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Winnaretta Singer, Princesse Edmond de Polignac, died on November 26, 1942 in London, United Kingdom. She was 77 years old. Her legacy was carried on through the Fondation Singer-Polignac, which continues to present concerts and recitals in the music room of the Polignac mansion. Labels: american royalty dollar princesses Isaac Singer million ...
23 de fev. de 2022 · AUDIO • 3/4 : La Princesse de Polignac. Ces dames mécènes est une série inédite proposée par France Musique. Écoutez gratuitement en ligne ce podcast et parcourez tout notre catalogue.
Jeanne A. Ojala , Professor Emerita, Department of History, University of Utah, Salt Lake City, Utah. Singer, Winnaretta (1865–1943)American-born artist, musician, and patron of the arts who established the Fondation Singer-Polignac. Name variations: Princess Edmond de Polignac; Princesse de Polignac; Princess Winnie; Princess de Scey ...
15 de jul. de 2009 · The American-born Winnaretta Singer (1865-1943) was a millionaire at the age of eighteen, due to her inheriting a substantial part of the Singer Sewing Machine fortune. Her 1893 marriage to Prince Edmond de Polignac, an amateur composer, brought her into contact with the most elite strata of French society.
- Paperback
- Sylvia Kahan
Lorsque la succession compliquée d’Isaac Singer — qui avait laissé deux testaments séparés — fut finalement réglée, en 1877, Winnaretta reçut directement 167.000 dollars du compte d’épargne personnel de son père ; de plus, elle hérita d’une partie de la vente de la Compagnie des machines à coudre Singer, plus de 50.000 ...
20 de jul. de 2011 · Sylvia Kahan's monograph on the aristocratic composer Prince Edmond de Polignac (1834–1901) serves as a scholarly companion to her 2003 study of Polignac's wife, the music patron and salon hostess par excellence, Princesse Winnaretta Singer-Polignac (1865–1943) (Music's Modern Muse: A Life of Winnaretta Singer, Princesse de Polignac (Rochester, NY, 2003, repr. 2009)).
Using as a case study the 1948 opera The Prisoner, written over five years in Dallapiccola’s first phase of twelve-tone writing, I investigate the unique interweaving of the composer's experimentation with the twelve-tone method, his setting of dramatic text, and his manipulation of the octatonic collection.
