Pub Date : 2023-08-25DOI: 10.1017/S147857062300009X
Jesús Herrera-Zamudio
Antonio Juanas is the composer with the largest number of musical manuscripts in the Archivo del Cabildo Catedral Metropolitano de México (hereafter ACCMM), which is the biggest repository of vice-regal music from Hispanic America. Despite what one might imagine given this fact, Juanas is one of the least studied chapel masters from Mexico City Cathedral. Fifteen years ago Javier Marín López wrote that ‘con un catálogo que supera las 500 composiciones, Juanas pertenece al grupo de compositores hasta ahora prácticamente desconocidos’ (with an [extant] output of more than five hundred compositions, Juanas belongs to the group of composers who have been practically unknown until now) (‘Consideraciones sobre la trayectoria profesional del músico Antonio Juanas (1762/63–después de 1816)’, Cuadernos Musicat 2 (2007), 14). At the time these words were written, there was only one edition of music by Juanas, which had appeared in a DMA dissertation (Teresa Bowers, University of Maryland, 1998), and not a single recording was available. Now, at the time of publication of the score reviewed here, there has only been one more edition of Juanas’s music, in a PhD dissertation by Dianne Lehmann Goldman (‘The Matins Responsory at Mexico City Cathedral, 1575–1815’, Northwestern University, 2014), and one CD (Antonio Juanas: Premiere Recordings of Selected Choral Works (Centaur CRC3663, 2018)), recorded by the Collegium Mundi Novi and conducted by Ryan Endris, the editor of the Ocho Responsorios para los Maitines de la Santísima Trinidad. Three years ago, another CD appeared, by La Real Capilla del Pópulo (Antonio Juanas: música coral para la Catedral de México (Sociedad Española de Musicología, 2020)). As Marín has noted, Juanas belongs to a group of composers active in New Spain whose music is unknown to us, and there is a common characteristic that links some of these musicians: they worked in Mexico during its colonial period. In practically all of the research investigating this repertory published in the twentieth century, there has been a common prejudice that ‘Mexican music was unfortunately in a depressed state at the end of the colonial period’, as Robert Murrell Stevenson put it in his Music in Mexico ((New York: Crowell, 1952), 173). It is generally assumed that since the vice-regal regime was in decline at that time, the quality of its music must have been declining too. I say ‘prejudice’ because even today – in 2023 – listeners have not really been able to hear the music created in Mexico at that time, especially those works composed for Mexico City Cathedral in the final decades of the vice-regal period. Although there has been significant work to bring music composed in Mexico to light over the last few decades, the scope of the source material means that there is still much left to do. Moreover, there is one additional element to highlight: that the country that we now call Mexico was a part of the Spanish Empire between 1521 and 1821. For this re
安东尼奥·胡安纳斯是在西班牙裔美国最大的副帝王音乐储存库——墨西哥卡布尔多大教堂大都会档案馆(以下简称ACCMM)中拥有最多音乐手稿的作曲家。尽管人们可能会想到这个事实，但胡安娜斯是墨西哥城大教堂中被研究最少的教堂大师之一。15年前，Javier Marín López写道，“con un catálogo que supera las 500 composiciones, Juanas pertenece al grupo de compositores hasta ahora prácticamente desconocidos”([现存的]超过500首作品的输出，Juanas属于迄今为止几乎不为人知的作曲家群体)(“conceraciones sobre la trayectoria professional del músico Antonio Juanas (1762/63 - despuacims de 1816)”，Cuadernos Musicat 2(2007)， 14)。在写这些话的时候，只有一个版本的Juanas的音乐，它出现在DMA论文(Teresa Bowers, University of Maryland, 1998)，没有一个录音可用。现在，在这里评论的乐谱出版时，只有一个版本的胡安纳斯的音乐，在Dianne Lehmann Goldman的博士论文中(“墨西哥城大教堂的早晨回应，1575-1815”，西北大学，2014年)和一张CD(安东尼奥·胡安纳斯:《合唱作品精选首演唱片》(Centaur CRC3663, 2018)，由世界新学院录制，特立尼达Santísima《巴黎交响乐团》编辑Ryan Endris指挥。