Pub Date : 2023-08-25DOI: 10.1017/S1478570623000155
Barbara M. Reul
When Georg Philipp Telemann (1681–1767) applied for, and subsequently turned down, the vacant post of Thomaskantor in Leipzig, in 1722, he probably did not expect a major English-language publication bearing his last name to grace (real and virtual) bookshelves three centuries later. Telemann Studies is a ground-breaking work that comprises important contributions by sixteen scholars based in Germany, the USA and Japan. They met at Temple University in October 2017 to mark the two hundred and fiftieth anniversary of Telemann’s death and ponder the topic ‘Georg Philipp Telemann: Enlightenment and Postmodern Perspectives’. That it took almost five years for these exemplary conference proceedings to appear in print was no surprise to this reviewer. After all, its editors, Wolfgang Hirschmann (Martin-Luther-Universität Halle-Wittenberg) and Steven Zohn (Temple University), are not only the two leading Telemann scholars in their respective native languages, but are also known for their high scholarly standards. For them to collaborate is a stroke of luck as far as global Telemann research is concerned. According to its back cover, this book – which is divided into five parts – attempts to remedy the limited availability of English-language literature on Telemann by examining specific aspects of his life, music and legacy. To that end, the editors provide an unusually lengthy Preface. It begins with a superb overview of how (German) Telemann scholarship developed over the course of the twentieth century; this part of the preface would have made a wonderful separate introductory chapter. Comprehensive summaries of each chapter follow, with the editors taking great pains to explain the authors’ methodological approaches and highlight research findings. This ‘representative cross-section of Telemann studies in the early twenty-first century’ (xxii) is a must-read for anyone who wants to know more about the most influential German composer of the first half of the eighteenth century. To that end, Zohn has skillfully translated chapters written by German scholars Carsten Lange, Nina Eichholz and Ralph-Jürgen Reipsch into English. ‘Enlightenment perspectives’ are explored in part 1. First, Zohn outlines the different ways in which Telemann handled the musical past in two of his Frankfurt cantatas, Sehet an die Exempel der Alten (TVWV1:1259) and Erhöre mich, wenn ich rufe (TVWV1:459). Hirschmann then shifts to the composer’s French pastoral dramas and scrutinizes his little-known (and uncatalogued) Pastorelle en musique from 1714. Telemann’s commentary on the ‘Augenorgel’, or ‘harpsichord for the eye’, is the focus of Joyce Z. Lindorff’s chapter; she draws attention to the eight translations that appeared between 1739 and 1757 in French, Latin and German. In part 2, ‘Urban and Courtly Contexts’, Carsten Lange painstakingly examines Telemann’s connection to the city of Lüneburg, specifically to the local pastor and theologian Roger Brown, who copied some of Te
1722年，当格奥格·菲利普·泰勒曼(1681-1767)申请莱比锡托马斯·坎特(Thomaskantor)的空缺职位，并随后被拒绝时，他可能没有想到，三个世纪后，一本印有他姓氏的主要英语出版物会出现在(真实的和虚拟的)书架上。《泰勒曼研究》是一部开创性的著作，由来自德国、美国和日本的16位学者做出了重要贡献。2017年10月，他们在天普大学会面，纪念泰勒曼逝世250周年，并思考了“乔治·菲利普·泰勒曼:启蒙与后现代视角”这一主题。这些堪称典范的会议论文集花了将近五年的时间才出版，这并不令笔者感到意外。毕竟，它的编辑Wolfgang Hirschmann (Martin-Luther-Universität Halle-Wittenberg)和Steven Zohn(天普大学)不仅是两位在各自的母语领域领先的Telemann学者，而且还以其高学术水平而闻名。对他们来说，就全球Telemann研究而言，合作是一种幸运。从封底上看，这本书——分为五个部分——试图通过研究泰勒曼的生活、音乐和遗产的具体方面，弥补关于他的英语文献有限的不足。为此，编辑们提供了一个异常冗长的序言。它首先对(德国)特曼学术在20世纪的发展进行了极好的概述;序言的这一部分本来可以成为一个很好的单独的介绍性章节。接下来是每章的综合摘要，编辑们煞费苦心地解释了作者的方法方法并突出了研究结果。