Pub Date : 2023-08-25DOI: 10.1017/s1478570623000222
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Pub Date : 2023-08-25DOI: 10.1017/S1478570623000210
Gesa zur Nieden, Berthold Over
Music manuscripts and prints from the eighteenth century have increasingly been regarded by scholars of early-modern music historiography as integral components not only of musical performances, but also of music-based sociability and various forms of exchange and reception. Two historical figures who relate to all of these issues are the London publishers John Walsh (1665/1666– 1736) and his son of the same name (1709–1766), who printed and distributed dances, instrumental pieces, selected arias and entire aria corpuses from operas and oratorios between 1694 and 1766. Research on their prints has so far taken place largely in Britain, and has focused for the most part on George Frideric Handel and on printing techniques. The conference ‘Walsh in Europe and Beyond’, held at the Alfried Krupp Wissenschaftskolleg Greifswald and at the Universität Greifswald, extended this field through a systematic investigation of European and international sheet-music collections, their provenance and the traces of their use. Its aim was to uncover Europe-wide and global distribution channels, user groups and the aesthetic or political functions of eighteenth-century music. The papers presented over the two and a half days were mainly grouped into regional areas. In our introduction, we (Gesa zur Nieden (Universität Greifswald) and Berthold Over (Universität Greifswald)) pointed to several points of departure when investigating the distribution and function of Walsh’s prints in Europe. The presence of these publications in the British Isles and Continental Europe offers many hints: frequent maritime trade facilitated the shipping of these prints, while individuals and diplomatic networks functioned as intermediaries and conduits for transmission. The uses of the Walsh prints are difficult to define with certainty; they seem to flow between categories of material for domestic music-making and objects for remembering performances, promoting celebrity and sharing in contemporaneous discourses about opera. In his keynote address ‘Cultural Transfer in Music in the Age of Enlightenment: Methodology and Research Questions’Martin Eybl (Universität für Musik und darstellende Kunst Wien), starting with Gottfried van Swieten’s order for English prints, painted a cultural-historical picture that linked dissemination to the concepts of influence, cultural transfer, reception and mobility/migration, as well as discourses on translation studies and histoire croisée. He identified several aspects and agents related to the distribution of music: the buying public, cultural localization, mediators of musical material (arrangers, compilers) and limitations (such as regions not using Roman typeface, as in the case of Russia). In his paper ‘The Music Editions of John Walsh Junior and His Successors: Working Practices, Publishing Strategies and Reception’, Donald Burrows (The Open University, Milton Keynes) offered a comprehensive insight into Walsh’s operating principles and policies
18世纪的音乐手稿和版画越来越多地被早期现代音乐史学学者视为不可或缺的组成部分，不仅是音乐表演，而且是基于音乐的社交和各种形式的交流和接受。与所有这些问题相关的两个历史人物是伦敦出版商约翰·沃尔什(1665/1666 - 1736)和他的同名儿子(1709-1766)，他们在1694年至1766年间印刷并发行了歌剧和清唱剧中的舞蹈、器乐作品、精选咏叹调和整个咏叹调文集。到目前为止，对他们版画的研究主要集中在英国，主要集中在乔治·弗里德里希·亨德尔和印刷技术上。在Alfried Krupp Wissenschaftskolleg Greifswald和Universität Greifswald举行的“沃尔什在欧洲及其他地区”会议，通过对欧洲和国际乐谱收藏、它们的来源和使用痕迹的系统调查，扩展了这一领域。其目的是揭示18世纪音乐在欧洲和全球范围内的分销渠道、用户群体以及美学或政治功能。在两天半的时间里，提交的论文主要按地区分组。在我们的介绍中，我们(geesa zur Nieden (Universität Greifswald)和Berthold Over (Universität Greifswald))在调查沃尔什版画在欧洲的分布和功能时指出了几个出发点。这些出版物在不列颠群岛和欧洲大陆的存在提供了许多线索:频繁的海上贸易促进了这些印刷品的运输，而个人和外交网络则充当了传播的中介和渠道。沃尔什指纹的用途很难确定;它们似乎在两种类别之间流动，一种是国内音乐创作的材料，另一种是纪念演出、宣传名人和分享当代关于歌剧的话语的物品。martin Eybl (Universität f r Musik und darstellende Kunst Wien)在他的主题演讲“启蒙时代音乐中的文化转移:方法论和研究问题”中，从Gottfried van sweeten的英文印刷顺序开始，描绘了一幅文化历史图景，将传播与影响、文化转移、接受和流动/迁移等概念联系起来，以及翻译研究和历史交叉交叉。他确定了与音乐发行相关的几个方面和代理人:购买公众、文化本地化、音乐材料的中介(编曲者、编译者)和限制(如不使用罗马字体的地区，如俄罗斯)。在他的论文《小约翰·沃尔什及其继任者的音乐版本:工作实践，出版策略和接受》中，唐纳德·巴罗斯(米尔顿凯恩斯开放大学)对沃尔什的操作原则和政策提供了全面的见解。年轻的