三年前，La Real Capilla del Pópulo发行了另一张CD (Antonio Juanas: música coral para La Catedral de m诈骗诈骗日(Sociedad Española de Musicología, 2020))。正如Marín所指出的那样，Juanas属于活跃在新西班牙的一群作曲家，他们的音乐对我们来说是未知的，并且有一个共同的特征将这些音乐家联系在一起:他们在墨西哥殖民时期工作。在几乎所有的研究调查这一保留在二十世纪出版，有一个共同的偏见，“墨西哥音乐不幸处于萧条状态在殖民时期结束”，正如罗伯特·莫雷尔·史蒂文森在他的音乐在墨西哥((纽约:克罗威尔，1952年)，173)。人们普遍认为，由于当时的副皇权政权正在衰落，其音乐的质量也一定在下降。我之所以说“偏见”，是因为即使在2023年的今天，听众也没有真正听到当时在墨西哥创作的音乐，特别是那些在副帝王时期的最后几十年为墨西哥城大教堂创作的作品。尽管在过去的几十年里，人们已经做了大量的工作来让墨西哥的音乐作品公布于众，但原始材料的范围意味着还有很多工作要做。此外，还有一个需要强调的因素:我们现在称为墨西哥的国家在1521年至1821年间是西班牙帝国的一部分。由于这个原因，也因为他是一个移民，他的作品可以被认为是“来自西班牙的音乐”，而不是“墨西哥音乐”。
{"title":"Ocho Responsorios para los Maitines de la Santísima Trinidad Antonio Juanas (1762/1763–after 1816), ed. R. Ryan Endris Leinfelden-Echterdingen: Carus, 2019 pp. viii + 72, ISBN 979 0 007 18884 9","authors":"Jesús Herrera-Zamudio","doi":"10.1017/S147857062300009X","DOIUrl":"https://doi.org/10.1017/S147857062300009X","url":null,"abstract":"Antonio Juanas is the composer with the largest number of musical manuscripts in the Archivo del Cabildo Catedral Metropolitano de México (hereafter ACCMM), which is the biggest repository of vice-regal music from Hispanic America. Despite what one might imagine given this fact, Juanas is one of the least studied chapel masters from Mexico City Cathedral. Fifteen years ago Javier Marín López wrote that ‘con un catálogo que supera las 500 composiciones, Juanas pertenece al grupo de compositores hasta ahora prácticamente desconocidos’ (with an [extant] output of more than five hundred compositions, Juanas belongs to the group of composers who have been practically unknown until now) (‘Consideraciones sobre la trayectoria profesional del músico Antonio Juanas (1762/63–después de 1816)’, Cuadernos Musicat 2 (2007), 14). At the time these words were written, there was only one edition of music by Juanas, which had appeared in a DMA dissertation (Teresa Bowers, University of Maryland, 1998), and not a single recording was available. Now, at the time of publication of the score reviewed here, there has only been one more edition of Juanas’s music, in a PhD dissertation by Dianne Lehmann Goldman (‘The Matins Responsory at Mexico City Cathedral, 1575–1815’, Northwestern University, 2014), and one CD (Antonio Juanas: Premiere Recordings of Selected Choral Works (Centaur CRC3663, 2018)), recorded by the Collegium Mundi Novi and conducted by Ryan Endris, the editor of the Ocho Responsorios para los Maitines de la Santísima Trinidad. Three years ago, another CD appeared, by La Real Capilla del Pópulo (Antonio Juanas: música coral para la Catedral de México (Sociedad Española de Musicología, 2020)). As Marín has noted, Juanas belongs to a group of composers active in New Spain whose music is unknown to us, and there is a common characteristic that links some of these musicians: they worked in Mexico during its colonial period. In practically all of the research investigating this repertory published in the twentieth century, there has been a common prejudice that ‘Mexican music was unfortunately in a depressed state at the end of the colonial period’, as Robert Murrell Stevenson put it in his Music in Mexico ((New York: Crowell, 1952), 173). It is generally assumed that since the vice-regal regime was in decline at that time, the quality of its music must have been declining too. I say ‘prejudice’ because even today – in 2023 – listeners have not really been able to hear the music created in Mexico at that time, especially those works composed for Mexico City Cathedral in the final decades of the vice-regal period. Although there has been significant work to bring music composed in Mexico to light over the last few decades, the scope of the source material means that there is still much left to do. Moreover, there is one additional element to highlight: that the country that we now call Mexico was a part of the Spanish Empire between 1521 and 1821. For this re","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"415 1","pages":"195 - 198"},"PeriodicalIF":0.1,"publicationDate":"2023-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78100284","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/S1478570623000118