对于任何想要了解这位18世纪上半叶最有影响力的德国作曲家的人来说，这本“21世纪早期泰勒曼研究的代表性横截面”(xxii)是一本必读的书。为此，Zohn巧妙地将德国学者Carsten Lange、Nina Eichholz和ralph - j rgen Reipsch的著作翻译成英文。第1部分探讨了“启蒙观点”。首先，Zohn概述了Telemann在他的两部法兰克福康塔塔中处理音乐历史的不同方式，seheet and die exemplpel der Alten (TVWV1:1259)和Erhöre mich, wenn ich rufe (TVWV1:459)。赫希曼随后转向作曲家的法国田园戏剧，并仔细研究了他1714年鲜为人知(也未编入目录)的《音乐中的帕斯托雷》。Telemann对“Augenorgel”或“眼睛的拨弦键琴”的评论是Joyce Z. Lindorff这一章的重点;她让人们注意到1739年至1757年间出现的八个法语、拉丁语和德语译本。在第二部分“城市与宫廷语境”中，Carsten Lange煞费费事地研究了Telemann与l内堡市的联系，特别是与当地牧师和神学家Roger Brown的联系，他复制了Telemann的一些作品。丹尼尔·r·梅拉米德(Daniel R. Melamed)的文章内容丰富，对细节的关注也贯穿其中。他将1721年Telemann到达汉堡之前的路德教会的受难背景，包括不少于11个
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Pub Date : 2023-08-25DOI: 10.1017/S1478570623000192
M. L. Turner
In mid-February scholars and performers gathered in San José to address what some might think are long-answered questions. What was chamber music around the turn of the nineteenth century? What were its conventions, contours and uses? Who listened to it, played it and paid for it? The presenters and participants at ‘Chamber Scenes: Musical Space, Medium, and Genre c. 1800’ amply addressed these questions and others. The conference was hosted by the Ira F. Brilliant Center for Beethoven Studies at San José State University, and adroitly organized by Erica Buurman, director of the Center, and Nicholas Mathew of the University of California Berkeley. Although this was not specifically a conference on Beethoven, Ludwig loomed large, as he is likely to at any conference on instrumental music around the year 1800, and particularly one held at a centre for Beethoven scholarship. In the wake of the unexpectedly curtailed ‘Beethoven year’ of 2020, there was palpable enjoyment among attendees at the meeting of colleagues and friends, and much to appreciate about being together in physical space to present and experience a variety of thought-provoking and enjoyable papers and performances. A number of presentations focused productively on questions of genre, with particular attention paid to dismantling (or at least complicating) the oppositional dualities common in chamber-music scholarship. As Ellen Lockhart (University of Toronto) observed in her paper, the widely accepted definition of chamber music both invokes and invites binaries: public/private, commercial/aesthetic, male/female and professional/amateur, among others. In the first of three lecture-recitals at the conference, Erica Buurman, assisted by the Takács Quartet and historical dance expert Joan Walton (San José State University), demonstrated the heretofore underexplored influences of ballroom and social dance on the second movement of Beethoven’s String Quartet Op. 132. Considering the binary between ‘bodily’ music (in this case, music for dance) and ‘cerebral’ music, Buurman suggested that, contrary to the ideologies of critics such as Eduard Hanslick, chamber music drew on the former as well as the latter. Lockhart too engaged with a binary that might seem inherent in the genre: that of instrumental versus vocal music. Tracing the origins of the term ‘chamber music’, she suggested the term’s indebtedness to baroque vocal genres, and observed the continuing presence of vocality in later chamber music, as in the cavatina movement of Beethoven’s String Quartet Op. 130. Sarah Waltz (University of the Pacific) complicated the aforementioned public/ private binary in an English context, noting that the repertoire for ‘public’ stage concerts and ‘private’ house concerts may not have differed as widely as one might think. ‘Domestic’ chamber genres were often performed publicly, just as ‘larger’ genres, like the concerto, sometimes found their place in domestic venues. Other papers called into que
