Eighteenth Century Music最新文献

{"title":"Ocho Responsorios para los Maitines de la Santísima Trinidad Antonio Juanas (1762/1763–after 1816), ed. R. Ryan Endris Leinfelden-Echterdingen: Carus, 2019 pp. viii + 72, ISBN 979 0 007 18884 9","authors":"Jesús Herrera-Zamudio","doi":"10.1017/S147857062300009X","DOIUrl":"https://doi.org/10.1017/S147857062300009X","url":null,"abstract":"Antonio Juanas is the composer with the largest number of musical manuscripts in the Archivo del Cabildo Catedral Metropolitano de México (hereafter ACCMM), which is the biggest repository of vice-regal music from Hispanic America. Despite what one might imagine given this fact, Juanas is one of the least studied chapel masters from Mexico City Cathedral. Fifteen years ago Javier Marín López wrote that ‘con un catálogo que supera las 500 composiciones, Juanas pertenece al grupo de compositores hasta ahora prácticamente desconocidos’ (with an [extant] output of more than five hundred compositions, Juanas belongs to the group of composers who have been practically unknown until now) (‘Consideraciones sobre la trayectoria profesional del músico Antonio Juanas (1762/63–después de 1816)’, Cuadernos Musicat 2 (2007), 14). At the time these words were written, there was only one edition of music by Juanas, which had appeared in a DMA dissertation (Teresa Bowers, University of Maryland, 1998), and not a single recording was available. Now, at the time of publication of the score reviewed here, there has only been one more edition of Juanas’s music, in a PhD dissertation by Dianne Lehmann Goldman (‘The Matins Responsory at Mexico City Cathedral, 1575–1815’, Northwestern University, 2014), and one CD (Antonio Juanas: Premiere Recordings of Selected Choral Works (Centaur CRC3663, 2018)), recorded by the Collegium Mundi Novi and conducted by Ryan Endris, the editor of the Ocho Responsorios para los Maitines de la Santísima Trinidad. Three years ago, another CD appeared, by La Real Capilla del Pópulo (Antonio Juanas: música coral para la Catedral de México (Sociedad Española de Musicología, 2020)). As Marín has noted, Juanas belongs to a group of composers active in New Spain whose music is unknown to us, and there is a common characteristic that links some of these musicians: they worked in Mexico during its colonial period. In practically all of the research investigating this repertory published in the twentieth century, there has been a common prejudice that ‘Mexican music was unfortunately in a depressed state at the end of the colonial period’, as Robert Murrell Stevenson put it in his Music in Mexico ((New York: Crowell, 1952), 173). It is generally assumed that since the vice-regal regime was in decline at that time, the quality of its music must have been declining too. I say ‘prejudice’ because even today – in 2023 – listeners have not really been able to hear the music created in Mexico at that time, especially those works composed for Mexico City Cathedral in the final decades of the vice-regal period. Although there has been significant work to bring music composed in Mexico to light over the last few decades, the scope of the source material means that there is still much left to do. Moreover, there is one additional element to highlight: that the country that we now call Mexico was a part of the Spanish Empire between 1521 and 1821. For this re","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"415 1","pages":"195 - 198"},"PeriodicalIF":0.1,"publicationDate":"2023-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78100284","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Popular Opera in Eighteenth-Century France: Music and Entertainment before the Revolution David Charlton Cambridge: Cambridge University Press, 2021 pp. xxiv + 368, ISBN 978 1 316 51584 6","authors":"Maxime Margollé","doi":"10.1017/S1478570623000118","DOIUrl":"https://doi.org/10.1017/S1478570623000118","url":null,"abstract":"","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"46 1","pages":"179 - 181"},"PeriodicalIF":0.1,"publicationDate":"2023-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90350333","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Hibernian Muse: Music for Ireland by Purcell and Cousser Johann Sigismund Cousser (1660–1727), Henry Purcell (1659–1695) Irish Baroque Orchestra / Peter Whelan (conductor) Linn CKD 685, 2022; one disc, 70 minutes","authors":"David J. Rhodes","doi":"10.1017/s1478570622000367","DOIUrl":"https://doi.org/10.1017/s1478570622000367","url":null,"abstract":"This disc is a well-thought-out and imaginative coupling of two odes written for specific performing occasions in Dublin, one by Henry Purcell in 1694 and the other by Johann Sigismund Cousser in 1711, the former for an institutional and the latter a royal birthday celebration","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"5 1","pages":"106 - 109"},"PeriodicalIF":0.1,"publicationDate":"2023-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86083582","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Tonadillas. Volumen 1: Obras del periodo 1768–1778 Jacinto Valledor (1744–1809), ed. Aurèlia Pessarrodona Madrid: Consejo Superior de Investigaciones Científicas, 2019 pp. 412, ISBN 978 8 400 10498 6","authors":"Maria Virginia