Pub Date : 2023-02-08DOI: 10.1017/S1478570622000252
Olivia Bloechl
The opéra-comique encompassed a striking variety of lyrical forms and subject matter across its long history, but two characteristics have been seen as defining features: its use of spoken dialogue and its popularity. Both characteristics, in a schematic account of old-regime musical theatre, contrast readily with the opéra-comique ’ s more prestigious, fully sung counterpart, the tragédie en musique. The popularity of opéra-comique lay partly in its origins outside the ‘ legitimate ’ compan-ies and theatres patronized by the Crown and partly in its ability to appeal to audiences that spanned the French social hierarchy. Indeed, this popular quality has, with good reason, been so closely associated with opéra-comique that a recent book by David Charlton integrates its history within a broader study of ‘ popular opera ’ in eighteenth-century France ( Popular Opera in Eighteenth-Century France (Cambridge: Cambridge University Press, 2021)). In contrast, Julia Doe ’ s new study, The Comedians of the King: Opéra Comique and the Bourbon Monarchy on the Eve of Revolution , focuses on opéra-comique ’ s fortunes in the decades just before the Revolution, and it yields a rather different view of the genre ’ s development and its popularity. The book ’ s Introduction and six chapters, including a substantial Epilogue, offer a study of the institutional and genre history of opéra-comique in France during the pivotal decades of the 1760s to the 1790s. As the book ’ s title suggests, two ‘ revolutions ’ , one aesthetic and the other political, haunt the discussion that unfolds across its chapters. Its central question, as I read it, is how we should view the relationship of opéra-comique to the dramatic cultural and political transformations of the later eighteenth century, with which the genre has been so intimately linked in French opera historiography.
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Pub Date : 2023-02-08DOI: 10.1017/S1478570622000288
John A. Rice
musicologists
音乐
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Pub Date : 2023-02-08DOI: 10.1017/S1478570622000227
Alison DeSimone
Abstract During the early eighteenth century, music composed by George Frideric Handel began to circulate in miscellaneous publications of songs and arias. His music appeared in various forms. Some publications, such as four notable pocket collections published in the mid-1720s, preserve the music largely unchanged, although within a new sonic context. Other publications completely transform arias and even overtures into vocal works with new texts, creating layers of musical associations and meanings. Unauthorized appearances of Handel's music in songbook miscellanies and single-sided prints show alternative ways in which consumers may have heard and experienced the composer outside of the opera house or a concert setting. Examining these alternative sources for Handel's music allows for an enriched assessment of which works of the composer were critically and commercially appreciated during the early eighteenth century. Analysing appearances of Handel's music in songbook anthologies also offers insight into how musical miscellanies became ubiquitous forms of the production and reception of his works in the early eighteenth century.
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Pub Date : 2023-02-08DOI: 10.1017/S1478570622000343
Erica P. Levenson
Abstract This article examines how French vaudeville tunes circulated in England through both theatrical performances and French-language textbooks (or ‘grammars’). My central concern is to consider how audiences in London – who had little exposure to the rich satirical and cultural connotations that these tunes had acquired over years of performance in Paris – might have been able to grasp their significance within staged works performed by visiting Parisian troupes between the years 1718 and 1735. I suggest that in tracing the transmission of tunes from France to England, scholars should consider a wider range of print sources, since vaudevilles had a social life extending beyond the plays in which they were performed. To this end, I focus on analysing vaudevilles found in French ‘grammars’. The pedagogical nature of these sources explicitly puts on display how French culture was translated for an English readership. By comparing the tunes found in grammars with plays that used the same tunes, I reveal both how Londoners could have become acquainted with the Parisian understanding of French tunes and how the grammar books could have shifted the meanings of these tunes for English readers and audiences. Ultimately, the circulation of French tunes abroad through grammars directs our attention to the material and cultural practices undergirding the mobility of eighteenth-century musical culture.
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Pub Date : 2023-02-08DOI: 10.1017/s1478570622000318
Rachel Cowgill, S. Waltz
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
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Pub Date : 2023-02-08DOI: 10.1017/S1478570622000355
M. A. Marín
from
从
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Pub Date : 2023-02-08DOI: 10.1017/S1478570622000392
Alejandro Vera
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
在1773年的地震中严重受损的危地马拉安提瓜老大教堂的音乐库，于1779年被转移到该国的新首都，并保存在那里的archiivo Histórico Arquidiocesano Francisco de Paula García Peláez(通常被称为archiivo Histórico Arquidiocesano de Guatemala)。它是拉丁美洲最重要的城市之一。根据Omar Morales Abril (' Teatralización de villancicos paralitúrgicos del siglo XVII '(博士论文，universsidad Nacional Autónoma de m录影带，2021))，该语料库分为三大部分:平淡的唱诗班书籍，复调书籍和“音乐论文”或部分。仅最后一个就包含了大约3000份主要是手稿的记录，其中2000份是villancicos，也就是用方言写的诗歌文本的音乐。除了当地的曲目，收藏还包括来自西班牙世界各地的音乐，如墨西哥城、普埃布拉、利马、马德里、托莱多和塞维利亚。此外，它还包含了16世纪和17世纪的数百件作品，不像其他西班牙裔美国人的大教堂档案，主要保存的是18世纪和19世纪的音乐。因此，它是拉丁美洲最大和最古老的音乐收藏之一。因此，在殖民时期专门录制危地马拉大教堂音乐的新唱片只能受到欢迎，特别是像这样的专辑，由El Mundo经验丰富的音乐家在Richard Savino的干将指导下演奏。在这个庞大的语料库为表演者提供的众多选择中，萨维诺选择了专注于“音乐论文”，尤其是villancico。这种流派的特点，结合了神圣和世俗音乐的特点(后者主要来自戏剧和舞蹈)，非常符合萨维诺对当时拉丁美洲音乐的看法。正如他在小册子中所表达的那样，这个剧目可能受到“民间音乐”的影响，表演者可能会使用打击乐器，从而产生一种独特的声音，这种声音一直持续到今天。我在结尾处留下对这个问题的一些思考。在入选的作曲家中，主要的主角是危地马拉人拉斐尔·安东尼奥·卡斯特拉诺斯(死于1791年)，他是18世纪下半叶大教堂的教堂主人，17首录音作品中有6首属于他(曲目1、2、4、6、8和16)。专辑中的另一位本地作曲家是他的前任Manuel jossore de Quirós(死于1765年)，他的两首作品(第12首和第15首)代表了他。萨维诺还包括从未访问过新世界的作曲家的villancicos，但他们的作品被保存在Histórico危地马拉Arquidiocesano档案馆:Sebastián Durón(1660-1716)(曲目7和10)和jos·德·托雷斯(1670 - 1738)(曲目11)。这个决定似乎是合理的，因为它反映了当时的音乐生活，其特点是当地和半岛的剧目共存，特别是与马德里皇家教堂有关的作曲家。但萨维诺更进一步，包括墨西哥城保存的作品:两首匿名的“小提琴奏鸣曲”(第5首)和胡安García de的一首维拉西科
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Pub Date : 2023-02-08DOI: 10.1017/s1478570623000027
{"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":"11 1","pages":"b1 - b2"},"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}
Pub Date : 2023-02-08DOI: 10.1017/S147857062200032X
Hansjörg Drauschke
{"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":"26 1","pages":"94 - 96"},"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}
Pub Date : 2023-02-08DOI: 10.1017/s1478570622000409
{"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":"1 1","pages":"1 - 4"},"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}
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