2月中旬，学者和表演者聚集在圣何塞，讨论一些可能被认为是长期没有答案的问题。19世纪初的室内乐是什么?它的惯例、轮廓和用途是什么?谁听了它，玩了它，并为它付费?“室内乐场景:音乐空间，媒介和流派c. 1800”的演讲者和参与者充分地解决了这些问题和其他问题。这次会议由圣何塞州立大学的贝多芬研究中心主持，由中心主任埃里卡·布尔曼和加州大学伯克利分校的尼古拉斯·马修巧妙地组织。虽然这不是一个专门关于贝多芬的会议，路德维希显得很重要，因为他很可能在1800年左右的任何一个器乐会议上，尤其是在贝多芬奖学金中心举行的会议上。随着2020年“贝多芬年”的意外缩减，在同事和朋友的会议上，与会者明显感到很高兴，也很感激能在物理空间里一起展示和体验各种发人深省、令人愉快的论文和表演。许多演讲都富有成效地关注了流派问题，特别关注了室内乐学术中常见的对立二元性的拆除(或至少使其复杂化)。正如多伦多大学(University of Toronto)的艾伦·洛克哈特(Ellen Lockhart)在她的论文中所观察到的那样，被广泛接受的室内乐定义既唤起又引入了二元性:公共/私人、商业/美学、男性/女性、专业/业余等等。在会议的三场讲座演奏会中的第一场，埃里卡·布尔曼在Takács四重奏和历史舞蹈专家琼·沃尔顿(圣何塞州立大学)的协助下，展示了迄今为止尚未被充分探索的交际舞和社交舞对贝多芬弦乐四重奏Op. 132第二乐章的影响。考虑到“身体”音乐(在这种情况下，舞蹈音乐)和“大脑”音乐之间的二元性，布尔曼认为，与爱德华·汉斯利克等评论家的意识形态相反，室内乐既借鉴了前者，也借鉴了后者。洛克哈特也采用了一种似乎是这种音乐类型固有的二元性:器乐与声乐。在追溯“室内乐”一词的起源时，她认为这个词与巴洛克声乐流派有关，并观察到在后来的室内乐中声乐的持续存在，如贝多芬弦乐四重奏Op. 130的cavatina运动。太平洋大学的Sarah Waltz将前面提到的公共/私人二元结构在英语语境中复杂化，指出“公共”舞台音乐会和“私人”家庭音乐会的保留曲目可能没有人们想象的那么大。“国内”室内乐经常在公开场合演出，就像协奏曲这样的“大型”体裁有时在国内演出场所找到自己的位置一样。其他论文则对根深蒂固的二分法提出了质疑:原创作曲和编曲。奥克兰大学(University of Auckland)的南希·11月(Nancy November)认为，1800年左右，演奏参数而不是作曲参数对音乐家来说是决定性的。用于教育和表演目的，小型歌剧合奏曲确实被认为是“真正的”室内乐。由库马兰·阿鲁尔(斯坦福大学)主持的讲座演奏会
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Pub Date : 2023-08-25DOI: 10.1017/s1478570623000088
Jacob Friedman
The 2022 Haydn Society of North America (HSNA) Mini-Conference preceded the joint meeting of the American Musicological Society, Society for Music Theory and Society for Ethnomusicology in New Orleans. Unlike recent HSNA conferences that were conducted jointly with other groups (Packard Humanities Institute/C. P. E. Bach Complete Works in Boston in 2019, New Beethoven Research Conference in Vancouver in 2016), this meeting was held solely under the auspices of the HSNA. To honour the two hundred and fiftieth anniversary of the completion of the ‘ Sun ’ Quartets, Op. 20
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Pub Date : 2023-08-25DOI: 10.1017/s1478570623000131
Estelle Murphy
Matthew Dubourg (1703–1767) is today mostly remembered as the virtuoso violinist who led the band of musicians for the premiere of Handel’s oratorio Messiah in Dublin in April 1742. He was a child prodigy – contemporary reports reveal that he was performing publicly at the age of eleven – and pupil of Francesco Geminiani (1687–1762), with whom he maintained a lifelong friendship. In 1728 Dubourg was made Master of the State Musick in Ireland following the death of Johann Sigismund Cousser (1660–1727), who had held the position since 1716. Geminiani, who had first been offered the position, declined it on account of being a Roman Catholic (other theories for Geminiani’s refusal are advanced in Enrico Careri, Francesco Geminiani (1687–1762) (Oxford: Clarendon, 1993), 21). Dubourg’s position as Master required him to compose odes to celebrate the birthdays of the British monarchs in Dublin. Surviving poetry, newspaper reports and music suggest that he composed an unbroken series of two odes per year until his death. Dubourg’s other compositions survive in various eighteenth-century manuscripts and publications. These include dances – minuets, jigs and ‘Dubourg’s Maggott’, for instance – some songs and his ‘graces’ for Corelli’s Op. 5 violin sonatas (on the last see Neal Zaslaw, ‘Ornaments for Corelli’s Violin Sonatas, Op. 5’, Early Music 24/1 (1996), 95–116, and Robert E. Seletsky, ‘18th-Century Variations for Corelli’s Sonatas, Op. 5’, Early Music 24/1 (1996), 119– 130). Dubourg’s most popular work was undoubtedly his variations on the traditional Irish song ‘Eibhlín a Rún’, first published for harpsichord