Acuña","doi":"10.1017/s1478570622000306","DOIUrl":"https://doi.org/10.1017/s1478570622000306","url":null,"abstract":"","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"68 1","pages":"97 - 98"},"PeriodicalIF":0.1,"publicationDate":"2023-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84808753","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Antoine Reicha and the Making of the Nineteenth-Century Composer Fabio Morabito and Louise Bernard de Raymond, eds Bologna: Ut Orpheus, 2021 pp. xxix + 329, ISBN 978 8 881 09522 3","authors":"Mark C. Ferraguto","doi":"10.1017/S1478570622000264","DOIUrl":"https://doi.org/10.1017/S1478570622000264","url":null,"abstract":"Who was Antoine Reicha, anyway? Born 1770 in Prague, he was educated in Bavaria, served the court of Elector Maximilian Franz in Bonn, escaped Napoleonic aggression by moving to Hamburg, laboured as a composer in Vienna and finally settled in Paris, where he was appointed the Conservatoire’s professor of counterpoint and fugue. An unapologetic careerist, he was a tireless innovator, an unsuccessful opera composer and a brilliant if freewheeling pedagogue. He adored Haydn, had a cordial relationship with Beethoven, sparred with his colleagues Fétis and Cherubini and mentored such luminaries as Liszt, Berlioz and Franck. Though his name is now largely forgotten, in the musical world of the nineteenth century, all roads led to Reicha. No wonder, then, that in our age of networks, Reicha is staging a comeback. With Antoine Reicha and the Making of the Nineteenth-Century Composer, editors Fabio Morabito and Louise Bernard de Raymond have aimed to capture Reicha in his ‘efforts to navigate a variety of contexts, negotiating at the same time personal, financial, geographical, social, musical, professional and other priorities of self-representation’ (xix). Comprising seven essays in English and four in French, the book is a welcome addition to the growing literature on the composer, offering many perspectives that will engage scholars of eighteenthand nineteenth-century music. Morabito (chapter 1) draws attention to Haydn’s outsized role in Reicha’s autobiography. Central to Reicha’s historiographical project, Morabito argues, was his role as a symbolic link between Haydn and later generations of composers. Morabito characterizes Haydn as a modernist, arguing that for Reicha, ‘playing [the role of] Haydn’ amounted to ‘being yourself musically’ (19). Reicha’s Trente-six fugues composées d’après un nouveau systême (1803) were his most systematic and radical attempt to follow ‘the unruly Haydn blueprint’ (19), but the collection was poorly received. These eccentric fugues, Morabito suggests, were off-putting to Reicha’s contemporaries because of their didactic pretension as much as their novelty. Reicha’s fascination with fugue is further explored by Muriel Boulan (chapter 9), who investigates seven French treatises on ‘school fugues’ written between 1805 and 1840. These texts, she argues, reflect competing ideologies. While Francois-Joseph Fétis in his Traité du contrepoint et de la fugue (1824) characterized fugue as the summit of tradition, Reicha in his Traité de haute composition musicale (1826) viewed it as the essence of modern composition. Rather than including fugal examples by the likes of Palestrina, Handel and Bach in his treatise, Reicha quoted from works composed by himself and his former students. In so doing, he sought to demonstrate fugue’s relevance to the nineteenth-century composer, emphasizing, in his own words, ‘the effects produced by the fugal material’ rather than ‘the insignificant fugues with which students in counterpoint classe","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"25 1","pages":"91 - 93"},"PeriodicalIF":0.1,"publicationDate":"2023-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84985416","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Musique et société dans les Caraïbes françaises, 1750–1810 Centre d’études supérieures de la Renaissance, Tours, 5–7 May 2022","authors":"J. Prest","doi":"10.1017/S1478570622000276","DOIUrl":"https://doi.org/10.1017/S1478570622000276","url":null,"abstract":"This invited conference of nine speakers and ten papers was originally scheduled to take place in person in April 2021. For obvious reasons, it was postponed for just over a year","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"25 1","pages":"113 - 115"},"PeriodicalIF":0.1,"publicationDate":"2023-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74735602","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Lost Arias from Ifigenia in Tauri (1713) in Thomas Gray's Music Collection: ‘E posto in Musica dal Sig. Domenico Scarlatti’?","authors":"Nathalie Dupuis-Désormeaux","doi":"10.1017/s1478570622000239","DOIUrl":"https://doi.org/10.1017/s1478570622000239","url":null,"abstract":"Abstract This article shares the exciting discovery of previously unidentified arias within the music amassed by the eighteenth-century English poet Thomas Gray. His ten-volume collection, now held at the Lewis Walpole Library, Yale University, contains some of the only surviving copies of important arias dating back as far as 1690 and bears many annotations by Gray listing performance venues, composers, opera roles and singers. One volume of the collection contains many unattributed