Eighteenth Century Music最新文献

{"title":"Symposium on Beethoven's Pianos The Center for Beethoven Research, Boston University, 8 November 2021","authors":"David Breitman","doi":"10.1017/s1478570622000100","DOIUrl":"https://doi.org/10.1017/s1478570622000100","url":null,"abstract":"","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"4 1","pages":"237 - 239"},"PeriodicalIF":0.1,"publicationDate":"2022-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90816007","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 19 issue 2 Cover and Back matter","authors":"","doi":"10.1017/s1478570622000215","DOIUrl":"https://doi.org/10.1017/s1478570622000215","url":null,"abstract":"","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"62 1","pages":"b1 - b4"},"PeriodicalIF":0.1,"publicationDate":"2022-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90108419","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":"Notes on Contributors","authors":"Dorian Bandy, Yonatan Bar-Yoshafat, E. Buurman, Maria Christina Cleary","doi":"10.1017/s1478570621000439","DOIUrl":"https://doi.org/10.1017/s1478570621000439","url":null,"abstract":"Dorian Bandy is Assistant Professor at McGill University’s Schulich School of Music, where he teaches musicology and historical performance. His research interests include Mozart and Beethoven, with a particular emphasis on improvisation and the relationship between composition and performance. Recent publications include articles in Early Music and the Cambridge Opera Journal, and current projects include a monograph on Mozart.","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"64 1","pages":"1 - 3"},"PeriodicalIF":0.1,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81433315","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 19 issue 1 Cover and Back matter","authors":"","doi":"10.1017/s1478570621000452","DOIUrl":"https://doi.org/10.1017/s1478570621000452","url":null,"abstract":"","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"36 1","pages":"b1 - b2"},"PeriodicalIF":0.1,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75486458","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":"Le sacre stimmate di San Francesco d'Assisi Maria Anna von Raschenau (c1650–1714), ed. Janet K. Page Middleton, WI: A-R Editions, 2019 pp. xxxviii + six plates + 92, ISBN 978 1 987 20255 7","authors":"A. Fiore","doi":"10.1017/S1478570621000373","DOIUrl":"https://doi.org/10.1017/S1478570621000373","url":null,"abstract":"Studies of musical life in cloistered women’s communities are often hindered by the lack of documentary and musical sources or by difficulties in accessing archives. Still elusive, to some extent, is the richness of the life conducted within the walls of institutions that were formally closed to the outside world but were, as a matter of fact, promoters of significant artistic and musical activities. Convents were not only places designated by the nobility to accommodate young women, but also symbols of political prestige and cultural centres for artistic patronage and musical practice. Recently, musicology has been shedding light on the musical activities of the nunneries of the modern age, thanks above all to the contribution of scholars like Robert Kendrick, Craig Monson and Colleen Reardon, who have demonstrated the musical vitality of some of these institutions. In fact, in various European contexts, music was often a point of contact between the cloistered community and city life: religious houses flaunted their power and prestige by organizing solemn celebrations with professional singers and instrumentalists, thus becoming producers and patrons of sacred music. The studies of Janet K. Page add a significant element to the investigation of convent music in Austria. Page has rediscovered the close relationship between the Habsburg court and Viennese religious institutions, revealing the political and cultural value of this type of environment. The Augustinian convent of St Jakob auf der Hülben in Vienna was certainly one of the most interesting examples: visitor reports from the mid-seventeenth century describe female musicians as the protagonists of musical performances that took place there. The musical practices of these nuns did not consist simply in accompanying the liturgy, but also included theatrical performances, oratorios and sacred genres. The oratorio Le sacre stimmate di San Francesco d’Assisi was composed in 1695 by the canoness Maria Anna von Raschenau, and it represents today the most complete example of this sort of production. As Page explains in the detailed Introduction, Maria Anna von Raschenau arrived in the convent of St Jakob around 1672 as a novice, but her musical activity began earlier in the Viennese imperial court, where her father, Johann Rasch von Raschenau, was employed. It is worth noting that the imperial court itself provided Maria Anna with a ‘scholar’s stipend’, allowing her to receive adequate musical training in singing, composing and playing instruments such as keyboards, violin, viola da gamba and transverse flute. Between 1694 and 1709, at St Jakob, Raschenau composed seven major musical works dedicated to the Emperor Leopold I. Le sacre stimmate was performed in 1695 on 25 July, during the feast of St James, the patron saint of the convent. However, the only surviving manuscript of this oratorio is a version that was probably written by a court copyist, since, as Page explains, Leopold