Eighteenth Century Music最新文献_第7页

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 爱尔兰的缪斯:珀塞尔和库塞尔的爱尔兰音乐约翰·西吉斯蒙德·库塞尔(1660-1727)，亨利·珀塞尔(1659-1695)爱尔兰巴洛克管弦乐团/彼得·惠兰(指挥)Linn CKD 685, 2022;一张碟，70分钟

IF 0.1 2区艺术学

Eighteenth Century Music Pub Date : 2023-02-08 DOI: 10.1017/s1478570622000367

David J. Rhodes

引用次数: 0

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 Tonadillas。第1卷:1768 - 1778年间的作品哈辛托·瓦莱多(1744 - 1809)，编辑aurelia Pessarrodona马德里:科学研究高级委员会，2019页412,ISBN 978 8 400 10498 6

IF 0.1 2区艺术学

Eighteenth Century Music Pub Date : 2023-02-08 DOI: 10.1017/s1478570622000306

Maria Virginia Acuña

引用次数: 0

Musicking: Culturally Informed Performance Practices University of Oregon School of Music and Dance, 19–24 April 2022 音乐:文化知情的表现实践俄勒冈大学音乐和舞蹈学院，2022年4月19日至24日

IF 0.1 2区艺术学

Eighteenth Century Music Pub Date : 2023-02-08 DOI: 10.1017/S1478570622000380

Laura Trujillo Sanz

{"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":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":"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}

引用次数: 0

Lost Arias from Ifigenia in Tauri (1713) in Thomas Gray's Music Collection: ‘E posto in Musica dal Sig. Domenico Scarlatti’? 托马斯·格雷(Thomas Gray)的音乐合集《金牛座的伊菲根尼亚》(1713)中的失落咏叹调:“多梅尼科·斯卡拉蒂(Domenico Scarlatti)的音乐作品”?

IF 0.1 2区艺术学

Eighteenth Century Music Pub Date : 2023-02-08 DOI: 10.1017/s1478570622000239

Nathalie Dupuis-Désormeaux

{"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":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":"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}

引用次数: 0

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 从仆人到学者:音乐特权，财产，和法国大革命丽贝卡·道德Geoffroy-Schwinden纽约:牛津大学出版社，2022年第xxii + 328页，ISBN 978 0 197 51151 0

IF 0.1 2区艺术学

Eighteenth Century Music Pub Date : 2023-02-08 DOI: 10.1017/S1478570622000240

Callum Blackmore

引用次数: 0

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 阿提里奥·阿里奥斯特(1666 - 1729)《以利沙在撒玛利亚-索菲·波拉克、玛尔塔·雷德埃利、阿莱西奥·托洛·博尔佐佐、马泰奥·皮加托(soloists) /合一的洛伦佐·达·蓬特/罗伯托·扎佩隆(托特)之间的预言》，贝尔纳多·2104397,2020;两张唱片，104分钟

IF 0.1 2区艺术学

Eighteenth Century Music Pub Date : 2023-02-08 DOI: 10.1017/S1478570622000331

Konstantin Hirschmann

引用次数: 0

The Comedians of the King: Opéra Comique and the Bourbon Monarchy on the Eve of Revolution Julia Doe Chicago: University of Chicago Press, 2021 pp. vii + 314, ISBN 978 0 226 74339 4