Maxime Margollé
{"title":"Popular Opera in Eighteenth-Century France: Music and Entertainment before the Revolution David Charlton Cambridge: Cambridge University Press, 2021 pp. xxiv + 368, ISBN 978 1 316 51584 6","authors":"Maxime Margollé","doi":"10.1017/S1478570623000118","DOIUrl":"https://doi.org/10.1017/S1478570623000118","url":null,"abstract":"","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"46 1","pages":"179 - 181"},"PeriodicalIF":0.1,"publicationDate":"2023-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90350333","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 : 2023-02-08DOI: 10.1017/s1478570622000367
David J. Rhodes
This disc is a well-thought-out and imaginative coupling of two odes written for specific performing occasions in Dublin, one by Henry Purcell in 1694 and the other by Johann Sigismund Cousser in 1711, the former for an institutional and the latter a royal birthday celebration
{"title":"The Hibernian Muse: Music for Ireland by Purcell and Cousser Johann Sigismund Cousser (1660–1727), Henry Purcell (1659–1695) Irish Baroque Orchestra / Peter Whelan (conductor) Linn CKD 685, 2022; one disc, 70 minutes","authors":"David J. Rhodes","doi":"10.1017/s1478570622000367","DOIUrl":"https://doi.org/10.1017/s1478570622000367","url":null,"abstract":"This disc is a well-thought-out and imaginative coupling of two odes written for specific performing occasions in Dublin, one by Henry Purcell in 1694 and the other by Johann Sigismund Cousser in 1711, the former for an institutional and the latter a royal birthday celebration","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"5 1","pages":"106 - 109"},"PeriodicalIF":0.1,"publicationDate":"2023-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86083582","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 : 2023-02-08DOI: 10.1017/s1478570622000306
Maria Virginia Acuña
{"title":"Tonadillas. Volumen 1: Obras del periodo 1768–1778 Jacinto Valledor (1744–1809), ed. Aurèlia Pessarrodona Madrid: Consejo Superior de Investigaciones Científicas, 2019 pp. 412, ISBN 978 8 400 10498 6","authors":"Maria Virginia Acuña","doi":"10.1017/s1478570622000306","DOIUrl":"https://doi.org/10.1017/s1478570622000306","url":null,"abstract":"","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"68 1","pages":"97 - 98"},"PeriodicalIF":0.1,"publicationDate":"2023-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84808753","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 : 2023-02-08DOI: 10.1017/S1478570622000264
Mark C. Ferraguto
Who was Antoine Reicha, anyway? Born 1770 in Prague, he was educated in Bavaria, served the court of Elector Maximilian Franz in Bonn, escaped Napoleonic aggression by moving to Hamburg, laboured as a composer in Vienna and finally settled in Paris, where he was appointed the Conservatoire’s professor of counterpoint and fugue. An unapologetic careerist, he was a tireless innovator, an unsuccessful opera composer and a brilliant if freewheeling pedagogue. He adored Haydn, had a cordial relationship with Beethoven, sparred with his colleagues Fétis and Cherubini and mentored such luminaries as Liszt, Berlioz and Franck. Though his name is now largely forgotten, in the musical world of the