Eighteenth Century Music最新文献

{"title":"The Making of Jamaica's ‘First Composer’: Rethinking Samuel Felsted","authors":"Wayne Weaver","doi":"10.1017/s1478570623000209","DOIUrl":"https://doi.org/10.1017/s1478570623000209","url":null,"abstract":"Abstract This article examines the links between the music of Anglo-Jamaican organist and composer Samuel Felsted (1743–1802) and his environment of late eighteenth-century Kingston, building on research published since the 1980s. Although Felsted, a person of English-American heritage who was born in Jamaica, was part of the island's European-origin community, most of his local contemporaries were people of African descent. Like many of his friends, family members and acquaintances, Felsted was a slave owner, and, as I argue here, his various literary and artistic outputs demonstrate how he was influenced by the kinds of issues – such as slavery, servitude, sovereignty and nationhood – that surfaced in the public and private discourses of his time. Considering what Felsted's cultural legacy might mean today, I turn to his undated and virtually unknown oratorio The Dedication, for which he wrote both the text and the music. The Dedication contains literary themes that allow its connections to Felsted's world and its setting of ancient Babylon to be explored. I also suggest the early 1790s as a possible time of composition for this work.","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81866788","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":"Becoming a Virtuosa: Advice from Vienna, 1769","authors":"Clare Beesley","doi":"10.1017/S1478570623000039","DOIUrl":"https://doi.org/10.1017/S1478570623000039","url":null,"abstract":"Abstract First-hand accounts explaining how a young British virtuosa went about establishing an international career in the later eighteenth century are scant. However, a previously unstudied handwritten page contained within the Rackett Family of Spettisbury Archive at the Dorset History Centre provides new insights into this underexplored area. In this article, I examine an anonymous 1769 document entitled ‘a Vienne’ from which the guiding voices of eminent musicians at the Vienna court, including Johann Adolf Hasse, Faustina Bordoni, Marianna Martines and their circle, emerge. I argue that this item is in fact an aide-mémoire memorializing intimate glimpses of private conversations, career-shaping advice and impressions that helped mould its author into a virtuosa. Further, by means of palaeographical and biographical evidence I identify the author as the young British glass-armonica player Marianne Davies and assert that her recollections, preserved in this hitherto overlooked piece of ephemera, reconstruct how the educational process of becoming a virtuosa took place.","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81221392","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":"Latin Pastorellas Joseph Anton Sehling (1710–1756), ed. Milada Jonášová Prague: Academus, 2017 pp. xli + 49, ISBN 978 8 088 08117 3","authors":"Robert Rawson","doi":"10.1017/S1478570623000143","DOIUrl":"https://doi.org/10.1017/S1478570623000143","url":null,"abstract":"Milada Joná š ová and the rest of the editorial team at Academus Editions are to be congratulated for this splendid and enterprising volume of tuneful Christmas pastorellas by the Bohemian composer","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76327863","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":"Modern Premiere of Franz Weiss's ‘Razumovsky’ Quartets","authors":"Mark C. Ferraguto","doi":"10.1017/s1478570623000076","DOIUrl":"https://doi.org/10.1017/s1478570623000076","url":null,"abstract":"Franz Weiss (1778–1830) is best known as the violist of the Schuppanzigh Quartet, the ensemble that premiered and popularized many of Beethoven’s string quartets. But he was also a celebrated composer in his own right, one whose ‘ingenious compositions, related to Beethoven’s spirit, have long received the loudest and most deserved approval both at home and abroad’ (‘dessen geniale mit Beethovens Geist verwandte Compositionen im Inund Auslande längst die lauteste und gerechteste Anerkennung gefunden haben’). So wrote a Viennese critic in the Allgemeine Theaterzeitung und Unterhaltungsblatt für Freunde der Kunst, Literatur und des geselligen Lebens of 4 December 1828 (582). Fortunately, many of Weiss’s compositions have survived, but most are preserved only in rare archival manuscripts or early nineteenth-century performing editions. As a result, his music remains unfamiliar to scholars, performers and audiences. In the autumn of 2019 I began working on the first modern edition of Weiss’s Op. 8, a set of two string quartets dedicated to Andrey Razumovsky, the Ukrainian-born Russian diplomat to whom Beethoven famously dedicated his Op. 59 quartets. As my edition neared completion in early 2022, I contacted the Toronto-based Eybler Quartet about a possible collaboration. Through a supreme stroke of luck, my email landed in the inbox of the group’s violist, Patrick Jordan. Patrick proved to be as enthusiastic as I was to bring Weiss’s quartets – almost certainly unheard since the 1820s – back to life. We set a date of 31 January 2023 for Op. 8’s ‘modern premiere’ at the Pennsylvania State University. Over the nine months that followed, the members of the Eybler Quartet were extremely generous