Nineteenth-Century Music Review最新文献_第2页

Delphine von Schauroth, Corinna-Sister 德尔菲娜-冯-绍罗特，科琳娜-姐姐

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2024-02-22 DOI: 10.1017/s1479409823000423

Amanda Lalonde

{"title":"Delphine von Schauroth, Corinna-Sister","authors":"Amanda Lalonde","doi":"10.1017/s1479409823000423","DOIUrl":"https://doi.org/10.1017/s1479409823000423","url":null,"abstract":"Despite her current marginal position, the nineteenth-century pianist and composer Delphine von Schauroth (1813–1887) once ranked among the most prominent virtuosos of the nineteenth century and had connections with Fanny Hensel, Ferdinand Hiller, Josephine Lang, Franz Liszt, Felix Mendelssohn, Robert Schumann and others. Drawing on large body of music criticism, as well as compositions, letters, images and literary works, this article presents a portrait of Schauroth as an artist, with an emphasis on the role of improvisation and the improvisatory in her pianism. In particular, the article fleshes out Robert Schumann's characterization of Schauroth as a ‘Corinna-sister’, a reference to the improvising poetess of Madame de Stäel's novel Corinne, or Italy. The article suggests that Schumann's comparison highlights key facets of Schauroth's status and character as a pianist and composer. Firstly, like Corinne, Schauroth was widely renowned as an eminent performer and was celebrated as a genius by critics, which was particularly notable for a woman musician in the early nineteenth century. Secondly, Schauroth was received as a creator, not only for her compositions, but also for her performances: in the late 1820s and early 1830s, in particular, critics responded to these performances with images of magical creation and an emphasis on the newness of her performance over the composer's work. Thirdly, Schauroth displayed a varied practice of improvisation, and her compositions were understood as having an improvisatory character.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139919888","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Allan W. Atlas, ed., A Wilkie Collins Songbook (Middleton, WI: A-R Editions, 2023), xix + 180. Allan W. Atlas 编辑，《威尔基-柯林斯歌集》（威斯康星州米德尔顿：A-R Editions，2023 年），xix + 180。

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2024-02-21 DOI: 10.1017/s1479409824000016

Delia da Sousa Correa, Rosemary Golding

引用次数: 0

From Musical Writings To Writing Music: Book-Writing Leading to Music School in Nineteenth-Century Calcutta 从音乐著作到音乐写作：十九世纪加尔各答音乐学校的图书写作之路

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2024-02-16 DOI: 10.1017/s1479409823000411

Anirban Bhattacharyya

{"title":"From Musical Writings To Writing Music: Book-Writing Leading to Music School in Nineteenth-Century Calcutta","authors":"Anirban Bhattacharyya","doi":"10.1017/s1479409823000411","DOIUrl":"https://doi.org/10.1017/s1479409823000411","url":null,"abstract":"Print created the urge to innovate new modalities of musical knowledge production and dissemination in nineteenth-century Bengal. Publication of music books made the bifurcation between music theory and practice clearer, but only as a textual category. As the literature suggests, these were two categories for organizing musical knowledge, intimately entwined, where one produces the other and also doesn't exist without each other. The technology of ‘swaralipi’ (musical notation) used in the modern printed books materialized the project of disseminating music to the reader who could now ‘read’ the music from the book. For some book writers, music books were meant to be a replacement for the oral tutelage, published as ‘self-instructors’. But, on the contrary, the most prolific book-writers of the time used their books as the basis of oral tutelage in the music school. In the modern setting of the music school, the person of the ‘guru’ or ‘ustad’ was replaced by the formalized, systematic teaching of the ‘professors’ of music. Music books, as the medium of modern music pedagogy, thus changed not only the way students learned – making it possible to learn from the book with no instructor – but also the role of teachers, whose teaching was validated by the book. The music books came to function as the ‘modern shastras’ – to exercise regulatory authority over music practice, and how music is learned and taught. The ‘orality’ of music emerges as a liminal space in the gap between the writings on music and the writing of music. What emerges is an unlikely milieu where a new form of musical education is devised, the possibility of an education without a guru is conceived, and the schema of musical notation brings the entire process to life.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139765946","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Impromptu Sarah O'Brien, harp Audite, 97.807, 2022 (1 CD: 80 minutes) €19.99 即兴曲萨拉-奥布莱恩，竖琴 Audite，97.807，2022（1 张 CD：80 分钟）19.99 欧元

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2024-02-05 DOI: 10.1017/s1479409823000435

Noël Wan

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Impromptu Sarah O'Brien, harp Audite, 97.807, 2022 (1 CD: 80 minutes) €19.99 即兴曲萨拉-奥布莱恩，竖琴 Audite，97.807，2022（1 张 CD：80 分钟）19.99 欧元

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2024-02-05 DOI: 10.1017/s1479409823000435

Noël Wan

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French Cello Marc Coppey, violoncello Orchestre philharmonique de Strasbourg John Nelson, conductor Audite, 97.802, 2022 (1 CD: 71 minutes) $19.99 法国大提琴马克-科佩（Marc Coppey），中提琴斯特拉斯堡爱乐乐团约翰-尼尔森（John Nelson），指挥 Audite，97.802，2022（1 张 CD：71 分钟）19.99 美元

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2024-01-30 DOI: 10.1017/s1479409823000447