I loved to f","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"85 1","pages":"73 - 75"},"PeriodicalIF":0.1,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74093092","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 Rediscovery of the Nouvelle méthode pour apprendre à jouer de la harpe by Michel Corrette","authors":"Maria Christina Cleary","doi":"10.1017/S1478570621000348","DOIUrl":"https://doi.org/10.1017/S1478570621000348","url":null,"abstract":"I am someone who is drawn to missing objects from the past. I try to revive interest in lost books, scores or art works by recirculating their titles and authors, in publications and with colleagues and friends. I suppose my hope is that by giving these items a new breath of life in contemporary scholarship, they might just turn up one day. The Nouvelle méthode pour apprendre à jouer de la harpe (1774) by Michel Corrette (1707–1795) was previously known only from descriptions. When a copy came to light and went up for auction in late 2016, I was delighted. I didn’t know what to expect, as this book was merely one of many titles on my list of over one hundred harp methods from the eighteenth and nineteenth centuries. Although Corrette himself was not known as a harpist, it turns out that his Nouvelle méthode is a unique resource for the history of harps, harp pedagogy and historical performing practices. This copy of the Nouvelle méthode is a hardbound book consisting of forty-six pages preceded by a frontispiece illustrating a harpist in a plausible playing position with a score open on a table beside her. The engraving is accompanied by a quatrain, the text of which comes from one of the two ariettes for voice and harp included at the end of the volume. The method contains an introductory history of the harp, followed by fourteen chapters, two chansons and over thirty short simple pieces. The Australian historical harpist Hannah Lane wrote an informative post on the method when it was acquired by the library of the University of Melbourne in 2017 (https://blogs.unimelb.edu.au/library collections/2017/03/22/a-lost-eighteenth-century-harp-method-rediscovered-michel-correttes-nouvellemethode-pour-apprendre-a-jouer-de-la-harpe-1774-a-new-acquisition-for-rare-music/). The online Catalogue des ouvrages théoriques, manuscrits et imprimés en France entre 1660 et 1800 (http://catalogue.philippe-lescat-asso.fr) by the late Philippe Lescat includes thirty-six publications by Corrette, of which four are currently lost or of unknown whereabouts. The publication of the harp method was advertised in the Mercure de France on 1 January 1775. While this year is often cited as the date of publication, 1774 can now be established as the correct date, as it appears on the title-page. Hence, it can be considered the third harp treatise to be published in the eighteenth century. (The harpist Philippe-Jacques Meyer (1737–1819) published two earlier methods: Essai sur la vraie manière de jouer de la harpe, Op. 1 (Paris: author, 1763), and Nouvelle méthode pour apprendre à jouer de la harpe, Op. 9 (Paris: Bouin), in early 1774.) The newly invented harp of the eighteenth century was one with pedals, which Denis Diderot called a ‘harpe organisée’ (Recueil de planches, sur les sciences, les arts libéraux, et les arts méchaniques, avec leur explication, quatrième livraison (Paris: Briasson, David, Le Breton, 1767), Lutherie, Seconde suite, Planche XIX). For further details a","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"49 1","pages":"88 - 90"},"PeriodicalIF":0.1,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86919171","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":"Antonio Juanas: Premiere Recordings of Selected Choral Works Antonio Juanas (c1762–c1821) Collegium Mundi Novi / R. Ryan Endris (conductor) Centaur CRC3663, 2018; one disc, 64 minutes","authors":"D. Davies","doi":"10.1017/S147857062100035X","DOIUrl":"https://doi.org/10.1017/S147857062100035X","url":null,"abstract":"The most prolific composer of music in the colonial Americas, Antonio Juanas (c1762–c1821) served as the last chapel master of Mexico City Cathedral before Mexican independence. A native of Spain, Juanas wrote liturgical music in multiple styles, including a cappella polyphony and galant works for chorus and small orchestra, as appropriate for cathedral ritual. He also organized and inventoried the cathedral’s music archive, shaping the compositional legacy of the colonial period into more or less what exists today at the Archivo del Cabildo Catedral Metropolitano de México (ACCMM). As part of this endeavour, Juanas – like other chapel masters – made numerous arrangements and contrafacta of works by his predecessors, especially Ignacio Jerusalem (1707– 1769). Juanas left annotations in the original scores that document his interventions, which range from the addition of new oboe parts to the composition of substantial new sections of music to accommodate a contrafacted liturgical text. Despite his large oeuvre and interesting historical role, Juanas has attracted few professional performing groups, and the vast majority of his works remain unedited. Thus the release of Antonio Juanas: Premiere Recordings of Selected Choral Works, with Collegium Mundi Novi featuring Variant 6 conducted by R. Ryan Endris, is both thrilling and revelatory. Endris, who prepared the performing editions using microfilms from the ACCMM music collection made