nineteenth century, all roads led to Reicha. No wonder, then, that in our age of networks, Reicha is staging a comeback. With Antoine Reicha and the Making of the Nineteenth-Century Composer, editors Fabio Morabito and Louise Bernard de Raymond have aimed to capture Reicha in his ‘efforts to navigate a variety of contexts, negotiating at the same time personal, financial, geographical, social, musical, professional and other priorities of self-representation’ (xix). Comprising seven essays in English and four in French, the book is a welcome addition to the growing literature on the composer, offering many perspectives that will engage scholars of eighteenthand nineteenth-century music. Morabito (chapter 1) draws attention to Haydn’s outsized role in Reicha’s autobiography. Central to Reicha’s historiographical project, Morabito argues, was his role as a symbolic link between Haydn and later generations of composers. Morabito characterizes Haydn as a modernist, arguing that for Reicha, ‘playing [the role of] Haydn’ amounted to ‘being yourself musically’ (19). Reicha’s Trente-six fugues composées d’après un nouveau systême (1803) were his most systematic and radical attempt to follow ‘the unruly Haydn blueprint’ (19), but the collection was poorly received. These eccentric fugues, Morabito suggests, were off-putting to Reicha’s contemporaries because of their didactic pretension as much as their novelty. Reicha’s fascination with fugue is further explored by Muriel Boulan (chapter 9), who investigates seven French treatises on ‘school fugues’ written between 1805 and 1840. These texts, she argues, reflect competing ideologies. While Francois-Joseph Fétis in his Traité du contrepoint et de la fugue (1824) characterized fugue as the summit of tradition, Reicha in his Traité de haute composition musicale (1826) viewed it as the essence of modern composition. Rather than including fugal examples by the likes of Palestrina, Handel and Bach in his treatise, Reicha quoted from works composed by himself and his former students. In so doing, he sought to demonstrate fugue’s relevance to the nineteenth-century composer, emphasizing, in his own words, ‘the effects produced by the fugal material’ rather than ‘the insignificant fugues with which students in counterpoint classe
安托万·雷查到底是谁?1770年出生于布拉格，他在巴伐利亚接受教育，在波恩为选帝侯马克西米利安·弗朗茨(Maximilian Franz)的宫廷服务，为了躲避拿破仑的侵略，他搬到汉堡，在维也纳当作曲家，最后定居巴黎，在那里他被任命为音乐学院的对位和赋格教授。他是一个毫无悔意的野心家，一个不知疲倦的革新者，一个不成功的歌剧作曲家，一个才华横溢但随心所欲的教育家。他崇拜海顿，与贝多芬关系亲密，与同事费姆斯提斯和凯鲁比尼争论不休，并指导过李斯特、柏辽兹和弗兰克等名人。虽然他的名字现在基本上被遗忘了，但在19世纪的音乐界，所有的道路都指向赖夏。因此，难怪在我们这个网络时代，Reicha正在卷土重来。在《安托万·雷查和19世纪作曲家的形成》一书中，编辑法比奥·莫拉比托和路易丝·伯纳德·德雷蒙德旨在捕捉雷查“在各种背景下的努力，同时在个人、财务、地理、社会、音乐、专业和其他自我表现的优先事项上进行谈判”(19)。这本书由七篇英语文章和四篇法语文章组成，是对这位作曲家日益增长的文献的一个受欢迎的补充。提供了许多视角，将吸引18世纪和19世纪的音乐学者。《莫拉比托》(第一章)让人们注意到海顿在赖夏自传中扮演的重要角色。莫拉比托认为，赖夏的史学计划的核心是他作为海顿和后世作曲家之间的象征性联系。莫拉比托把海顿描绘成一个现代主义者，他认为对蕾卡来说，“扮演海顿的角色”等于“在音乐上做你自己”(19)。Reicha的Trente-six fugues composises d ' apr s un nouveau systême(1803)是他最系统和激进的尝试，遵循“不羁的海顿蓝图”(19)，但该系列反响不佳。莫拉比托认为，这些古怪的赋格曲令赖夏同时代的人反感，因为它们既有说教的自命不凡，又很新奇。Reicha对赋格的迷恋在Muriel Boulan(第9章)中得到了进一步的探讨，她研究了1805年至1840年间写的七篇关于“学校赋格”的法国论文。她认为，这些文本反映了相互竞争的意识形态。弗朗索瓦-约瑟夫·法萨梅斯在他的《赋格曲》(1824年)中将赋格曲描述为传统的巅峰，而雷查在他的《高级作曲音乐剧》(1826年)中将赋格曲视为现代作曲的精髓。在他的论文中，赖夏没有引用帕莱斯特里纳、亨德尔和巴赫等人的赋格例子，而是引用了他自己和他以前的学生创作的作品。在这样做的过程中，他试图证明赋格与19世纪作曲家的相关性，用他自己的话说，强调“赋格材料产生的效果”，而不是“对位课上学生忙于处理的无关紧要的赋格”(286;我的翻译)。