IF 0.1 2区艺术学

Eighteenth Century Music Pub Date : 2023-02-08 DOI: 10.1017/S1478570622000252

Olivia Bloechl

{"title":"The Comedians of the King: Opéra Comique and the Bourbon Monarchy on the Eve of Revolution Julia Doe Chicago: University of Chicago Press, 2021 pp. vii + 314, ISBN 978 0 226 74339 4","authors":"Olivia Bloechl","doi":"10.1017/S1478570622000252","DOIUrl":"https://doi.org/10.1017/S1478570622000252","url":null,"abstract":"The opéra-comique encompassed a striking variety of lyrical forms and subject matter across its long history, but two characteristics have been seen as defining features: its use of spoken dialogue and its popularity. Both characteristics, in a schematic account of old-regime musical theatre, contrast readily with the opéra-comique ’ s more prestigious, fully sung counterpart, the tragédie en musique. The popularity of opéra-comique lay partly in its origins outside the ‘ legitimate ’ compan-ies and theatres patronized by the Crown and partly in its ability to appeal to audiences that spanned the French social hierarchy. Indeed, this popular quality has, with good reason, been so closely associated with opéra-comique that a recent book by David Charlton integrates its history within a broader study of ‘ popular opera ’ in eighteenth-century France ( Popular Opera in Eighteenth-Century France (Cambridge: Cambridge University Press, 2021)). In contrast, Julia Doe ’ s new study, The Comedians of the King: Opéra Comique and the Bourbon Monarchy on the Eve of Revolution , focuses on opéra-comique ’ s fortunes in the decades just before the Revolution, and it yields a rather different view of the genre ’ s development and its popularity. The book ’ s Introduction and six chapters, including a substantial Epilogue, offer a study of the institutional and genre history of opéra-comique in France during the pivotal decades of the 1760s to the 1790s. As the book ’ s title suggests, two ‘ revolutions ’ , one aesthetic and the other political, haunt the discussion that unfolds across its chapters. Its central question, as I read it, is how we should view the relationship of opéra-comique to the dramatic cultural and political transformations of the later eighteenth century, with which the genre has been so intimately linked in French opera historiography.","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":"88438113","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}

引用次数: 0

Mozart and Salzburg: Mozart Society of America and Society for Eighteenth-Century Music Joint Conference Salzburg, 26–29 May 2022 莫扎特和萨尔茨堡:美国莫扎特协会和18世纪音乐协会萨尔茨堡联合会议，2022年5月26日至29日

IF 0.1 2区艺术学

Eighteenth Century Music Pub Date : 2023-02-08 DOI: 10.1017/S1478570622000288

John A. Rice

引用次数: 0

‘Theatre as a Nursery of Language’: Learning French through Vaudeville Tunes in Eighteenth-Century England “戏剧作为语言的托儿所”:通过18世纪英国的歌舞杂耍曲调学习法语

IF 0.1 2区艺术学

Eighteenth Century Music Pub Date : 2023-02-08 DOI: 10.1017/S1478570622000343

Erica P. Levenson

{"title":"‘Theatre as a Nursery of Language’: Learning French through Vaudeville Tunes in Eighteenth-Century England","authors":"Erica P. Levenson","doi":"10.1017/S1478570622000343","DOIUrl":"https://doi.org/10.1017/S1478570622000343","url":null,"abstract":"Abstract This article examines how French vaudeville tunes circulated in England through both theatrical performances and French-language textbooks (or ‘grammars’). My central concern is to consider how audiences in London – who had little exposure to the rich satirical and cultural connotations that these tunes had acquired over years of performance in Paris – might have been able to grasp their significance within staged works performed by visiting Parisian troupes between the years 1718 and 1735. I suggest that in tracing the transmission of tunes from France to England, scholars should consider a wider range of print sources, since vaudevilles had a social life extending beyond the plays in which they were performed. To this end, I focus on analysing vaudevilles found in French ‘grammars’. The pedagogical nature of these sources explicitly puts on display how French culture was translated for an English readership. By comparing the tunes found in grammars with plays that used the same tunes, I reveal both how Londoners could have become acquainted with the Parisian understanding of French tunes and how the grammar books could have shifted the meanings of these tunes for English readers and audiences. Ultimately, the circulation of French tunes abroad through grammars directs our attention to the material and cultural practices undergirding the mobility of eighteenth-century musical culture.","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":"88380952","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}

引用次数: 0

Handel as Miscellany 韩德尔《杂记

IF 0.1 2区艺术学

Eighteenth Century Music Pub Date : 2023-02-08 DOI: 10.1017/S1478570622000227

Alison DeSimone

引用次数: 0