under the direction of E. Thomas Stanford and Lincoln Spiess in the 1960s, offers a generous and varied selection of repertory for Vespers and Matins services. While none of the pieces is a liturgical reconstruction, Endris does grant listeners a series of independent Vespers psalms, a collected Vespers service consisting of two psalms and a Magnificat, a setting of the antiphon ‘Regina caeli’, a lamentation for Holy Week and a cycle of eight responsories for the Feast of the Holy Trinity: seventeen pieces altogether. In his selection, Endris has privileged psalm settings in minor keys, including a Lauda Jerusalem in B minor (ACCMM, Papeles de música, A0284.01), a Credidi propter in G minor (A0258), a Beatus vir in E minor (A0287.01) and a Vespers service in E minor (A0288) (the call numbers may be used to consult further information about these works in the music catalogue at www.musicat.unam.mx). These minor-mode pieces are relatively rare in the late colonial repertory (as they are also, for example, in Haydn or Mozart), and they involve greater harmonic complexity and perhaps more varied tonal colours than some of the major-mode works by Juanas do. Altogether, the album presents an attractive and dignified repertory illustrating functional Catholic church music of the 1790s and early 1800s. Few recordings of any comparable music from the Spanish world exist; stylistic comparisons might be made with the slightly older composers Francisco Javier García Fajer (1730–1809) and Gaetano Brunetti (1744–1798), who were ac","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"30 1","pages":"82 - 84"},"PeriodicalIF":0.1,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75866777","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":"Redemption and the Modern Age – Handel's Messiah between the Late 18th and the 21st Century Georg-Friedrich-Händel-Gesellschaft and Martin-Luther-Universität Halle-Wittenberg, Halle (Saale), 29 May–2 June 2021","authors":"I. Curkovic","doi":"10.1017/S1478570621000257","DOIUrl":"https://doi.org/10.1017/S1478570621000257","url":null,"abstract":"In 2020 both the Halle Handel Festival and the annual musicological conference in the composer’s birthplace were cancelled, though the conference papers were published in the 2021 volume of the Händel-Jahrbuch. By contrast, in 2021 a significant number of festival concerts were held online and the conference was transferred fully to Zoom. Thanks to the organization of the latter by Wolfgang Hirschmann, Annette Landgraf and Konstanze Musketa, as well as the enthusiasm of the participants, the online format did not impair the scholarly gathering in any way. As opposed to the last couple of years when the themes of the conference were conceived along broader, often interdisciplinary lines, this time it was instigated by a specific circumstance, the two hundred and eightieth anniversary of the first performance of Messiah in Dublin in 1741.The call for papers invited applicants to explore ‘the performance history, the history of the arrangements and the history of the impact’ of Handel’s most famous oratorio. The conference opened with a keynote lecture by Andreas Waczkat (Georg-August-Universität Göttingen) on images of Jesus Christ as saviour and hero in oratorios by composers from Handel to Friedrich Schneider. After briefly examining Charles Jennens’s theological precepts, Waczkat devoted most of his attentions to Handel’s lesser-known successors. The prolific, but unpopular, oratorio author Schneider composed a trilogy about Christ but was criticized by his librettist Philipp Mayer for portraying him only as triumphant, while settings of sections from Klopstock’s Messias by composers such as Andreas Romberg rarely offered a heroic view. After this address, the biennial Handel research prize was awarded to Teresa Ramer-Wünsche (Hallische Händel Ausgabe, Halle) for her dissertation on the genesis of Handel’s serenata Parnasso in festa per gli sponsali di Teti e Peleo, HWV73, stemming from her work on the critical edition (Bärenreiter: Kassel, 2017). The ceremony was followed by her lecture on affect, subject matter, word setting and borrowing in Parnasso in festa. She focused first on the working methods of the Italian librettist who wrote parody texts based on English models in the works from which Handel borrowed, and then investigated the roles that the original affect and subject matter of those models may or may not have played in Handel’s compositional process. The first two sessions on 31 May continued the pursuit of theological questions and approaches. Karl Friedrich Ulrichs (Theologische Fakultät Universität Leipzig) explored the comparatively infrequent use of extracts from Messiah in evangelical homilies, that is, sermons which take a piece of music as a source of inspiration. While Ulrichs merely stressed in a neutral manner the suitability of Handel’s music for such purposes, the following two papers took a more polemical stance, mostly on the controversial view by Michael Marissen – as expressed first in his article ‘Rejoicing again","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"27 1","pages":"101 - 103"},"PeriodicalIF":0.1,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79182570","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":"Ninth Biennial Conference of the Society for Eighteenth-Century Music Stockholm, 6–7 and 13–14 August 2021","authors":"Beverly