works, among which I identify a number of arias. Five of them match the libretto to La caduta del regno dell'Amazzoni (1690) and another corresponds to Il Colombo overo l'India scoperta (1691), both operas originally set by Bernardo Pasquini. The texts of the two ensuing arias align with Carlo Sigismondo Capeci's libretto for Ifigenia in Tauri (1713), the opera he wrote with Domenico Scarlatti for their patroness, Maria Kazimiera Sobieska. In addition, in the first pages of the assemblage, instructions in Gray's hand on how to execute a basso-continuo accompaniment continue from another volume, where he entitled these ‘Regole per l'Accompagnamento’ and interwove them with a ‘Toccata per il Cembalo’. This article seeks to describe the newfound works and stimulate study into the full contents of Gray's music collection, but its main focus is on the two excerpts from Ifigenia in Tauri and their possible attribution to Domenico Scarlatti. Salient characteristics of these scores are presented, as is an evaluation of their concordance with Capeci's libretto. Further, I underline features that these numbers share with other Ifigenia in Tauri arias known to be by Domenico Scarlatti and provide comprehensive tables detailing equivalent structural proportions.","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"35 1","pages":"33 - 59"},"PeriodicalIF":0.1,"publicationDate":"2023-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75994229","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Musicking: Culturally Informed Performance Practices University of Oregon School of Music and Dance, 19–24 April 2022","authors":"Laura Trujillo Sanz","doi":"10.1017/S1478570622000380","DOIUrl":"https://doi.org/10.1017/S1478570622000380","url":null,"abstract":"The annual ‘ Musicking ’ conference brought together culturally informed musical performances and masterclasses with academic research in a series of events centred on the study of early music within its broader cultural context. In 2022, its seventh year, the conference celebrated and honoured Musicking ’ s artistic director Marc Vanscheeuwijck on his retirement from the University of Oregon. As a tribute to his scholarly contributions, the event focused primarily (but not exclusively) on genres, composers, instruments and music in and around Bologna and Naples. The conference consisted of five ‘ Intermezzo ’ lecture-concerts, three panels, a special lecture, a keynote address, masterclasses and two concerts. As was the case in 2021, participants had the option of attending in person or virtually, the latter allowing for presenters and attendees to engage with conference events on a national and international scale. The conference opened on Tuesday 19 April with the Intermezzo lecture-concert ‘ Eighteenth-Century Spanish Violin Repertory through its Own Lens ’ by Guillermo Salas Suárez (Case Western Reserve University). Taking Spanish treatises as a starting-point, Salas focused on issues of bowings and articulation, ornamentation and accompaniment techniques. He illustrated the topics of his talk with excerpts from Domenico Scarlatti (1685 – 1757), Francisco Manalt ( c 1710 – 1759), José Herrando ( c 1720 – 1763) and Gaetano Brunetti (1744 – 1798). Issues concerning vocal performance took centre stage on the Wednesday. The term ‘ falsetto ’ , L ’ homme armé masses, the cantatas of Leonardo Vinci (1690 – 1730) and prosulas for mass propers from Benevento occupied the attendees on one of the busiest days of the conference. The panel ‘ Soldiers and Castrati ’ brought together Cameron Steuart (University of Georgia) and John Ahern (Princeton University) in a fascinating session that dealt with terminology and authorship. Steuart analysed the use of the term ‘ falsetto ’ in eighteenth-century opera, debunking some of the negative connotations","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"1 1","pages":"110 - 112"},"PeriodicalIF":0.1,"publicationDate":"2023-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83341484","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Attilio Ariosti (1666–1729) La Profezia d'Eliseo nell'assedio di Samaria Marie-Sophie Pollak, Marta Redaelli, Alessio Tosi, Mauro Borgioni, Matteo Pigato (soloists) / Ensemble Lorenzo da Ponte / Roberto Zarpellon (conductor) Fra Bernardo 2104397, 2020; two discs, 104 minutes","authors":"Konstantin Hirschmann","doi":"10.1017/S1478570622000331","DOIUrl":"https://doi.org/10.1017/S1478570622000331","url":null,"abstract":"","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"6 1","pages":"103 - 105"},"PeriodicalIF":0.1,"publicationDate":"2023-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75542334","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"From Servant to Savant: Musical Privilege, Property, and the French Revolution Rebecca Dowd Geoffroy-Schwinden New York: Oxford University Press, 2022 pp. xxii + 328, ISBN 978 0 197 51151 0","authors":"Callum Blackmore","doi":"10.1017/S1478570622000240","DOIUrl":"https://doi.org/10.1017/S1478570622000240","url":null,"abstract":"","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"19 1","pages":"87 - 90"},"PeriodicalIF":0.1,"publicationDate":"2023-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86975304","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}