in 1746 (Select Minuets, collected from the Castle Balls, and the Publick Assemblies in Dublin. Composed by the best Masters . . . to which is added Eleena Roon by Mr. Dubourgh, set to the Harpsichord with his Variations (Dublin: William Mainwaring), held at The National Library of Ireland, Dublin (IRL-Dn), Add. Mus. 9013). This publication was advertised in The Dublin Journal for 27–30 December 1746. Despite this substantial compositional output, Dubourg is not well known as a composer. Somewhat addressing this neglect is a recording by the Irish Baroque Orchestra, which mostly features works composed by Dubourg. This album – ‘Welcome Home, Mr Dubourg’ (Linn CKD 532, 2019) – was reviewed by David Rhodes (Eighteenth-Century Music 17/2 (2020), 281–285), who provided a thorough and thoughtful account of its contents, the merit of their inclusion and their context in relation to what we know of Dubourg’s life and career. Unsurprisingly, it includes Dubourg’s variations on ‘Eibhlín a Rún’ and Corelli’s Violin Sonata in A major Op. 5 No. 9 with Dubourg’s graces. The recording features excerpts from the birthday odes for Dublin Castle as well as the ode for George II’s birthday in 1739 in its entirety. Much of the music is not extant, but the autograph manuscripts for this ode and the excerpts included on the recording are held at the Royal College of
马修·杜布尔(1703-1767)是著名的小提琴演奏家，1742年4月，他带领乐队在都柏林首演了亨德尔的清唱剧《弥赛亚》。他是一个神童——当时的报道显示，他在11岁时就开始公开表演了——他是弗朗西斯科·吉米尼亚尼(1687-1762)的学生，两人保持着一生的友谊。1728年，在约翰·西吉斯蒙德·库塞尔(1660-1727)去世后，杜堡被任命为爱尔兰国家音乐大师。库塞尔自1716年以来一直担任国家音乐大师。最初得到这个职位的双子座，因为是罗马天主教徒而拒绝了(关于双子座拒绝的其他理论在Enrico Careri, Francesco Geminiani (1687-1762) (Oxford: Clarendon, 1993)， 21中提出)。杜布尔作为大师的地位要求他创作颂歌来庆祝都柏林的英国君主的生日。现存的诗歌、报纸报道和音乐表明，直到他去世，他每年都不间断地创作两首颂歌。杜布尔的其他作品保存在各种18世纪的手稿和出版物中。这些包括舞蹈-小步舞曲，快步舞和“杜堡的马戈特”，例如-一些歌曲和他的“优美”为科雷利的作品5小提琴奏鸣曲(最后见尼尔·扎斯劳，“装饰科雷利的小提琴奏鸣曲，Op. 5”，早期音乐24/1(1996)，95-116，和罗伯特·e·塞莱茨基，“18世纪变奏曲科雷利的奏鸣曲，Op. 5”，早期音乐24/1(1996)，119 - 130)。杜布尔最受欢迎的作品无疑是他对传统爱尔兰歌曲“Eibhlín a Rún”的变奏曲，该歌曲于1746年首次为羽管键琴出版(精选小步舞曲，收集自城堡舞会和都柏林公共集会)。由最好的大师作曲…再加上杜博先生的《埃琳娜·鲁恩》(Eleena Roon)，配以拨弦键琴与他的变奏曲(都柏林:威廉·迈因沃林)，收藏于爱尔兰国家图书馆，都柏林(IRL-Dn)， Add. Mus. 9013)。此出版物于1746年12月27日至30日在《都柏林日报》刊登广告。尽管有大量的作品产出，但杜布尔作为作曲家并不为人所知。爱尔兰巴洛克管弦乐团的录音在一定程度上解决了这一问题，其中大部分是杜布尔创作的作品。这张专辑——“欢迎回家，杜布尔先生”(Linn CKD 532, 2019)——由大卫·罗兹(18世纪音乐17/2(2020)，281-285)进行了审查，他对专辑的内容、收录的价值以及与我们所知的杜布尔的生活和事业有关的背景进行了全面而周到的阐述。不出所料，它包括杜布尔的“Eibhlín a Rún”变奏曲和科雷利的a大调小提琴奏鸣曲Op. 5 No. 9与杜布尔的优雅。该录音包括都柏林城堡生日颂歌的节选，以及1739年乔治二世生日颂歌的全部内容。这首颂歌的大部分音乐都不存在了，但这首颂歌的亲笔手稿和录音中的摘录保存在伦敦皇家音乐学院(GB-Lcm 847, 848, 849和850)。在这四卷中，乐章的顺序是随意的，并且由于作曲家对乐章的重复使用或“自我借用”而进一步复杂化;要确定颂歌运动的年代还有很多工作要做
{"title":"Dubourg, Geminiani and the Violin Concerto in D Major: A Misattribution","authors":"Estelle Murphy","doi":"10.1017/s1478570623000131","DOIUrl":"https://doi.org/10.1017/s1478570623000131","url":null,"abstract":"Matthew Dubourg (1703–1767) is today mostly remembered as the virtuoso violinist who led the band of musicians for the premiere of Handel’s oratorio Messiah in Dublin in April 1742. He was a child prodigy – contemporary reports reveal that he was performing publicly at the age of eleven – and pupil of Francesco Geminiani (1687–1762), with whom he maintained a lifelong friendship. In 1728 Dubourg was made Master of the State Musick in Ireland following the death of Johann Sigismund Cousser (1660–1727), who had held the position since 1716. Geminiani, who had first been offered the position, declined it on account of being a Roman Catholic (other theories for Geminiani’s refusal are advanced in Enrico Careri, Francesco Geminiani (1687–1762) (Oxford: Clarendon, 1993), 21). Dubourg’s position as Master required