Sophie Benn

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Antonín Dvořák, String Quartet No. 12 in F major, ‘American’, op. 96, Urtext, edited by Michael Kube (Kassel: Bärenreiter, 2023). TP 538 (study score), xii+51. BA 11538 (parts). 安东宁-德沃夏克：《F大调第十二弦乐四重奏，"美国"》，作品96，Urtext，Michael Kube编（卡塞尔：Bärenreiter出版社，2023年）。TP 538（学习谱），xii+51。BA 11538（零件）。

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2024-01-17 DOI: 10.1017/s1479409823000459

David Manning

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Digitized Publications of Spirituals from the Nineteenth Century 19世纪灵歌的数字化出版物

3区艺术学

Nineteenth-Century Music Review Pub Date : 2023-11-03 DOI: 10.1017/s147940982300037x

Chris Fenner

{"title":"Digitized Publications of Spirituals from the Nineteenth Century","authors":"Chris Fenner","doi":"10.1017/s147940982300037x","DOIUrl":"https://doi.org/10.1017/s147940982300037x","url":null,"abstract":"Compilers and editors of hymnals and scholars of hymnology have often lacked suitable tools for identifying the earliest sources of spirituals, or even key sources that serve as models for later arrangements. In the twenty-first century, the development of internet-based repositories of digital books has enabled the ability to search for publications of spirituals using strings of lyrics or keywords, but more importantly, these repositories allow researchers to examine the relevant sources and glean contextual information about those spirituals beyond what might exist in any list or index. Although African slaves had been present in North America since 1619, this unique musical artform was not considered a national treasure worth preserving and publishing until the onset of the Civil War, thus any study of sources of antebellum plantation spirituals really begins at the end of that era and moves forward from there. In order to understand the problem and the digital solution to tracing these songs, a brief overview of the longstanding publishing standard will be presented, followed by an overview of older research materials, then a detailed examination of three existing repositories (HathiTrust, Google, Internet Archive), and one forthcoming repository (Sounding Spirit). The publications located in these repositories have been tied together through a pair of web-based bibliographies at Hymnology Archive, covering the years 1862–1900 and 1901–1942.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135819746","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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

Vaughan Williams: On Wenlock Edge & other songs Nicky Spence, ten, Julius Drake, pf Timothy Ridout, vla Piatti Quartet: Michael Trainor, vln, Zara Benyounes, vln,Tetsuumi Nagata, vla, Jessie Ann Richardson, vnc Hyperion CDA68378, 2022 (1 CD: 69’50”) £8.99 沃恩-威廉斯On Wenlock Edge & other songs Nicky Spence, ten, Julius Drake, pf Timothy Ridout, vla Piatti Quartet：迈克尔-特雷纳（Michael Trainor），五线谱；扎拉-本尤尼斯（Zara Benyounes），五线谱；长田哲美（Tetsuumi Nagata），五线谱；杰西-安-理查森（Jessie Ann Richardson），五线谱 Hyperion CDA68378, 2022 (1 CD: 69'50") £8.99

3区艺术学

Nineteenth-Century Music Review Pub Date : 2023-10-06 DOI: 10.1017/s1479409823000368

Ryan Ross

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Moniuszko and the Revival of the Noble Traditions: The Countess and The Haunted Manor 莫纽斯科和贵族传统的复兴:伯爵夫人和闹鬼的庄园

3区艺术学

Nineteenth-Century Music Review Pub Date : 2023-09-29 DOI: 10.1017/s1479409823000332

Anne Swartz

{"title":"Moniuszko and the Revival of the Noble Traditions: The Countess and The Haunted Manor","authors":"Anne Swartz","doi":"10.1017/s1479409823000332","DOIUrl":"https://doi.org/10.1017/s1479409823000332","url":null,"abstract":"The two recently recorded CD sets of Hrabina (The Countess) and Straszny dwór (The Haunted Manor) in complete concert versions with eighteenth-century instruments add enormously to the Polish operatic repertoire in the nineteenth century, and offer a fresh listening experience for those who have long wished for first-rate recordings of lesser-known, yet brilliantly executed, works of the hitherto neglected composer, Stanisław Moniuszko (1819–1872). Born in the Minsk district of modern Belarus, Monisuzko was gentry, and his nostalgia for the customs, the fields and forest, and the rural community that shaped his childhood years, fuelled his enthusiasm for modern operas set in the eighteenth century. These stellar concert versions of The Countess and The Haunted Manor provide a fascinating glimpse into the provocative and glittering salons of the eighteenth-century Warsaw nobility, whose inhabitants stand firmly in contrast to the more modest and self-effacing life of the peasants and the country gentry. In both operas Moniuszko successfully provides a romanticized portrayal of pre-Partition courtly life in Poland. While these two operas were highly regarded as national treasures in Poland, they were not particularly well known outside of the country. Polish opera at that time was largely overshadowed by Italian, French, and German composers, and the nation's subjugation to the Hapsburgs, Prussians, and Russians throughout the nineteenth century contributed mightily to the neglect of staged works by Polish composers. Additionally, singers needed to be trained in the nuances and inflections of the language. Prior recordings were either incomplete or were not available with English translations of the librettos. With the Biondi and Nowak recordings, Moniuszko's vision of expanding his art to a global audience has finally been achieved. These recordings are accessible to all opera enthusiasts on an international playing field.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135199304","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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