Eighteenth Century Music最新文献

{"title":"Erard: A Passion for the Piano Robert Adelson New York: Oxford University Press, 2021 pp. xii + 238, ISBN 978 0 197 56531 5","authors":"T. Skowroneck","doi":"10.1017/S1478570622000379","DOIUrl":"https://doi.org/10.1017/S1478570622000379","url":null,"abstract":"The Erard firm occupies a unique position in the tale of the development of the piano and the harp. The firm ’ s various ground-breaking technical innovations paved the way for the modern actions of these instruments. Along the way, Erard pianos came to be associated with numerous famous pianists and composers. Yet there has not to date been an overarching account of the history of the firm, especially not one that was correct in all its details. The present book fills this gap with aplomb. It is based in part on materials from the substantial 2015 edition of documents from the Erard archives (Robert Adelson, Alain Roudier, Jenny Nex, Laure Barthel and Michel Foussard, eds, The History of the Erard Piano and Harp in Letters and Documents, 1785 – 1959 , two volumes (Cambridge: Cambridge University Press)), and in part on the Erard family archives, which author Robert Adelson discovered in 2016. The text is organized chronologically and consists of fifteen topic-driven chapters, beginning with the apprentice years of Sébastien Erard (1752","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"78 1","pages":"81 - 83"},"PeriodicalIF":0.1,"publicationDate":"2023-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84043050","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":"ECM volume 20 issue 1 Cover and Front matter","authors":"","doi":"10.1017/s1478570623000015","DOIUrl":"https://doi.org/10.1017/s1478570623000015","url":null,"abstract":"","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"1 1","pages":"f1 - f4"},"PeriodicalIF":0.1,"publicationDate":"2023-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85007379","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":"Women, Opera and the Public Stage in Eighteenth-Century Venice Fondazione Levi, Venice, 23–24 May 2022","authors":"Britta Kägler, Evan Schreiner","doi":"10.1017/S147857062200029X","DOIUrl":"https://doi.org/10.1017/S147857062200029X","url":null,"abstract":"The interdisciplinary research project ‘ Women, Opera and the Public Stage in Eighteenth-Century Venice ’ (WoVen) brings together an international team of researchers dedicated to the question of how women and European opera culture were intertwined in the eighteenth century. The focus is on female singers, librettists and other women involved in performance of the genre, as well as female patrons and audience members. The focus, however, is not only on specific women; the questions are also directed at ‘ women ’ s roles ’ in the operatic context in general. Venice lends itself particularly well to this as a focal point, since the character of European operatic culture can be seen in the Serenissima as if under a burning glass. The theme of the first colloquium was ‘ Concepts, Sources and Methodologies ’ . In her introductory presentation on the project, Melania Bucciarelli (Norges teknisk-naturvitenskapelige","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"29 1","pages":"116 - 119"},"PeriodicalIF":0.1,"publicationDate":"2023-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86475282","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":"Serenatas for Dublin Johann Sigismund Kusser (1660–1727), ed. Samantha Owens Middleton, WI: A-R Editions, 2020 pp. xxviii + 262, ISBN 978 1 9872 0450 6","authors":"Rebekah Ahrendt","doi":"10.1017/S1478570622000094","DOIUrl":"https://doi.org/10.1017/S1478570622000094","url":null,"abstract":"Johann Sigismund Kusser got around. His peregrinations across Europe brought him into contact with a vibrant and ever-changing cast of sovereigns, musicians and librettists – yet none so mutable as Kusser himself. Though he was known to be a difficult character, somehow he managed to thrive, acquiring important positions wherever he ended up. Kusser’s success, evidenced in part by the volume under review here, might just be attributed to his political flexibility. Put simply, Kusser knew how to cultivate power by composing on-trend music in line with the desires of the authorities. Whether that music stands the test of time remains to be seen. This volume is the latest product of Samantha Owens’s long-standing engagement with Kusser (or Cousser), thoroughly detailed in her monograph The Well-Travelled Musician: John Sigismond Cousser and Musical Exchange in Baroque Europe (Woodbridge: Boydell, 2017). The three serenatas stem from Kusser’s lengthy affiliation with the Dublin viceregal court, a relationship he cultivated from the time of his arrival in Ireland in July 1707. Controlled by the Protestant Ascendancy, the largely English and exclusively Protestant ruling class of Ireland, the court confirmed its authority by celebrating British interests. Topically, the serenatas immortalize the memory of William III (a still-controversial subject in Ireland), Queen Anne herself and the British triumph at Utrecht. While a firm date is lacking for the ode to William III (No! He’s Not Dead!; more on this below), evidence uncovered by Owens reveals that The Universal Applause of Mount Parnassus dates from Anne’s birthday celebrations in 1711, while An Idylle on the Peace was premiered at Dublin’s Theatre Royal on 16 June 1713. The serenatas are products of their time. Each exists in a single manuscript source: the odes for Anne and William are both autograph manuscripts (Bodleian Library (GB-Ob), Ms. Tenbury 765, and Hamburg, Staatsund Universitätsbibliothek Carl von Ossietzky, Musiksammlung (D-Hs), M A/836), while An Idylle on the Peace was copied by someone close to Kusser (D-Hs ND VI 2892). Owens’s edition, based on these unique sources with additional textual confirmation from librettos printed in 1711 and 1713, helpfully provides three plates demonstrating the hands. All three works typify the mixed style practised by Kusser and many of his contemporaries: a ‘French’ overture opens the action, followed by Italianate recitative–aria pairs for solo singers interspersed with choruses, dances and the occasional duet, all accompanied by four-part orchestra. An edition of the texts updates the spelling and punctuation; however, some additional glosses on characters’ names, events referred to and even vocabulary (including the luscious word ‘truckle’) would have been desirable. The poetry rarely rises above mediocre and sometimes descends to offensive, at least to modern sensibilities. Like many composers of his day, Kusser and his unknown librettists liber","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"13 1","pages":"214 - 216"},"PeriodicalIF":0.1,"publicationDate":"2022-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72533665","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":"In Search of the ‘Oriental Origin’: Rameau, Rousseau and Chinese Music in Eighteenth-Century France","authors":"Qingfan Jiang","doi":"10.1017/S1478570622000173","DOIUrl":"https://doi.org/10.1017/S1478570622000173","url":null,"abstract":"Abstract This article offers a fresh perspective on the study of the eighteenth-century musical dialogue between China and France, not as an episode of exotic encounter but as an intellectual movement that profoundly shaped how scholars conceived of music and the study of its theories within an increasingly integrated world. Taking Jean-Philippe Rameau's and Jean-Jacques Rousseau's explorations into the origins of music as an example, I foreground the importance of Chinese music in the formation of their influential concepts of the corps sonore and of the unity of music and language respectively. While these two thinkers made two opposing claims about the origins of music, both used Chinese music as key evidence to support their arguments. Moreover, certain Jesuit missionaries, particularly Jean-Joseph-Marie Amiot, played a crucial role in the global transmission of musical knowledge that enabled French thinkers like Rameau and Rousseau to incorporate music beyond Western Europe. Ultimately, this article reverses the Eurocentric narrative that tends to trace the influence of ‘Western music’ on other parts of the world by showing how Chinese music exerted a major impact on musical debates in France. Situating the study of eighteenth-century music in a global context, I demonstrate what we commonly recognize as ‘Western music theory’ was shaped by knowledge from the East.","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"225 1","pages":"125 - 149"},"PeriodicalIF":0.1,"publicationDate":"2022-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77674216","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":"Diogenio Bigaglia and His Dixit Dominus","authors":"M. Talbot","doi":"10.1017/S1478570622000045","DOIUrl":"https://doi.org/10.1017/S1478570622000045","url":null,"abstract":"Abstract In his own time Diogenio Bigaglia (1678–1745) was viewed as the equal of Venice's three great amateur musicians active during the first half of the eighteenth century (Tomaso Albinoni, Alessandro Marcello and Benedetto Marcello), but he is largely forgotten today. Part of the reason is the secluded, uneventful life he led as a Benedictine monk at the abbey of San Giorgio Maggiore. This article analyses an impressive early work: a twelve-movement Dixit Dominus probably composed between 1700 and 1710. This work occupies the borderland between late seventeenth-century musical practice and the more progressive musical forms, styles and techniques introduced in the early eighteenth century. It survives in a late eighteenth-century copy by the Venetian copisteria of Giuseppe Baldan that probably passed via Domenico Dragonetti to Vincent Novello, who donated it to the British Museum in 1843. The music contains many attractive features, including an imaginative use of the instruments and dextrous counterpoint, pointing the way forward to the choral masterpieces of Bigaglia's maturity.","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"188 1","pages":"151 - 172"},"PeriodicalIF":0.1,"publicationDate":"2022-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79430317","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":"Opera Pasticcio in Eighteenth-Century Opera: Work Concept, Performance Practice, Digital Humanities Warsaw, 13–14 May 2021","authors":"Szymon Paczkowski","doi":"10.1017/S1478570622000148","DOIUrl":"https://doi.org/10.1017/S1478570622000148","url":null,"abstract":"[...]numbers could be moved from one opera to another with no detriment to the latter work's dramatic structure, so long as they still reflected the emotions expressed by the original. Initially planned as an in situ event, the Covid-19 pandemic meant that it took place online, which – despite the lack of human contact – helped boost the number of observers and the reception of the event among opera and theatre scholars. Berthold Over (Universität Greifswald), in his paper ‘The Art of Cooking a Pasticcio: Musical Recipes and Ingredients for Pasticcio Operas’, employed culinary analogies to explain the concept of ‘unity in diversity’ that was typical of this genre. Barbara Wiermann (Sächsische Landesbibliothek – Staats- und Universitätsbibliothek, Dresden), in ‘Source Studies – Authority Data – Digital Musicology’, highlighted