with their time and expertise, playing through the edited parts, suggesting emendations, making and discussing recordings and more. We haggled over accidentals, debated slurs and ties and often struggled to reach a consensus about Weiss’s intentions. The erratic nature of Op. 8’s only surviving source – a set of parts printed by the Vienna firm S. A. Steiner in 1814 – posed a significant challenge. Ultimately, this collaborative effort enriched both my edition and (if I might say so) the ensemble’s approach to Weiss’s virtuosic but intricate quartets. It is our hope that this exciting concert will have served as a springboard for generating interest in this underappreciated contemporary of Beethoven and Schubert. The concert was held in the School of Music’s new recital hall, a 420-seat, acoustically superb venue. It was also live-streamed. I introduced Weiss and his quartets in a pre-concert lecture, after which the Eybler Quartet performed Op. 8 No. 1 in the first half and the longer Op. 8 No. 2 in the second half. The first quartet, in G major, opens with a cello drone on G and D, evoking a pastoral topic that provides a touchstone for the Allegro ma non troppo. But the first movement – like the rest of Op. 8 – is also replete with bravura passagework. Indeed","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84010717","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":"Topics and Schemata","authors":"Danuta Mirka","doi":"10.1017/S147857062300012X","DOIUrl":"https://doi.org/10.1017/S147857062300012X","url":null,"abstract":"In my Introduction to The Oxford Handbook of Topic Theory I asked, ‘What are musical topics?’. In answer, I posited that topics are conventions, yet they do not subsume all kinds of conventions: ‘Other conventions, subsumed under this concept by other authors, are not topics’. Among them are contrapuntal-harmonic schemata. If schemata are not topics, they can, nevertheless, combine with topics ‘into more or less stable amalgam[s] that are conventional in their own rights’ (‘Introduction’, in The Oxford Handbook of Topic Theory, ed. Danuta Mirka (New York: Oxford University Press, 2014), 2). This idea was developed by Vasili Byros in the same volume with reference to the schema–topic amalgam made up of the le–sol–fi–sol and the ombra (‘Topics and Harmonic Schemata: A Case from Beethoven’, in The Oxford Handbook, 381–414) and by William Caplin in the following chapter, dedicated to the lament topic (‘Topics and Formal Functions: The Case of the Lament’, in The Oxford Handbook, 415–452). In the wake of the volume’s publication, the expressive qualities of schemata and their interaction with topics have been explored by other authors. In two articles, one of them published in this journal, John A. Rice presented two schemata that he called the Heartz and the Morte, and proposed that the Heartz is ‘not only . . . a schema but also . . . a topic’, in that it conveys ‘a sweetness and tenderness characteristic of a certain strain of the galant style’ (‘The Heartz: A Galant Schema from Corelli to Mozart’, Music Theory Spectrum 36/2 (2014), 318, 315). By contrast, the Morte is an emblem of lament and thus akin to ombra (‘The Morte: A Galant Voice-Leading Schema as Emblem of Lament and Compositional Building-Block’, Eighteenth-Century Music 12/2 (2015), 164). Olga Sánchez-Kisielewska established a link between the ‘sacred hymn’ topic and the Romanesca schema, yielding what she calls a sacred Romanesca (‘Interactions between Topics and Schemata: The Case of the Sacred Romanesca’, Theory and Practice 41/1 (2016), 47–80, and ‘The Romanesca as a Spiritual Sign in the Operas of Haydn, Mozart, and Beethoven’, in Singing in Signs: New Semiotic Explorations of Opera, ed. Gregory J. Decker and Matthew R. Shaftel (New York: Oxford University Press, 2020), 163–191). Nathaniel Mitchell came up with the Volta, a schema which has no strong topical implications, yet frequently performs a dramatic function as a gesture of culmination (‘The Volta: A Galant Gesture of Culmination’, Music Theory Spectrum 42/2 (2020), 280–304). And, again in this journal, Ewald Demeyere touched upon the affective implementations of a schema consisting of a dominant pedal accompanied by a chromatic descent (DPCD) (‘Yet Another Galant Schema: The Dominant Pedal Accompanied by a Chromatic Descent’, Eighteenth-Century Music 19/2 (2022), 173–199). Two of these authors framed the relation between schemata and topics in terms of that between syntax and semantics. Although independent in principle, ‘s","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91099012","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 2 Cover and Back matter","authors":"","doi":"10.1017/s1478570623000246","DOIUrl":"https://doi.org/10.1017/s1478570623000246","url":null,"abstract":"","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84970264","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":null,"pages":null},"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":"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":null,"pages":null},"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":"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":null,"pages":null},"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":"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":null,"pages":null},"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}