him to compose odes to celebrate the birthdays of the British monarchs in Dublin. Surviving poetry, newspaper reports and music suggest that he composed an unbroken series of two odes per year until his death. Dubourg’s other compositions survive in various eighteenth-century manuscripts and publications. These include dances – minuets, jigs and ‘Dubourg’s Maggott’, for instance – some songs and his ‘graces’ for Corelli’s Op. 5 violin sonatas (on the last see Neal Zaslaw, ‘Ornaments for Corelli’s Violin Sonatas, Op. 5’, Early Music 24/1 (1996), 95–116, and Robert E. Seletsky, ‘18th-Century Variations for Corelli’s Sonatas, Op. 5’, Early Music 24/1 (1996), 119– 130). Dubourg’s most popular work was undoubtedly his variations on the traditional Irish song ‘Eibhlín a Rún’, first published for harpsichord in 1746 (Select Minuets, collected from the Castle Balls, and the Publick Assemblies in Dublin. Composed by the best Masters . . . to which is added Eleena Roon by Mr. Dubourgh, set to the Harpsichord with his Variations (Dublin: William Mainwaring), held at The National Library of Ireland, Dublin (IRL-Dn), Add. Mus. 9013). This publication was advertised in The Dublin Journal for 27–30 December 1746. Despite this substantial compositional output, Dubourg is not well known as a composer. Somewhat addressing this neglect is a recording by the Irish Baroque Orchestra, which mostly features works composed by Dubourg. This album – ‘Welcome Home, Mr Dubourg’ (Linn CKD 532, 2019) – was reviewed by David Rhodes (Eighteenth-Century Music 17/2 (2020), 281–285), who provided a thorough and thoughtful account of its contents, the merit of their inclusion and their context in relation to what we know of Dubourg’s life and career. Unsurprisingly, it includes Dubourg’s variations on ‘Eibhlín a Rún’ and Corelli’s Violin Sonata in A major Op. 5 No. 9 with Dubourg’s graces. The recording features excerpts from the birthday odes for Dublin Castle as well as the ode for George II’s birthday in 1739 in its entirety. Much of the music is not extant, but the autograph manuscripts for this ode and the excerpts included on the recording are held at the Royal College of ","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"15 1","pages":"223 - 225"},"PeriodicalIF":0.1,"publicationDate":"2023-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75133306","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}
Pub Date : 2023-08-25DOI: 10.1017/s1478570623000209
Wayne Weaver
Abstract This article examines the links between the music of Anglo-Jamaican organist and composer Samuel Felsted (1743–1802) and his environment of late eighteenth-century Kingston, building on research published since the 1980s. Although Felsted, a person of English-American heritage who was born in Jamaica, was part of the island's European-origin community, most of his local contemporaries were people of African descent. Like many of his friends, family members and acquaintances, Felsted was a slave owner, and, as I argue here, his various literary and artistic outputs demonstrate how he was influenced by the kinds of issues – such as slavery, servitude, sovereignty and nationhood – that surfaced in the public and private discourses of his time. Considering what Felsted's cultural legacy might mean today, I turn to his undated and virtually unknown oratorio The Dedication, for which he wrote both the text and the music. The Dedication contains literary themes that allow its connections to Felsted's world and its setting of ancient Babylon to be explored. I also suggest the early 1790s as a possible time of composition for this work.
