Nineteenth-Century Music Review最新文献_第6页

Ludwig van Beethoven, Trio in B-flat major for Pianoforte, Violin and Violoncello, op. 97 ‘Archduke’. Bärenreiter Urtext, edited by Jonathan Del Mar (Kassel: Bärenreiter, 2022). BA10942. € 34,95. 路德维希·范·贝多芬，钢琴、小提琴和小提琴降B大调三重奏，作品97“大公”。Bärenreiter Urtext，Jonathan Del Mar编辑（卡塞尔：Bärenreiter，2022）。BA10942.34.95欧元。

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2023-03-30 DOI: 10.1017/s1479409823000095

F. Morabito

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Antonín Dvořák, Nocturne in B major for String Orchestra, Op. 40, Urtext. Edited by Jonáš Hájek, Preface by David R. Beveridge (Kassel: Bärenreiter, 2022). Score and Parts BA 11564, x + 9 pp. Antonín Dvořák，弦乐团B大调夜曲，作品40，乌尔都语。JonášHájek编辑，David R.Beveridge序言（卡塞尔：Bärenreiter，2022）。分数和部分BA 11564，x至9页。

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2023-03-30 DOI: 10.1017/s1479409823000113

David Manning

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Eftychia Papanikolaou and Markus Rathey, eds, Sacred and Secular Intersections in Music of the Long Nineteenth Century: Church, Stage, and Concert Hall (Lanham: Lexington Books, 2022). viii + 429 pp. $135.00. Eftychia Papanikolaou和Markus Rathey主编，《漫长的十九世纪音乐中的神圣和世俗交叉：教堂、舞台和音乐厅》（Lanham：Lexington Books，2022）。viii+429页，135.00美元。

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2023-03-29 DOI: 10.1017/S1479409823000083

Martin V. Clarke

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Recurring Hauntings and Trauma in Schubert's ‘Unfinished’ Symphony 舒伯特“未完成”交响曲中反复出现的困扰和创伤

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2023-03-15 DOI: 10.1017/s1479409823000022

Sio Pan Leong

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Giuseppe Verdi's Jérusalem between Adaptation and Self-Borrowing 威尔第的《适应与自我借用》

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2023-03-13 DOI: 10.1017/s1479409822000520

F. Izzo

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Musical Self-Borrowing in Ottocento Opera and the Composer's Toolbox 奥托森托歌剧中的音乐自我借用与作曲家的工具箱

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2023-02-14 DOI: 10.1017/s1479409822000519

R. Marvin

{"title":"Musical Self-Borrowing in Ottocento Opera and the Composer's Toolbox","authors":"R. Marvin","doi":"10.1017/s1479409822000519","DOIUrl":"https://doi.org/10.1017/s1479409822000519","url":null,"abstract":"Self-borrowing was a common practice in primo ottocento opera. Even though commentators of the era could find it somewhat troublesome, composers indulged in the practice. Drawing on existing scholarship, and reflecting on the work of my co-contributors to this journal issue, I ponder a few sundry notions about the procedure and its context, addressing theoretical, historical and practical perspectives relating to composers, historical commentators, listeners and modern-day scholars. I begin with a survey of terminology that has been applied in discussions of self-borrowing and a review of the manner in which selected present-day scholars have characterized the practice. I then consider the nature of self-borrowing in the ottocento opera repertory against a backdrop of contemporaneous theoretical discussions about how to compose opera, and I contemplate the extent to which self-borrowings in this repertory can be deemed to bear meaning. I conclude by raising the possibility of applying concepts from cognitive theory to operatic encounters with self-borrowing, proposing that the practice served as a tool for composers to fuel expectation, predictability, anticipation and even surprise to enhance musical pleasure. My purpose is to prompt reflection on the reasons behind as well as an appreciation for the value of this oft-maligned compositional ‘tool’ in the interest of gaining insight into its impact on the listening experience and the evaluation of musical works.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41537963","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

Clara Wieck Schumann: Art of Preluding Mo-Ah Kim pf CD Baby 2353004X, 2019 (1 CD: 35 minutes). $21.69 - Clara Schumann: Romance – The Piano Music of Clara Schumann Isata Kanneh-Mason pf, Jonathan Aasgaard cond. Royal Liverpool Philharmonic Orchestra Decca 4850020, 2019 (1 CD: 76 minutes), $13.95 克拉拉·维克·舒曼:《金摩阿的序曲艺术》CD《Baby》2353004X, 2019(1张CD: 35分钟)。$21.69 -克拉拉·舒曼:浪漫-克拉拉·舒曼的钢琴曲伊萨塔·坎内-梅森，乔纳森·阿斯加德。皇家利物浦爱乐乐团Decca 4850020, 2019(1张CD: 76分钟)，13.95美元

3区艺术学

Nineteenth-Century Music Review Pub Date : 2023-02-02 DOI: 10.1017/s1479409822000532

Joao Martins

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Rossini's Self-Borrowings as a Stylistic Weapon 罗西尼的自我借用作为一种风格武器

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2023-02-01 DOI: 10.1017/s1479409822000490