{"title":"Antoine Reicha and the Making of the Nineteenth-Century Composer Fabio Morabito and Louise Bernard de Raymond, eds Bologna: Ut Orpheus, 2021 pp. xxix + 329, ISBN 978 8 881 09522 3","authors":"Mark C. Ferraguto","doi":"10.1017/S1478570622000264","DOIUrl":"https://doi.org/10.1017/S1478570622000264","url":null,"abstract":"Who was Antoine Reicha, anyway? Born 1770 in Prague, he was educated in Bavaria, served the court of Elector Maximilian Franz in Bonn, escaped Napoleonic aggression by moving to Hamburg, laboured as a composer in Vienna and finally settled in Paris, where he was appointed the Conservatoire’s professor of counterpoint and fugue. An unapologetic careerist, he was a tireless innovator, an unsuccessful opera composer and a brilliant if freewheeling pedagogue. He adored Haydn, had a cordial relationship with Beethoven, sparred with his colleagues Fétis and Cherubini and mentored such luminaries as Liszt, Berlioz and Franck. Though his name is now largely forgotten, in the musical world of the nineteenth century, all roads led to Reicha. No wonder, then, that in our age of networks, Reicha is staging a comeback. With Antoine Reicha and the Making of the Nineteenth-Century Composer, editors Fabio Morabito and Louise Bernard de Raymond have aimed to capture Reicha in his ‘efforts to navigate a variety of contexts, negotiating at the same time personal, financial, geographical, social, musical, professional and other priorities of self-representation’ (xix). Comprising seven essays in English and four in French, the book is a welcome addition to the growing literature on the composer, offering many perspectives that will engage scholars of eighteenthand nineteenth-century music. Morabito (chapter 1) draws attention to Haydn’s outsized role in Reicha’s autobiography. Central to Reicha’s historiographical project, Morabito argues, was his role as a symbolic link between Haydn and later generations of composers. Morabito characterizes Haydn as a modernist, arguing that for Reicha, ‘playing [the role of] Haydn’ amounted to ‘being yourself musically’ (19). Reicha’s Trente-six fugues composées d’après un nouveau systême (1803) were his most systematic and radical attempt to follow ‘the unruly Haydn blueprint’ (19), but the collection was poorly received. These eccentric fugues, Morabito suggests, were off-putting to Reicha’s contemporaries because of their didactic pretension as much as their novelty. Reicha’s fascination with fugue is further explored by Muriel Boulan (chapter 9), who investigates seven French treatises on ‘school fugues’ written between 1805 and 1840. These texts, she argues, reflect competing ideologies. While Francois-Joseph Fétis in his Traité du contrepoint et de la fugue (1824) characterized fugue as the summit of tradition, Reicha in his Traité de haute composition musicale (1826) viewed it as the essence of modern composition. Rather than including fugal examples by the likes of Palestrina, Handel and Bach in his treatise, Reicha quoted from works composed by himself and his former students. In so doing, he sought to demonstrate fugue’s relevance to the nineteenth-century composer, emphasizing, in his own words, ‘the effects produced by the fugal material’ rather than ‘the insignificant fugues with which students in counterpoint classe","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"25 1","pages":"91 - 93"},"PeriodicalIF":0.1,"publicationDate":"2023-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84985416","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 : 2023-02-08DOI: 10.1017/S1478570622000276
J. Prest
This invited conference of nine speakers and ten papers was originally scheduled to take place in person in April 2021. For obvious reasons, it was postponed for just over a year
