the score were used in the 2005 ballet Anna Karenina, choreographed by Boris Eifman.

 
 
The main theme of the overture to Romeo and Juliet was adapted in 1939 by bandleader Larry Clinton as popular song "Our Love" (lyrics by Buddy Bernier and Bob Emmerich) and recorded by Clinton and by Jimmy Dorsey.

Excerpts for The Fireworks to the Opening of APEC China 2014 held in Beijing before Vladimir Putin, Joko Widodo, Stephen Harper, Barack Obama, Park Geun-hye and other leader of Asia-Pacific Economic Cooperation.

From Wikipedia, the free encyclopedia

 
 
 
 
Tchaikovsky - Romeo and Juliet, Fantasy-Overture
 
Pyotr Il'yich Tchaikovsky - Romeo and Juliet, fantasy-overture for orchestra in B minor, 1880.
Maestro Valery Gergiev with the London Symphony Orchestra.
 
 
 
 
 
     
 
Peter Ilich Tchaikovsky
     
 
 
     
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1870
 
 
Wagner: "Die Walkure"
 
Die Walküre (The Valkyrie), WWV 86B, is an opera in three acts by Wagner Richard with a German libretto by the composer. It is the second of the four operas that form Wagner's cycle Der Ring des Nibelungen (The Ring of the Nibelung).

The story of the opera is based on the Norse mythology told in the Volsunga Saga and the Poetic Edda. In Norse mythology, a valkyrie is one in a group of female figures who decide which soldiers die in battle and which live. Die Walküre's best-known excerpt is the "Ride of the Valkyries".

It received its premiere at the Königliches Hof- und National-Theater in Munich on 26 June 1870. Wagner originally intended the opera to be premiered as part of the entire cycle, but was forced to allow the performance at the insistence of his patron King Ludwig II of Bavaria. It was first presented as part of the complete cycle on 14 August 1876 at Wagner's Bayreuth Festival. The opera made its United States premiere at the Academy of Music in New York on 2 April 1877.

 
Composition
Although Die Walküre is the second of the Ring operas, it was the third in order of conception. Wagner worked backwards from planning an opera about Siegfried's death, then deciding he needed another opera to tell of Siegfried's youth, then deciding he needed to tell the tale of Siegfried's conception and of Brünnhilde's attempts to save Siegfried's parents, and finally deciding he also needed a prelude that told of the original theft of the Rheingold and the creation of the ring.

Wagner intermingled development of the text of these last two planned operas, i.e. Die Walküre, originally entitled Siegmund und Sieglinde: der Walküre Bestrafung ("Siegmund and Sieglinde: the Valkyrie's Punishment") and what became Das Rheingold. Wagner had first written of his intention to create a trilogy of operas in the August 1851 draft of "Eine Mittheilung an meine Freunde" (A Communication to My Friends), but did not produce any sketches of the plot of Siegmund and Sieglinde until November. The following summer, Wagner and his wife rented the Pension Rinderknecht, a pied-ŕ-terre on the Zürichberg (now Hochstrasse 56–58 in Zürich). There he worked on the prose draft of Die Walküre, an extended description of the story including dialogue between 17 and 26 May 1852 and the verse draft between 1 June and 1 July. It was between these drafts that Wagner made the decision not to introduce Wotan in act 1, instead leaving the sword the god had been going to bring on stage already embedded in the tree before the action starts. The fair copy of the text was completed by 15 December 1852.

 
 
 

Even before the text of the Ring was finalised, Wagner had begun to sketch some of the music. On 23 July 1851 he wrote down on a loose sheet of paper what was to become the best-known leitmotif in the entire cycle: the theme from the "Ride of the Valkyries" (Walkürenritt). Other early sketches for Die Walküre were made in the summer of 1852. But it was not until 28 June 1854 that Wagner began to transform these into a complete draft of all three acts of the opera. This preliminary draft (Gesamtentwurf) was completed by 27 December 1854. Much of the work of this stage of development of the opera overlapped with work on the final orchestral version of Das Rheingold.

As Wagner had included some indication of the orchestration in the draft, he decided to move straight on to developing a full orchestral score in January 1855 without bothering to write an intermediate instrumentation draft as he had done for Das Rheingold. This was a decision he was soon to regret, as numerous interruptions including a four-month visit to London made the task of orchestrating more difficult than he had expected. If he allowed too much time to elapse between the initial drafting of a passage and its later elaboration, he found that he could not remember how he had intended to orchestrate the draft. Consequently some passages had to be composed again from scratch. Wagner, nevertheless, persevered with the task and the full score was finally completed on 20 March 1856. The fair copy was begun on 14 July 1855 in the Swiss resort of Seelisberg, where Wagner and his wife spent a month. It was completed in Zürich on 23 March 1856, just three days after the completion of the full score.