the fluid concept of the work in the pasticcio genre and also the diversity of the relevant sources, which today results in numerous problems with standardizing data.","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"85 1","pages":"225 - 228"},"PeriodicalIF":0.1,"publicationDate":"2022-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84332863","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":"Handel: Interactions and Influences The Foundling Museum, London, and the Bridewell Centre, London, 19–21 November 2021","authors":"A. Woolley","doi":"10.1017/s147857062200001x","DOIUrl":"https://doi.org/10.1017/s147857062200001x","url":null,"abstract":"The 2021 Handel Institute Conference went ahead as an in-person event despite continuing diffi-culties for international travel. Some speakers had to withdraw very late in the day, to be replaced by members of the Institute ’ s council, who gave papers that either had been presented at other recent events or had had to be withdrawn. A small conference in plenary sessions grouping papers into pairs in generous slots of forty minutes each – making for a very welcome convivial atmosphere – it was a triumph in the circumstances. This year ’ s theme, Interactions and Influences, was prompted by the anniversary of Royal Academy opera Muzio Scevola (1721), composed jointly by Amadei, Bononcini and Handel. In the end, only five of the sixteen papers addressed it directly. Nevertheless, many of them, presented by emerging and established scholars based in the UK, Europe and the US, were of extremely high quality. The stimulating tone was set from the beginning by a refreshing and imaginative harpsichord recital by Bridget Cunningham after an evening reception at the Foundling Museum. It interspersed selected movements from Handel ’ s ground-breaking 1720 Suites de Pieces with little-performed contemporary arrangements of arias from Muzio Scevola and Floridante . Fittingly enough, the first paper the following morning, my Woolley, Nova was concerned with the keyboard music Handel composed before his Italian period. I proposed on the basis of the ritornello-like structures in some these pieces that Handel perhaps the first German composer to explore the Italian instrumental-concerto style and that through it he developed skills as a virtuoso keyboard player. This presentation was paired with a wide-ranging paper North Texas) on the eighteenth-century reception of Handel ’ s Water Music and Music for the Royal Fireworks . the role of these suites in framing the monarchy ’ s public image and highlighted their historical significance, they heard in concert-like settings that, for","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"16 1","pages":"240 - 242"},"PeriodicalIF":0.1,"publicationDate":"2022-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87267533","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":"Music, Pantomime & Freedom in Enlightenment France Hedy Law Woodbridge: Boydell, 2020 pp. xx + 265, ISBN 978 1 783 2756 01","authors":"R. Geoffroy-Schwinden","doi":"10.1017/S1478570622000057","DOIUrl":"https://doi.org/10.1017/S1478570622000057","url":null,"abstract":"Music, Pantomime & Freedom in Enlightenment France follows the trajectory of pantomime from the commedia dell ’ arte tradition on Parisian foire stages to its integration into the reform operas of Christoph Willibald Gluck and Antonio Salieri. The status of pantomime rose from the 1730s to the 1750s, particularly through Jean-Jacques Rousseau ’ s Le devin du village (1752 – 1754), and it came to be accepted as a more articulate form of gesture than ‘ decorative ’ dance ( la belle danse ). At times, it was even believed to communicate more effectively than language. As the demand for operatic veri-similitude grew through the 1770s, Gluck drew on both pantomime and pantomime-inspired musical gestures to propel dramatic action forward. By the 1780s, Salieri was using gesture and motion within music not only to articulate conflicting or unspoken thoughts, as Gluck had done, but also to dramatize inaction. Hedy Law emphasizes that pantomime falls within a genealogy of dance as well as an archaeology of communication: through a comprehensive study of pantomime in Paris, she narrates how the significance of physical and musical gesture was honed and refined over the course of the eighteenth century.","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"11 1","pages":"205 - 207"},"PeriodicalIF":0.1,"publicationDate":"2022-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78304557","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":"Beethoven Exhibition at the British Library","authors":"Rupert Ridgewell","doi":"10.1017/s147857062200015x","DOIUrl":"https://doi.org/10.1017/s147857062200015x","url":null,"abstract":"Of particular note was a leaf of Beethoven's transcriptions from the poetry of Herder alongside his own personal reflections on the power of nature, written first in pencil – apparently outdoors – before being inked over (Zweig MS 15). Visitors could place their elbows on a wooden panel and clasp their hands over their ears, allowing the vibrations created by the music to be conveyed from the panel via bones in the elbow and upper arm to the inner ear, thus bypassing the ear canal. Franz Xaver Stöber's engraving of Beethoven's funeral procession provided a striking visual representation of the unprecedented scale of and public interest in the event.","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"1 1","pages":"222 - 224"},"PeriodicalIF":0.1,"publicationDate":"2022-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77168209","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}