{"title":"Musique et société dans les Caraïbes françaises, 1750–1810 Centre d’études supérieures de la Renaissance, Tours, 5–7 May 2022","authors":"J. Prest","doi":"10.1017/S1478570622000276","DOIUrl":"https://doi.org/10.1017/S1478570622000276","url":null,"abstract":"This invited conference of nine speakers and ten papers was originally scheduled to take place in person in April 2021. For obvious reasons, it was postponed for just over a year","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"25 1","pages":"113 - 115"},"PeriodicalIF":0.1,"publicationDate":"2023-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74735602","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 : 2023-02-08DOI: 10.1017/s1478570622000239
Nathalie Dupuis-Désormeaux
Abstract This article shares the exciting discovery of previously unidentified arias within the music amassed by the eighteenth-century English poet Thomas Gray. His ten-volume collection, now held at the Lewis Walpole Library, Yale University, contains some of the only surviving copies of important arias dating back as far as 1690 and bears many annotations by Gray listing performance venues, composers, opera roles and singers. One volume of the collection contains many unattributed works, among which I identify a number of arias. Five of them match the libretto to La caduta del regno dell'Amazzoni (1690) and another corresponds to Il Colombo overo l'India scoperta (1691), both operas originally set by Bernardo Pasquini. The texts of the two ensuing arias align with Carlo Sigismondo Capeci's libretto for Ifigenia in Tauri (1713), the opera he wrote with Domenico Scarlatti for their patroness, Maria Kazimiera Sobieska. In addition, in the first pages of the assemblage, instructions in Gray's hand on how to execute a basso-continuo accompaniment continue from another volume, where he entitled these ‘Regole per l'Accompagnamento’ and interwove them with a ‘Toccata per il Cembalo’. This article seeks to describe the newfound works and stimulate study into the full contents of Gray's music collection, but its main focus is on the two excerpts from Ifigenia in Tauri and their possible attribution to Domenico Scarlatti. Salient characteristics of these scores are presented, as is an evaluation of their concordance with Capeci's libretto. Further, I underline features that these numbers share with other Ifigenia in Tauri arias known to be by Domenico Scarlatti and provide comprehensive tables detailing equivalent structural proportions.
这篇文章分享了十八世纪英国诗人托马斯·格雷收集的音乐中以前未被识别的咏叹调的令人兴奋的发现。他的十卷本作品集现在保存在耶鲁大学的刘易斯·沃波尔图书馆，其中包含了一些仅存的重要咏叹调的副本，这些咏叹调可以追溯到1690年，并附有格雷的许多注释，列出了表演场所、作曲家、歌剧角色和歌手。其中一卷包含了许多未署名的作品，其中我发现了一些咏叹调。其中五部与《亚马逊地区的caduta del regno dell’amazzoni》(1690年)的剧本相匹配，另一部与《印度的科伦坡》(1691年)的剧本相匹配，这两部歌剧最初都是由贝尔纳多·帕斯基尼创作的。随后的两个咏咏曲的文本与卡洛·西吉斯蒙多·卡佩西为金牛座的伊菲根尼亚(1713年)所写的歌词一致，这是他与多梅尼科·斯卡拉蒂为他们的赞助人玛丽亚·卡齐米耶拉·索别斯卡写的歌剧。此外，在合集的前几页，格雷手中关于如何执行低音继续伴奏的说明继续来自另一卷，他将这些命名为“Regole per l’accompagnamento”，并将它们与“Toccata per il Cembalo”交织在一起。本文试图描述这些新发现的作品，并激发对格雷音乐收藏全部内容的研究，但其主要重点是金牛座的伊菲根尼亚的两段摘录，以及它们可能属于多梅尼科·斯卡拉蒂。这些分数的显著特征被提出，作为他们与卡佩奇的剧本一致性的评价。此外，我强调了这些数字与Domenico Scarlatti已知的金牛座arias中的其他Ifigenia共有的特征，并提供了详细说明等效结构比例的综合表格。
{"title":"Lost Arias from Ifigenia in Tauri (1713) in Thomas Gray's Music Collection: ‘E posto in Musica dal Sig. Domenico Scarlatti’?","authors":"Nathalie Dupuis-Désormeaux","doi":"10.1017/s1478570622000239","DOIUrl":"https://doi.org/10.1017/s1478570622000239","url":null,"abstract":"Abstract This article shares the exciting discovery of previously unidentified arias within the music amassed by the eighteenth-century English poet Thomas Gray. His ten-volume collection, now held at the Lewis Walpole Library, Yale University, contains some of the only surviving copies of important arias dating back as far as 1690 and bears many annotations by Gray listing performance venues, composers, opera roles and singers. One volume of the collection contains many unattributed works, among which I identify a number of arias. Five of them match the libretto to La caduta del regno dell'Amazzoni (1690) and