{"title":"The Making of Jamaica's ‘First Composer’: Rethinking Samuel Felsted","authors":"Wayne Weaver","doi":"10.1017/s1478570623000209","DOIUrl":"https://doi.org/10.1017/s1478570623000209","url":null,"abstract":"Abstract This article examines the links between the music of Anglo-Jamaican organist and composer Samuel Felsted (1743–1802) and his environment of late eighteenth-century Kingston, building on research published since the 1980s. Although Felsted, a person of English-American heritage who was born in Jamaica, was part of the island's European-origin community, most of his local contemporaries were people of African descent. Like many of his friends, family members and acquaintances, Felsted was a slave owner, and, as I argue here, his various literary and artistic outputs demonstrate how he was influenced by the kinds of issues – such as slavery, servitude, sovereignty and nationhood – that surfaced in the public and private discourses of his time. Considering what Felsted's cultural legacy might mean today, I turn to his undated and virtually unknown oratorio The Dedication, for which he wrote both the text and the music. The Dedication contains literary themes that allow its connections to Felsted's world and its setting of ancient Babylon to be explored. I also suggest the early 1790s as a possible time of composition for this work.","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"21 1","pages":"137 - 158"},"PeriodicalIF":0.1,"publicationDate":"2023-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81866788","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}
Pub Date : 2023-08-25DOI: 10.1017/S1478570623000039
Clare Beesley
Abstract First-hand accounts explaining how a young British virtuosa went about establishing an international career in the later eighteenth century are scant. However, a previously unstudied handwritten page contained within the Rackett Family of Spettisbury Archive at the Dorset History Centre provides new insights into this underexplored area. In this article, I examine an anonymous 1769 document entitled ‘a Vienne’ from which the guiding voices of eminent musicians at the Vienna court, including Johann Adolf Hasse, Faustina Bordoni, Marianna Martines and their circle, emerge. I argue that this item is in fact an aide-mémoire memorializing intimate glimpses of private conversations, career-shaping advice and impressions that helped mould its author into a virtuosa. Further, by means of palaeographical and biographical evidence I identify the author as the young British glass-armonica player Marianne Davies and assert that her recollections, preserved in this hitherto overlooked piece of ephemera, reconstruct how the educational process of becoming a virtuosa took place.
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Pub Date : 2023-08-25DOI: 10.1017/S1478570623000143
Robert Rawson
Milada Joná š ová and the rest of the editorial team at Academus Editions are to be congratulated for this splendid and enterprising volume of tuneful Christmas pastorellas by the Bohemian composer
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Pub Date : 2023-08-25DOI: 10.1017/S147857062300012X
Danuta Mirka
In my Introduction to The Oxford Handbook of Topic Theory I asked, ‘What are musical topics?’. In answer, I posited that topics are conventions, yet they do not subsume all kinds of conventions: ‘Other conventions, subsumed under this concept by other authors, are not topics’. Among them are contrapuntal-harmonic schemata. If schemata are not topics, they can, nevertheless, combine with topics ‘into more or less stable amalgam[s] that are conventional in their own rights’ (‘Introduction’, in The Oxford Handbook of Topic Theory, ed. Danuta Mirka (New York: Oxford University Press, 2014), 2). This idea was developed by Vasili Byros in the same volume with reference to the schema–topic amalgam made up of the le–sol–fi–sol and the ombra (‘Topics and Harmonic Schemata: A Case from Beethoven’, in The Oxford Handbook, 