Eighteenth Century Music最新文献

{"title":"Cosmic Harmonies: A Symposium Celebrating the Life, Science, Music, and Legacy of William Herschel (1738–1822) University of York, 19 June 2022","authors":"Rachel Cowgill, S. Waltz","doi":"10.1017/s1478570622000318","DOIUrl":"https://doi.org/10.1017/s1478570622000318","url":null,"abstract":"The year 2022 saw the two hundredth anniversary of the death of William Herschel, a profoundly significant figure in the field of astronomy, but one who made his early living as a musician – as an oboist, violinist, harpsichordist, organist, composer and impresario. After leaving a military band in his native Hanover for an unsuccessful two-year stint in London (1757–1759), Herschel moved to the north of England (1760), where he composed his symphonies and many other works as an itinerant musician in and around Richmond, Newcastle, Sunderland, Durham, Pontefract, Doncaster, Leeds and Halifax. In 1766 he accepted an invitation to take up the post of organist at the new Octagon Chapel in Bath, where from the following year he became a mainstay of the musical scene until 1782. In Bath William was joined by other musical family members including his sister Caroline, who assisted him first in musical and then in astronomical duties, ultimately becoming a distinguished astronomer in her own right. Herschel’s astronomical interests and construction of very high-quality telescopes, beginning in 1773, brought him international and lasting fame when in 1781 he discovered the planet now called Uranus. He came to the attention of George III, who summoned him to Windsor and effectively ended the musical portion of his career, at the age of forty-three. For the rest of his life Herschel made numerous ground-breaking contributions: designing large telescopes; mapping the Milky Way system of stars and the Sun’s motion in it; cataloguing and classifying thousands of star clusters, nebulae, variable stars and double stars; proving the effectiveness of gravity outside the solar system; discovering several moons around Saturn and Uranus; discovering infrared radiation (from the Sun); postulating an evolving universe with stars and nebulae that are born, age and die; estimating the age of the universe; and arguing that all stars and planets are populated with intelligent beings. For Herschel and other eighteenth-century thinkers, contemporary academia’s separation of music and astronomy across the divide of the arts and the sciences would have been hard to understand, given that both endeavours proceeded for them on mathematical principles. In this spirit, ‘Cosmic Harmonies: A Symposium Celebrating the Life, Science, Music, and Legacy of William Herschel (1738–1822)’ at the University of York – organized by musicologists Rachel Cowgill (University of York) and Sarah Waltz (University of the Pacific) and astronomer Woodruff T. Sullivan III (University of Washington) – brought together an interdisciplinary confluence of musicology, performance, composition, astronomy, data science and philosophy. The aim was to explore new aspects of Herschel’s work as composer, instrumentalist and astronomer in the intellectual, creative and cultural contexts of his time, including the Herschels’ legacy in connections between science and art today. Three sessions of papers, two panel ","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":"74545632","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":"Archivo de Guatemala: Music from the Guatemala City Cathedral Archive El Mundo / Richard Savino (director) Naxos 8.574295, 2021; one disc, 74 minutes","authors":"Alejandro Vera","doi":"10.1017/S1478570622000392","DOIUrl":"https://doi.org/10.1017/S1478570622000392","url":null,"abstract":"The musical corpus of the old cathedral in Antigua Guatemala, which was heavily damaged by an earthquake in 1773, was moved to the country’s new capital city in 1779 and is preserved there in the Archivo Histórico Arquidiocesano Francisco de Paula García Peláez (frequently referred to as the Archivo Histórico Arquidiocesano de Guatemala). It is one of the most important in Latin America. According to Omar Morales Abril (‘Teatralización de villancicos paralitúrgicos del siglo XVII’ (PhD dissertation, Universidad Nacional Autónoma de México, 2021)), this corpus is divided into three large sections: plainchant choir books, polyphonic books and ‘music papers’ or parts. The last of these alone comprises about three thousand records of mainly manuscript pieces, two thousand of which are villancicos, that is, music with poetic texts in the vernacular. Along with local repertory, the collection includes music from various places in the Hispanic world, such as Mexico City, Puebla, Lima, Madrid, Toledo and Seville. In addition, it contains hundreds of works from the sixteenth and seventeenth centuries, unlike other Spanish-American cathedral archives, which mostly preserve music from the eighteenth and nineteenth centuries. It is therefore one of Latin America’s largest and oldest musical collections. For this reason, a new recording dedicated to the music of the Guatemalan Cathedral during the colonial period can only be welcomed, especially an album such as this, performed by the experienced musicians of El Mundo under the able directorship of Richard Savino. Among the many options that this extensive corpus offers to performers, Savino has chosen to focus on the ‘music papers’ and, more particularly, on the villancico. The characteristics of this genre, which combines features of sacred and secular music (the latter mainly from theatre and dance), fit well with Savino’s idea of Latin American music of the time. As he expresses it in the booklet, this repertory would have been influenced by ‘folk music’, and its performers would have used percussion instruments, giving rise to a unique sound that would then persist to the present day. I leave for the end some reflections on this matter. Among the selected composers, the chief protagonist is the Guatemalan Rafael Antonio Castellanos (died 1791), chapel master of the cathedral in the second half of the eighteenth century, to whom six of the seventeen recorded pieces belong (tracks 1, 2, 4, 6, 8 and 16). The other local composer on the album is his predecessor, Manuel José de Quirós (died 1765), who is represented by two works (tracks 12 and 15). Savino also includes villancicos by composers who never visited the New World but whose work has been preserved in the Archivo Histórico Arquidiocesano de Guatemala: Sebastián Durón (1660–1716) (tracks 7 and 10) and José de Torres (c1670–1738) (track 11). This decision seems reasonable because it reflects the musical life of the time, characterized by the coexisten","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":"78304659","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 Back matter","authors":"","doi":"10.1017/s1478570623000027","DOIUrl":"https://doi.org/10.1017/s1478570623000027","url":null,"abstract":"","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":"82070019","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":"Haydn from the ‘Frontier’","authors":"M. A. Marín","doi":"10.1017/S1478570622000355","DOIUrl":"https://doi.org/10.1017/S1478570622000355","url":null,"abstract":"from","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":"73068987","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":"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":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":"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":"Die leidende und am Creutz sterbende Liebe Jesu Gottfried Heinrich Stölzel (1690–1749), ed. Warwick Cole Middleton, WI: A-R Editions, 2020 pp. xxxii + 220, ISBN 978 1 987 20613 5","authors":"Hansjörg Drauschke","doi":"10.1017/S147857062200032X","DOIUrl":"https://doi.org/10.1017/S147857062200032X","url":null,"abstract":"","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":"87830708","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":"","doi":"10.1017/s1478570622000409","DOIUrl":"https://doi.org/10.1017/s1478570622000409","url":null,"abstract":"","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":"75744129","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":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":"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":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":"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":null,"pages":null},"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}