another corresponds to Il Colombo overo l'India scoperta (1691), both operas originally set by Bernardo Pasquini. The texts of the two ensuing arias align with Carlo Sigismondo Capeci's libretto for Ifigenia in Tauri (1713), the opera he wrote with Domenico Scarlatti for their patroness, Maria Kazimiera Sobieska. In addition, in the first pages of the assemblage, instructions in Gray's hand on how to execute a basso-continuo accompaniment continue from another volume, where he entitled these ‘Regole per l'Accompagnamento’ and interwove them with a ‘Toccata per il Cembalo’. This article seeks to describe the newfound works and stimulate study into the full contents of Gray's music collection, but its main focus is on the two excerpts from Ifigenia in Tauri and their possible attribution to Domenico Scarlatti. Salient characteristics of these scores are presented, as is an evaluation of their concordance with Capeci's libretto. Further, I underline features that these numbers share with other Ifigenia in Tauri arias known to be by Domenico Scarlatti and provide comprehensive tables detailing equivalent structural proportions.","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"35 1","pages":"33 - 59"},"PeriodicalIF":0.1,"publicationDate":"2023-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75994229","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 : 2023-02-08DOI: 10.1017/S1478570622000380
Laura Trujillo Sanz
The annual ‘ Musicking ’ conference brought together culturally informed musical performances and masterclasses with academic research in a series of events centred on the study of early music within its broader cultural context. In 2022, its seventh year, the conference celebrated and honoured Musicking ’ s artistic director Marc Vanscheeuwijck on his retirement from the University of Oregon. As a tribute to his scholarly contributions, the event focused primarily (but not exclusively) on genres, composers, instruments and music in and around Bologna and Naples. The conference consisted of five ‘ Intermezzo ’ lecture-concerts, three panels, a special lecture, a keynote address, masterclasses and two concerts. As was the case in 2021, participants had the option of attending in person or virtually, the latter allowing for presenters and attendees to engage with conference events on a national and international scale. The conference opened on Tuesday 19 April with the Intermezzo lecture-concert ‘ Eighteenth-Century Spanish Violin Repertory through its Own Lens ’ by Guillermo Salas Suárez (Case Western Reserve University). Taking Spanish treatises as a starting-point, Salas focused on issues of bowings and articulation, ornamentation and accompaniment techniques. He illustrated the topics of his talk with excerpts from Domenico Scarlatti (1685 – 1757), Francisco Manalt ( c 1710 – 1759), José Herrando ( c 1720 – 1763) and Gaetano Brunetti (1744 – 1798). Issues concerning vocal performance took centre stage on the Wednesday. The term ‘ falsetto ’ , L ’ homme armé masses, the cantatas of Leonardo Vinci (1690 – 1730) and prosulas for mass propers from Benevento occupied the attendees on one of the busiest days of the conference. The panel ‘ Soldiers and Castrati ’ brought together Cameron Steuart (University of Georgia) and John Ahern (Princeton University) in a fascinating session that dealt with terminology and authorship. Steuart analysed the use of the term ‘ falsetto ’ in eighteenth-century opera, debunking some of the negative connotations