381–414) and by William Caplin in the following chapter, dedicated to the lament topic (‘Topics and Formal Functions: The Case of the Lament’, in The Oxford Handbook, 415–452). In the wake of the volume’s publication, the expressive qualities of schemata and their interaction with topics have been explored by other authors. In two articles, one of them published in this journal, John A. Rice presented two schemata that he called the Heartz and the Morte, and proposed that the Heartz is ‘not only . . . a schema but also . . . a topic’, in that it conveys ‘a sweetness and tenderness characteristic of a certain strain of the galant style’ (‘The Heartz: A Galant Schema from Corelli to Mozart’, Music Theory Spectrum 36/2 (2014), 318, 315). By contrast, the Morte is an emblem of lament and thus akin to ombra (‘The Morte: A Galant Voice-Leading Schema as Emblem of Lament and Compositional Building-Block’, Eighteenth-Century Music 12/2 (2015), 164). Olga Sánchez-Kisielewska established a link between the ‘sacred hymn’ topic and the Romanesca schema, yielding what she calls a sacred Romanesca (‘Interactions between Topics and Schemata: The Case of the Sacred Romanesca’, Theory and Practice 41/1 (2016), 47–80, and ‘The Romanesca as a Spiritual Sign in the Operas of Haydn, Mozart, and Beethoven’, in Singing in Signs: New Semiotic Explorations of Opera, ed. Gregory J. Decker and Matthew R. Shaftel (New York: Oxford University Press, 2020), 163–191). Nathaniel Mitchell came up with the Volta, a schema which has no strong topical implications, yet frequently performs a dramatic function as a gesture of culmination (‘The Volta: A Galant Gesture of Culmination’, Music Theory Spectrum 42/2 (2020), 280–304). And, again in this journal, Ewald Demeyere touched upon the affective implementations of a schema consisting of a dominant pedal accompanied by a chromatic descent (DPCD) (‘Yet Another Galant Schema: The Dominant Pedal Accompanied by a Chromatic Descent’, Eighteenth-Century Music 19/2 (2022), 173–199). Two of these authors framed the relation between schemata and topics in terms of that between syntax and semantics. Although independent in principle, ‘s
在我的《牛津话题理论手册》的导言中，我问:“什么是音乐话题?”作为回答，我假设主题是惯例，但它们不包含各种惯例:“其他惯例，被其他作者纳入这个概念，不是主题”。其中有对位和声图式。然而，如果图式不是主题，它们可以与主题“结合成或多或少稳定的汞合金[s]，这些汞合金本身就是传统的”(《牛津话题理论手册》，Danuta Mirka主编，《引言》，2)。这一想法是由Vasili Byros在同一卷中提出的，参考了由le - sol - i - sol - sol和ombra组成的图式-主题汞合金(“主题与谐波图式:来自贝多芬的案例”，牛津手册，381-414)和威廉·卡普林在接下来的章节中，致力于哀叹主题(“主题和正式功能:哀叹的案例”，牛津手册，415-452)。在该卷的出版之后，图式的表达特性及其与主题的相互作用已被其他作者探索。在两篇文章中，其中一篇发表在本刊上，约翰·a·赖斯提出了两种图式，他称之为“赫茨”和“莫特”，并提出“赫茨”不仅是……一种模式，但也…一个主题”，因为它传达了“某种豪迈风格的甜蜜和温柔特征”(“心脏:从科雷利到莫扎特的豪迈图式”，音乐理论光谱36/2(2014)，318,315)。相比之下，Morte是悲歌的象征，因此类似于ombra(“Morte:作为悲歌和组成构件象征的卓越的声部主导模式”，《十八世纪音乐12/2》(2015)，164)。Olga Sánchez-Kisielewska在“圣歌”主题和罗曼内斯卡图式之间建立了联系，产生了她所谓的神圣罗曼内斯卡(“主题与图式之间的互动:神圣罗曼内斯卡的案例”，理论与实践41/1(2016)，47-80)和“罗曼内斯卡作为海顿，莫扎特和贝多芬歌剧中的精神符号”，在标志中歌唱:歌剧的新符号学探索，编辑:Gregory J. Decker和Matthew R. Shaftel(纽约:牛津大学出版社，2020)，163-191)。纳撒尼尔·米切尔(Nathaniel Mitchell)提出了Volta，这是一个没有强烈的主题含义的图式，但经常作为高潮的姿态发挥戏剧功能(“Volta:一个伟大的高潮姿态”，音乐理论光谱42/2(2020)，280-304)。而且，在本刊中，Ewald Demeyere再次触及了由属音踏板伴随半音下降(DPCD)组成的图式的情感实现(“另一个伟大的图式:属音踏板伴随半音下降”，18世纪音乐19/2(2022)，173-199)。其中两位作者从句法和语义的角度来阐述图式和主题之间的关系。虽然原则上是独立的，“语法和语义在认知语言学家所谓的语法-词汇连续体中相互连接”，并导致形式-意义对的出现:“形式-意义对的音乐对等物是图式-主题的融合”(Byros，“主题和谐波图式”，382,383)。因此，神圣的罗曼内斯卡是“音乐语法和语义之间的流动混合体”(Sánchez-Kisielewska，“主题和图式之间的互动”，65)。这就提出了一个问题，即在什么条件下这种汞合金是可能的。
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Pub Date : 2023-08-25DOI: 10.1017/s1478570623000076
Mark C. Ferraguto