From Wikipedia, the free encyclopedia

 
 

Richard Wagner. "Die Walkure". The end of act 1 in the 1876 production
 
 
Richard Wagner - Ride Of The Valkyries
 
 
 
 
 
     
 
Richard Wagner
     
 
 
     
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Lehar Franz
 
Franz Lehar (30 April 1870 – 24 October 1948) was an Austro-Hungarian composer. He is mainly known for his operettas, of which the most successful and best known is The Merry Widow (Die lustige Witwe).
 

Franz Lehar
  Biography
Lehár was born in the northern part of Komárom, Kingdom of Hungary, Austria-Hungary (now Komárno, Slovakia), the eldest son of Franz Lehár (senior) (1838–1898), an Austrian bandmaster in the Infantry Regiment No. 50 of the Austro-Hungarian Army and Christine Neubrandt (1849–1906), a Hungarian woman from a family of German descent. He grew up speaking only Hungarian until the age of 12. Later he put a diacritic above the "a" of his father's name "Lehar" to indicate the vowel in the corresponding Hungarian orthography. While his younger brother Anton entered cadet school in Vienna to become a professional officer, Franz studied violin at the Prague Conservatory, where his violin teacher was Antonín Bennewitz, but was advised by Antonín Dvořák to focus on composition. However, the Conservatory's rules at that time did not allow students to study both performance and composition, and Bennewitz and Lehár senior exerted pressure on Lehár to take his degree in violin as a practical matter, arguing that he could study composition on his own later. Lehár followed their wishes, against his will, and aside from a few clandestine lessons with Zdeněk Fibich he was self-taught as a composer. After graduation in 1888 he joined his father's band in Vienna, as assistant bandmaster. Two years later he became bandmaster at Losoncz, East Slovakia, making him the youngest bandmaster in the Austro-Hungarian Army at that time, but he left the army and joined the navy. With the k.u.k. Kriegsmarine he was first Kapellmeister at Pola from 1894 to 1896, resigning in the later year when his first opera, Kukuschka (later reworked as Tatjana in 1906), premiered in Leipzig.
 
 
It was only a middling success and Lehár eventually rejoined the army, with service in the garrisons at Trieste, Budapest (1898) and finally Vienna from 1899 to 1902. In 1902 he became conductor at the historic Vienna Theater an der Wien, where his operetta Wiener Frauen was performed in November of that year.

He is most famous for his operettas – the most successful of which is The Merry Widow (Die lustige Witwe) – but he also wrote sonatas, symphonic poems and marches. He also composed a number of waltzes (the most popular being Gold und Silber, composed for Princess Pauline von Metternich's "Gold and Silver" Ball, January 1902), some of which were drawn from his famous operettas. Individual songs from some of the operettas have become standards, notably "Vilja" from The Merry Widow and "You Are My Heart's Delight" ("Dein ist mein ganzes Herz") from The Land of Smiles (Das Land des Lächelns).

Lehár was also associated with the operatic tenor Richard Tauber, who sang in many of his operettas, beginning with a revival of his 1910 operetta Zigeunerliebe (de) in 1920 and then Frasquita (de) in 1922, in which Lehár once again found a suitable post-war style. Lehár made a brief appearance in the 1930 film adaptation The Land of Smiles starring Tauber. Between 1925 and 1934 he wrote six operettas specifically for Tauber's voice. By 1935 he decided to form his own publishing house, Glocken-Verlag (Publishing House of the Bells), to maximize his personal control over performance rights to his works.

 
 

Franz Lehar
  Lehár and the Third Reich
Lehár's relationship with the Nazi regime was an uneasy one. He had always used Jewish librettists for his operas and had been part of the cultural milieu in Vienna which included a significant Jewish contingent. Further, although Lehár was Roman Catholic, his wife, Sophie (née Paschkis) had been Jewish before her conversion to Catholicism upon marriage, and this was sufficient to generate hostility towards them personally and towards his work.

Hitler enjoyed Lehár's music, and hostility diminished across Germany after Goebbels's intervention on Lehár's part. In 1938 Mrs. Lehár was given the status of "Ehrenarierin" (honorary Aryan by marriage). Nonetheless, attempts were made at least once to have her deported. The Nazi regime was aware of the uses of Lehár's music for propaganda purposes: concerts of his music were given in occupied Paris in 1941.