一年一度的“音乐”会议汇集了文化知识丰富的音乐表演和大师班，以及一系列以更广泛的文化背景下的早期音乐研究为中心的学术研究。在2022年，也就是它的第七年，会议庆祝并表彰了musoning的艺术总监Marc Vanscheeuwijck从俄勒冈大学退休。为了向他的学术贡献致敬，这次活动主要(但不限于)关注博洛尼亚和那不勒斯及其周边地区的流派、作曲家、乐器和音乐。会议由五场“间奏曲”讲座音乐会、三场小组讨论、一场专题讲座、一场主题演讲、大师班和两场音乐会组成。与2021年的情况一样，与会者可以选择亲自出席或虚拟出席，后者允许主持人和与会者在国内和国际范围内参与会议活动。会议于4月19日星期二开幕，由吉列尔莫·萨拉斯Suárez(凯斯西储大学)主持的间奏曲讲座音乐会“十八世纪西班牙小提琴保留曲目”。以西班牙论文为出发点，萨拉斯关注弓弦和发音，装饰和伴奏技术的问题。他以多梅尼科·斯卡拉蒂(1685 - 1757)、弗朗西斯科·马纳特(1710 - 1759)、约瑟·埃尔兰多(1720 - 1763)和加埃塔诺·布鲁内蒂(1744 - 1798)的作品为例阐述了他的演讲主题。周三，有关声乐表演的问题成为人们关注的焦点。在会议最繁忙的一天，与会者们讨论了假声(falsetto)、人声(L ' homme arm mass)、列奥纳多·芬奇(Leonardo Vinci, 1690 - 1730)的康塔塔(cantatas)和贝内文托(Benevento)的人声(prosulas)。“士兵与阉畜”小组邀请了卡梅隆·斯图尔特(佐治亚大学)和约翰·埃亨(普林斯顿大学)参加了一场精彩的讨论，讨论了术语和作者身份。斯图尔特分析了“假声”一词在18世纪歌剧中的使用，揭穿了一些负面含义
{"title":"Musicking: Culturally Informed Performance Practices University of Oregon School of Music and Dance, 19–24 April 2022","authors":"Laura Trujillo Sanz","doi":"10.1017/S1478570622000380","DOIUrl":"https://doi.org/10.1017/S1478570622000380","url":null,"abstract":"The annual ‘ Musicking ’ conference brought together culturally informed musical performances and masterclasses with academic research in a series of events centred on the study of early music within its broader cultural context. In 2022, its seventh year, the conference celebrated and honoured Musicking ’ s artistic director Marc Vanscheeuwijck on his retirement from the University of Oregon. As a tribute to his scholarly contributions, the event focused primarily (but not exclusively) on genres, composers, instruments and music in and around Bologna and Naples. The conference consisted of five ‘ Intermezzo ’ lecture-concerts, three panels, a special lecture, a keynote address, masterclasses and two concerts. As was the case in 2021, participants had the option of attending in person or virtually, the latter allowing for presenters and attendees to engage with conference events on a national and international scale. The conference opened on Tuesday 19 April with the Intermezzo lecture-concert ‘ Eighteenth-Century Spanish Violin Repertory through its Own Lens ’ by Guillermo Salas Suárez (Case Western Reserve University). Taking Spanish treatises as a starting-point, Salas focused on issues of bowings and articulation, ornamentation and accompaniment techniques. He illustrated the topics of his talk with excerpts from Domenico Scarlatti (1685 – 1757), Francisco Manalt ( c 1710 – 1759), José Herrando ( c 1720 – 1763) and Gaetano Brunetti (1744 – 1798). Issues concerning vocal performance took centre stage on the Wednesday. The term ‘ falsetto ’ , L ’ homme armé masses, the cantatas of Leonardo Vinci (1690 – 1730) and prosulas for mass propers from Benevento occupied the attendees on one of the busiest days of the conference. The panel ‘ Soldiers and Castrati ’ brought together Cameron Steuart (University of Georgia) and John Ahern (Princeton University) in a fascinating session that dealt with terminology and authorship. Steuart analysed the use of the term ‘ falsetto ’ in eighteenth-century opera, debunking some of the negative connotations","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"1 1","pages":"110 - 112"},"PeriodicalIF":0.1,"publicationDate":"2023-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83341484","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 : 2023-02-08DOI: 10.1017/S1478570622000240
Callum Blackmore
{"title":"From Servant to Savant: Musical Privilege, Property, and the French Revolution Rebecca Dowd Geoffroy-Schwinden New York: Oxford University Press, 2022 pp. xxii + 328, ISBN 978 0 197 51151 0","authors":"Callum Blackmore","doi":"10.1017/S1478570622000240","DOIUrl":"https://doi.org/10.1017/S1478570622000240","url":null,"abstract":"","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"19 1","pages":"87 - 90"},"PeriodicalIF":0.1,"publicationDate":"2023-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86975304","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：