Franz Weiss (1778–1830) is best known as the violist of the Schuppanzigh Quartet, the ensemble that premiered and popularized many of Beethoven’s string quartets. But he was also a celebrated composer in his own right, one whose ‘ingenious compositions, related to Beethoven’s spirit, have long received the loudest and most deserved approval both at home and abroad’ (‘dessen geniale mit Beethovens Geist verwandte Compositionen im Inund Auslande längst die lauteste und gerechteste Anerkennung gefunden haben’). So wrote a Viennese critic in the Allgemeine Theaterzeitung und Unterhaltungsblatt für Freunde der Kunst, Literatur und des geselligen Lebens of 4 December 1828 (582). Fortunately, many of Weiss’s compositions have survived, but most are preserved only in rare archival manuscripts or early nineteenth-century performing editions. As a result, his music remains unfamiliar to scholars, performers and audiences. In the autumn of 2019 I began working on the first modern edition of Weiss’s Op. 8, a set of two string quartets dedicated to Andrey Razumovsky, the Ukrainian-born Russian diplomat to whom Beethoven famously dedicated his Op. 59 quartets. As my edition neared completion in early 2022, I contacted the Toronto-based Eybler Quartet about a possible collaboration. Through a supreme stroke of luck, my email landed in the inbox of the group’s violist, Patrick Jordan. Patrick proved to be as enthusiastic as I was to bring Weiss’s quartets – almost certainly unheard since the 1820s – back to life. We set a date of 31 January 2023 for Op. 8’s ‘modern premiere’ at the Pennsylvania State University. Over the nine months that followed, the members of the Eybler Quartet were extremely generous with their time and expertise, playing through the edited parts, suggesting emendations, making and discussing recordings and more. We haggled over accidentals, debated slurs and ties and often struggled to reach a consensus about Weiss’s intentions. The erratic nature of Op. 8’s only surviving source – a set of parts printed by the Vienna firm S. A. Steiner in 1814 – posed a significant challenge. Ultimately, this collaborative effort enriched both my edition and (if I might say so) the ensemble’s approach to Weiss’s virtuosic but intricate quartets. It is our hope that this exciting concert will have served as a springboard for generating interest in this underappreciated contemporary of Beethoven and Schubert. The concert was held in the School of Music’s new recital hall, a 420-seat, acoustically superb venue. It was also live-streamed. I introduced Weiss and his quartets in a pre-concert lecture, after which the Eybler Quartet performed Op. 8 No. 1 in the first half and the longer Op. 8 No. 2 in the second half. The first quartet, in G major, opens with a cello drone on G and D, evoking a pastoral topic that provides a touchstone for the Allegro ma non troppo. But the first movement – like the rest of Op. 8 – is also replete with bravura passagework. Indeed
弗朗茨·韦斯(1778-1830)最为人所知的身份是Schuppanzigh Quartet的中提琴手，这个乐团首演并推广了贝多芬的许多弦乐四重奏。但他本身也是一位著名的作曲家，他的“与贝多芬精神有关的巧妙作品长期以来在国内外都得到了最响亮和最值得的认可”(“dessen genale mit Beethoven Geist verwandte Compositionen im Inund Auslande längst die lauteste und gerechteste Anerkennung gefunden haben”)。一位维也纳评论家在1828年12月4日(582年)的《艺术与文学》杂志上写道。幸运的是，韦斯的许多作品幸存下来，但大多数只保存在罕见的档案手稿或19世纪早期的表演版本中。因此，他的音乐对学者、表演者和观众来说仍然陌生。2019年秋天，我开始创作韦斯作品8的第一个现代版本，这是献给安德烈·拉祖莫夫斯基(Andrey Razumovsky)的两首弦乐四重奏，他是乌克兰出生的俄罗斯外交官，贝多芬将作品59四重奏献给了他。当我的版本在2022年初接近完成时，我联系了总部位于多伦多的Eybler四重奏，讨论合作的可能性。幸运的是，我的邮件被送到了乐队中提琴手帕特里克·乔丹(Patrick Jordan)的收件箱里。帕特里克和我一样热衷于把韦斯的四重奏——自19世纪20年代以来几乎闻所未闻的四重奏——带回来。我们将2023年1月31日定为《Op. 8》在宾夕法尼亚州立大学的“现代首演”。在接下来的九个月里，Eybler四重奏的成员们非常慷慨地投入了他们的时间和专业知识，演奏了编辑过的部分，建议修改，制作和讨论录音等等。我们为意外事件讨价还价，争论诽谤和关系，常常很难就韦斯的意图达成共识。《Op. 8》唯一保存下来的来源——维也纳公司S. a . Steiner于1814年印刷的一套零件——不稳定的性质构成了一个重大挑战。最终，这种合作的努力丰富了我的版本和(如果我可以这么说的话)乐团对韦斯精湛但复杂的四重奏的态度。我们希望这场激动人心的音乐会能成为一个跳板，让人们对这位被低估的贝多芬和舒伯特的同时代人产生兴趣。音乐会在音乐学院的新独奏厅举行，这是一个拥有420个座位的声学一流的场地。它还进行了直播。我在音乐会前的演讲中介绍了韦斯和他的四重奏，之后Eybler四重奏在上半场演奏了第8号作品，在下半场演奏了更长的第8号作品。第一个四重奏，在G大调中，以大提琴低音G和D开始，唤起了一个田园主题，为“不向troppo快板”提供了试金石。但是第一乐章——就像作品8的其他部分一样——也充满了华丽的通道。的确，这两个四重奏都对演奏者提出了相当高的要求，尤其是第一小提琴手;在这场运动中，小提琴家茱莉亚·韦德曼(Julia Wedman)以技巧和沉着引领了这场运动。在第二乐章中——E小调行板，平行大调中有舞蹈般的部分——大提琴家玛格丽特·盖伊用她尖锐的低音线条和富有表现力的协奏曲式独奏抢尽了风头。Menuetto是作品8中最适度的乐章，表现得优雅而优雅。作品8一号的终曲充满了和谐的惊喜和难以抑制的幽默，是当晚最受观众欢迎的曲目;小提琴家
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Pub Date : 2023-08-25DOI: 10.1017/s1478570623000246
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