Even so, Lehár's influence was limited. It is said that he tried personally to secure Hitler's guarantee of the safety of one of his librettists, Fritz Löhner-Beda, but he was not able to prevent the murder of Beda in Auschwitz-III.

On 12 January 1939 and 30 April 1940 Lehár had personally received awards by Hitler in Berlin and Vienna, including the Goethe medal. On Hitler's birthday in 1938 Lehár had given him as a special gift a red maroquin leather volume in commemoration of the 50th performance of The Merry Widow.

 
 
Later years
He died aged 78 in 1948 in Bad Ischl, near Salzburg, and was buried there.

His younger brother Anton became the administrator of his estate, promoting the popularity of Franz Lehár's music.

Honours
- He was elected an honorary citizen of Sopron in 1940.
- In 1940 Hitler awarded him the Goethe-Medaille für Kunst und Wissenschaft.
- There is a street in Vienna named after him. Additionally, several towns in the Netherlands have named streets after him (e.g. in The Hague, Leidsche Rijn, Utrecht, Eindhoven and Tilburg). Also, there is a street in Sarajevo named after him.

Stage works
Lehár recording

In 1929 and 1934, Lehár had conducted for Odeon records The Land of Smiles and Giuditta, starring Richard Tauber, Vera Schwarz and Jarmila Novotná. A 1942 Vienna broadcast of his operetta Paganini conducted by the composer has survived, starring soprano, Esther Réthy and tenor, Karl Friedrich (de). A 1942 Berlin radio production of Zigeunerliebe with Herbert Ernst Groh, conducted by Lehár, also survives.

In 1947, Lehár conducted the Tonhalle Orchester Zürich in a series of 78-rpm recordings for English Decca (released in the U.S. by London Records) of overtures and waltzes from his operettas. The recordings had remarkable sound for their time because they were made using Decca's Full Frequency Range Recording process, one of the first commercial high fidelity techniques. These recordings were later issued on LP (in 1969 on Decca eclipse ECM 2012 and reprocessed stereo on ECS 2012) and CD. A compilation of his recordings has been released by Naxos Records.

Following the collapse of the Berlin Wall, a set of discs recording the 1939 Saarbrucken concert of Lehár's works by German State Transmitter Saarbrucken conducted by Franz Lehár himself was discovered in East German state archives. This was released on CDs by Cpo-Musikproduktion in 2000.

From Wikipedia, the free encyclopedia

 
 
 
Franz Lehar - Medley
 
Violin: Katica Illenyi (Illényi Katica)
Győr Philharmonic Orchestra
Conductor: Istvan Sillo (Silló István)
Franz Lehar: Medley
 
 
 
 
 
     
 
Franz Lehar
     
 
 
     
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1870
 
 
Balfe Michael
 
Michael William Balfe, (born May 15, 1808, Dublin, Ire.—died Oct. 20, 1870, near Ware, Hertfordshire, Eng.), singer and composer, best known for the facile melody and simple ballad style of his opera The Bohemian Girl.
 

Michael William Balfe
  Balfe appeared as a violinist at age nine and began composing at about the same time. In 1823 he went to London, where he studied violin with C.F. Horn and played in the orchestra at Drury Lane Theatre. In 1825 he was taken to Italy by Count Mazzara, a wealthy patron. There he studied composition, took voice lessons, and produced his first ballet, La Pérouse (1825). Between 1827 and 1833 he sang leading baritone roles in operas by Gioachino Rossini, Giacomo Meyerbeer, and others in Paris and Italy. His own early operas were written on Italian librettos and produced at Palermo, Pavia, and Milan between 1829 and 1833, after which he returned to London. His first English opera, The Siege of Rochelle, was produced at Drury Lane in 1835.

His popularity was established; in 1838 he sang Papageno in the first English performance of The Magic Flute, and with Le Puits d’amour (1843) he began a series of French operas.

The Bohemian Girl (first performed 1843) was the most successful of his operas and was produced in many countries, in French, German, Italian, and Russian. Two of the ballads from it, “When Other Lips” and “I Dreamt That I Dwelt in Marble Halls,” have been published in many arrangements.

Balfe produced several other operas in London; essayed managing and conducting with little success; and between 1849 and 1864 traveled in France, Germany, Italy, and Russia.

Encyclopćdia Britannica
 
 
 
 
Michael Balfe - "The Bohemian Girl"
 
 
 
 
     
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CONTENTS
  BACK-1870 Part II NEXT-1870 Part IV