CAMILLE SAINT-SAËNS’S CONCEPT OF “VIOLIN CONCERTO” by Cătălina GUŢANU

Subjects: “…Camille Saint-Saëns, French composer, French music, violin concerto, music for violin.…”
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CAMILLE SAINT-SAËNS’S CONCEPT OF “VIOLIN CONCERTO” by Cătălina GUŢANU

Subjects: “…Camille Saint-Saëns, French composer, French music, violin concerto, music for violin.…”
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Kajian historis Sonata Pour Clarinette Avec Accompagnement de Piano Opus 167 Karya Camille Saint-Saens by , WIJAYA, Suryanto, , Dr. Triyono Bramantyo, M.Mus.Ed

Decreasing cytosolic translation is beneficial to yeast and human Tafazzin-deficient cells by Maxence de Taffin de Tilques, Jean-Paul Lasserre, François Godard, Elodie Sardin, Marine Bouhier, Marina Le Guedard, Roza Kucharczyk, Patrice X. Petit, Eric Testet, Jean-Paul di Rago, Déborah Tribouillard-Tanvier

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Molecular Basis of the Pathogenic Mechanism Induced by the m.9191T>C Mutation in Mitochondrial <i>ATP6</i> Gene by Xin Su, Alain Dautant, François Godard, Marine Bouhier, Teresa Zoladek, Roza Kucharczyk, Jean-Paul di Rago, Déborah Tribouillard-Tanvier

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Contribution of Yeast Studies to the Understanding of BCL-2 Family Intracellular Trafficking by Akandé Rouchidane Eyitayo, Mathilde Gonin, Hubert Arokium, Stéphen Manon

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Yeast to Study Human Purine Metabolism Diseases by Bertrand Daignan-Fornier, Benoît Pinson

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Neutrophil Metabolic Shift during Their Lifecycle: Impact on Their Survival and Activation by Louise Injarabian, Anne Devin, Stéphane Ransac, Benoit S. Marteyn

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Mitophagy in Yeast: Decades of Research by Ingrid Bhatia-Kissova, Nadine Camougrand

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At the Crossroads between Opera and Oratorio: Biblical Themes and 19ᵗʰ Century French Opera by Noémi KARÁCSONY, Mădălina Dana RUCSANDA

“…Gradually, biblical subjects began to be tackled in operas as well, as will be seen in the works of Camille Saint-Saëns and Jules Massenet, the two composers on whose works the present study mainly focuses. …”
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OPA1 deficiency impairs oxidative metabolism in cycling cells, underlining a translational approach for degenerative diseases by Aurélie M. C. Millet, Corentin Coustham, Camille Champigny, Marlène Botella, Christine Demeilliers, Anne Devin, Anne Galinier, Pascale Belenguer, Joel Bordeneuve-Guibé, Noélie Davezac

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From electrons to cancer : Redox shift as a driving force of tumorigenesis by Romain Attal, Ashraf Bakkar, Frédéric Bouillaud, Anne Devin, Marc Henry, Maxime Pontié, Miroslav Radman, Laurent Schwartz

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Masculinity and the other in Belle Époque opera by Kavanagh, E

“…The subjects of my discussion are: the homosocial interactions in George Bizet’s <i>Carmen</i>; the representation of male desire and its relationship with power and patriarchy in Léo Delibes’s <i>Lakmé</i> and Jules Massenet’s <i>Thaïs</i>; the Orient in the male imagination in Camille Saint-Saëns’s <i>La Princesse jaune</i>; the provincial Other and Mediterranean gender stereotypes in Massenet’s <i>Sapho</i>; and autobiographies of bohemian masculinity in Gustave Charpentier’s <i>Louise</i> and its sequel, <i>Julien</i>. …”

Song and dance: a memetic angle on the evolution of musicality and music via case studies of a musemeplex in Saint-Saëns and ABBA by Steven Jan

“…As a case-study of (primarily) singing-style musemes, this article argues that a passage from the love duet “Mon cœur s'ouvre à ta voix” from Camille Saint-Saëns' opera Samson et Dalila op. 47 (1877) is the cultural-evolutionary antecedent of the Introduction/Chorus/Outro material of ABBA's song “The Winner Takes It All.” …”
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Tableware design inspired by synergistic complementary opposites derived via non-visual language of sound by Ng, Tsian Wah

“…The musical pieces are Fratres (cello and piano) by Arvo Pärt in 1989, Carnival of the Animals [13th Movement – Le Cygne] (cello and piano) by Camille Saint-Saëns in 1886, Haru no Umi [The Sea in Spring] (koto and shakuhachi) by Michio Miyagi in 1929, Duo (violin and piano) by Elliott Carter in 1974, Raag Pancham Se Gara (sitra and tabla) by Ravi Shankar in 1982 and Suite En Duo [2nd Movement - Modéré] (flute and harp) by Jean Cras in 1927. …”
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Teodor Leszetycki. notatki z biografii artysty i pedagoga w świetle stosunków z rodziną, przyjaciółmi i uczniami (część II) by Barbara Chmara- Żaczkiewicz

“…Przełom lat siedemdziesiątych i osiemdziesiątych XIX w. to okres wielkiej koncertowej aktywności Teodora, kiedy to wspólnie z Annette uczestniczył w kilku słynnych europejskich seriach tzw. koncertów „nadzwyczajnych”, obok takich sław, jak Eugen d’Albert, Clara Schumann, Hans von Bülow, Camille Saint-Saëns czy Emil von Sauer. Leszetycki dobrze znał repertuar romantyczny, miał jednak zwyczaj prezentowany utwór „wzbogacać” własnymi dodatkami i skreśleniami, co wśród wykonawców było wówczas częstą praktyką. …”
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Teodor Leszetycki. Notatki z biografii artysty i pedagoga w świetle stosunków z rodziną, przyjaciółmi i uczniami (część I) by Barbara Chmara-Żaczkiewicz

“…Przełom lat siedemdziesiątych i osiemdziesiątych XIX w. to okres wielkiej koncertowej aktywności Teodora, kiedy to wspólnie z Annette uczestniczył w kilku słynnych europejskich seriach tzw. koncertów „nadzwyczajnych”, obok takich sław, jak Eugen d’Albert, Clara Schumann, Hans von Bülow, Camille Saint-Saëns czy Emil von Sauer. Leszetycki dobrze znał repertuar romantyczny, miał jednak zwyczaj prezentowany utwór „wzbogacać” własnymi dodatkami i skreśleniami, co wśród wykonawców było wówczas częstą praktyką. …”
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