Wilcox","doi":"10.1017/s1478570621000270","DOIUrl":"https://doi.org/10.1017/s1478570621000270","url":null,"abstract":"The other papers were a smorgasbord that included English and French luxury goods at London pleasure gardens that were produced by slave labour in the West Indies (Ashley Greathouse, University of Cincinnati), the unpublished music treatise of the musician-turned-astronomer William Herschel (Sarah Waltz, University of the Pacific), early London musical-miscellany publications that presented excerpts from Handel's operas in new and surprising ways (Alison DeSimone, University of Missouri–Kansas City) and my own paper concerning a satire on French provincial orchestras (Beverly Wilcox, California State University Sacramento). Faith Lanam (University of California Santa Cruz) gave an update on her latest research on the Vezerro de lecciones manuscript, a collection of solfeggi by Feo, Leo and Ignacio Jerusalem that was used to train lower-status girls to enter high-status Mexico City convents as choir nuns. [...]Louise K. Stein (University of Michigan) presented new documentation about the first opera productions in the Americas, La púrpura de la rosa (Lima, 1701), Celos aun del aire matan (Mexico, 1728), El Zeleuco (Mexico, 1710) and La Partenope (Mexico, undated), explaining how they travelled via Spanish diplomatic networks from Naples and Madrid to the colonies and observed a number of typically Spanish performance conventions. Most used the Zoom desktop client, but a few relied on mobile phones, and about half left their cameras off during the talks, so that the audience conserved bandwidth while still giving speakers the sort of visual feedback that a live audience normally provides.","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"85 1","pages":"111 - 113"},"PeriodicalIF":0.1,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76862007","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":"Child Composers in the Old Conservatories: How Orphans Became Elite Musicians Robert O. Gjerdingen New York: Oxford University Press, 2020 pp. 355, ISBN 978 0 190 65359 0","authors":"Adeline Mueller","doi":"10.1017/S1478570621000415","DOIUrl":"https://doi.org/10.1017/S1478570621000415","url":null,"abstract":"Robert O. Gjerdingen is among the musicologists who have helped loosen the grip of romanticism and mid-century modernism from scholars’ and performers’ approaches to European music from the long eighteenth century. His books A Classic Turn of Phrase: Music and the Psychology of Convention (Philadelphia: University of Pennsylvania Press, 1988) and Music in the Galant Style (New York: Oxford University Press, 2007), along with numerous articles and papers on music theory, cognition and perception, have demonstrated both the ubiquity and the salience of galant schemata – those stock musical phrases with which musicians navigated the rich, wide borderlands between convention and invention, performance, improvisation and composition. In doing so, he gives us an insider’s perspective on the building-blocks of common-practice tonality. Now a new generation of scholars, including Giorgio Sanguinetti, Nicholas Baragwanath and Peter van Tour, are publishing critical editions of surviving manuscripts of partimenti and solfeggi; and series like Monuments of Partimento Realizations (Visby: Wessmans Musikförlag, 2017–) and Gjerdingen’s own Monuments of Partimenti (partimenti.org), as well as publications, recordings, videos and online resources by performer-scholars like Robert Levin, Nicoleta Paraschivescu, Ewald Demeyere, L’Arpeggiata and the Scroll Ensemble, offer students, scholars and aficionados a trove of materials with which to explore this tradition. In his new book, Child Composers in the Old Conservatories, Gjerdingen takes a step back from the what of galant schemata to examine the how: how exactly did apprentice composers learn these tools of their trade? What was their curriculum, how were they assessed and how were the rules and norms transmitted (and modified) down the generations? In a wide-ranging study that encompasses source studies, archival documents and a generous helping of analogies from Charles Dickens to Pixar, Gjerdingen retraces the steps of composers working out and working through the formulae as they learned and taught musical phrasing. Along the way, he paints portraits of a host of noteworthy apprentices and masters in this craft. The geographical and temporal scope of Gjerdingen’s book is wide. He focuses primarily on the eighteenth-century tradition at the four boys’ conservatories in Naples, with a second focus being the Paris Conservatoire in the nineteenth and early twentieth centuries. This represents, as Gjerdingen notes, a largely unbroken tradition of some 250 years, extending from the late seventeenth-century intavolature of Gaetano Greco and partimenti of Bernardo Pasquini all the way to the chant donné realizations of Claude Debussy (1879) and the first-prize harmony realization of the little-known Colette Boyer (1938). The dual focus on Naples and Paris – with occasional detours to Bologna, Regensburg, Vienna and Montpellier – makes for frequent abrupt leaps between cities and centuries, and some recapitulation of","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"9 1","pages":"66 - 69"},"PeriodicalIF":0.1,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79039836","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}