Daniele Carnini

{"title":"Rossini's Self-Borrowings as a Stylistic Weapon","authors":"Daniele Carnini","doi":"10.1017/s1479409822000490","DOIUrl":"https://doi.org/10.1017/s1479409822000490","url":null,"abstract":"Between 1812 and 1816 Rossini took Italian stages by storm and performances cycles of his operas soared in an unprecedented way. The present essay investigates the fundamental role played by self-borrowing in this achievement. As it will be preliminarily clarified, at least for Rossini, self-borrowing does not represent a sub-category of borrowing (i.e. from others: he seldom resorted to other composers’ works), but a peculiar characteristic of his compositional habit, a weapon used to spread his signifiers throughout different stages and genres.\u0000 This article focuses on a case study: La gazzetta, an opera deeply rooted in the tradition of the opera comica in Neapolitan, whose authoriality normally resided more in performers (in this case, in the well-known actor/singer Carlo Casaccia) than in poets or composers. Special attention will be given to the use of self-borrowings in some key pieces of the opera, including the recently rediscovered Act I quintet. The essay aims to demonstrate that self-borrowings, far from being a mere time-saving device, helped Rossini to overpower Casaccia's distinctive way of expression, depriving him of his authoriality and of his own voice. With La gazzetta, Rossini conquered the last outpost; after 1816, the mastery of Italian stages (and genres) belonged only to him.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49296056","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

The Edizione critica delle opere di Gioachino Rossini and Self-Borrowing 《乔亚奇诺·罗西尼自编》的关键版

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2023-01-31 DOI: 10.1017/s1479409822000507

A. Malnati

{"title":"The Edizione critica delle opere di Gioachino Rossini and Self-Borrowing","authors":"A. Malnati","doi":"10.1017/s1479409822000507","DOIUrl":"https://doi.org/10.1017/s1479409822000507","url":null,"abstract":"Self-borrowing and Rossini: music theatre scholars are well acquainted with this topic. Many publications have been dedicated to it, most of which concentrate on compositional-analytic aspects, the artistic and communicational nature of self-borrowing and its reception in nineteenth-century periodicals. At present, however, no study has attempted to question the relation between Rossini's self-borrowings and the critical edition of his works. This is the issue to which this contribution is dedicated.\u0000 Beginning with the operating indications summarized by the editorial criteria provided for the Edizione critica delle opere di Gioachino Rossini – first published in 1974, and revised and updated in 2015 – this study compares the various methodological approaches adopted while preparing critical editions and dealing with the specific features of each passage in which self-borrowing appears. This comparison furthermore allows us to formulate a general overview of the entire editorial undertaking. This in turn will give us a glimpse of how principles such as the autograph's centrality and concepts such as authenticity and originality have often become problematic and have been put into question. Knowing that Rossini often rewrote the pieces he self-borrowed is fundamental for philologists working on the critical edition of his works. Decoding the modus operandi Rossini adopted in each case of self-borrowing is therefore equally important, and can help choose the sources closest to Rossini's idea of the self-borrowed pieces at the time of their reuse.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42067131","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

Donizetti's Self-Borrowings as an Artistic Practice 多尼采蒂的自我借用艺术实践

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2023-01-23 DOI: 10.1017/s147940982200043x

C. Mantica

{"title":"Donizetti's Self-Borrowings as an Artistic Practice","authors":"C. Mantica","doi":"10.1017/s147940982200043x","DOIUrl":"https://doi.org/10.1017/s147940982200043x","url":null,"abstract":"Gaetano Donizetti's versatile production unfolded over three decades (1818–43) and was staged in the foremost Italian and European theatres. In this article I question his self-borrowing as a chiefly economic practice, offering novel keys to reading his re-use of existing materials. In the introductory section, I offer a preliminary discussion of the coeval discourse on Donizetti's self-imitation as it surfaces in the press, which appears to follow in the footsteps of that on Rossini's. I then look at his self-borrowings across genres, dwelling on the ways in which he re-functionalized earlier serious passages within comic frames, almost inevitably to achieve a parodic effect. After discussing the links between parody and diegetic music – one of his favourite contexts for employing older materials – I turn to Donizetti's serious production, advancing the hypothesis that his recourse to self-borrowing could take on semantic connotations. In so doing, in the second part of the article I focus on selected case studies grouped into three thematic areas, which – similarly to, and occasionally in connection with diegetic music – all involve the suspension of a character's habitual idioms: deception, rituals and madness. The article includes extended examples from the composer's Linda di Chamounix (Vienna, Kärntnertortheater, 1842), Sancia di Castiglia (Naples, Teatro San Carlo, 1832), Il paria (Naples, Teatro San Carlo, 1829), Marino Faliero (Paris, Théâtre-Italien, 1835), Enrico di Borgogna (Venice, Teatro San Luca, 1818), and Anna Bolena (Milan, Teatro Carcano, 1830). My ultimate concern is to demonstrate that Donizetti's use of self-borrowing could perform a dramatic function, deliberately connoting the altered modes of expression of the characters to which the earlier piece is associated.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46534468","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