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Pub Date : 2023-08-25DOI: 10.1017/S1478570623000052
Teresa Cascudo
Writing about the history of music in Spain involves a peculiar exercise that some more radical anthropologists might term acculturation. This concept, which broadly refers to the substitution of one culture for another, could be used to characterize the process of arrival and initial diffusion in Spain of what we now call ‘ classical music ’ . Proof that it was felt as a threat to Spanish culture is the journalistic polemic within which, at the end of the eighteenth century, the expression ‘ national music ’ was used for the first time. The controversial repertories were Italian opera and the music of Haydn, both of which delighted some of the country ’ s elite groups (see Teresa Cascudo, ‘ Territory is the Key: A Look at the Birth of “ National Music ” in Spain (1799 – 1803) ’ , in Confronting the National in the Musical Past , ed. Elaine Kelly, Markus Mantere and Derek Scott (London: Routledge, 2018), 196 – 207). The adoption by the elite of the musical practices associated with these repertories, and particularly in the case of the string quartet, has been considered as part of a much more comprehensive ‘ civilizing ’ process, to use the expression of Norbert Elias (see Carolina Queipo, ‘ Prácticas musicales y procesos de civilización de la élite financiera y comercial en la España de Fernando VII: el caso de A Coruña ’ , in Procesos de civilización: culturas de élites, culturas populares. Una historia de contrastes y tensiones (siglos XVII – XIX) , ed. José María Imizcoz Beunza, Máximo García Fernández and Javier Esteban Ochoa de Eribe (Bilbao: Universidad del País Vasco, 2019), 191 – 212). The debate that the ‘ Classics Off-Centre ’ conference attempted to stimulate was situated at the intersection
写西班牙音乐史涉及到一种特殊的练习，一些更激进的人类学家可能称之为文化适应。这个概念广义上指的是一种文化对另一种文化的替代，可以用来描述我们现在所说的“古典音乐”在西班牙到达和最初传播的过程。它被认为是对西班牙文化的威胁的证据是，在18世纪末的新闻论战中，“民族音乐”这个词第一次被使用。有争议的剧目是意大利歌剧和海顿的音乐，这两者都让该国的一些精英团体感到高兴(见Teresa Cascudo，“领土是关键:看看西班牙“民族音乐”的诞生(1799 - 1803)”，在面对音乐过去的民族，伊莱恩凯利，马库斯曼特雷和德里克斯科特(伦敦:劳特利奇，2018)，196 - 207)。采用的精英音乐实践与这些剧目,尤其是弦乐四重奏的情况下,被认为是更全面的“文明”的过程中,使用诺伯特·伊莱亚斯的表达(见卡Queipo,“Practicas音乐拥有proceso de civilizacion de la精英financiera y en la西班牙de费尔南多七:埃尔卡索de后防线,”,在proceso civilizacion:文化精英,文化民众。《紧张对比的历史》(siglos XVII - XIX)， jos María Imizcoz Beunza, Máximo García Fernández和Javier Esteban Ochoa de Eribe主编(毕尔巴鄂:País瓦斯科大学，2019)，191 - 212)。“经典偏离中心”会议试图激发的辩论就在这个交叉点上
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Pub Date : 2023-08-25DOI: 10.1017/s1478570623000106
B. Ife
‘Texting Scarlatti: Composition, Reception, Performance’ is a two-year research project funded by the Leverhulme Trust (reference number RPG-2022-338), with additional support from the Research England Participatory Research Fund. Although the project is based at the Guildhall School in London, the project team is multi-disciplinary and international: Luisa Morales (Festival Internacional de Música de Tecla Española, Spain), Marco Moiraghi (Italy), Jérémie Lumbroso (USA), Jasper van der Klis (Netherlands) and Barry Ife (UK). A further substantial group of up to fifty volunteer ‘citizen scientists’ is assisting our work. The project is undertaking the first comprehensive and systematic study of all surviving eighteenth-century manuscript and printed copies of Scarlatti’s keyboard sonatas. The words ‘comprehensive’ and ‘systematic’ are crucial to the project’s ambitions in terms of scope and methodology:
“斯卡拉蒂短信:作曲、接收、表现”是一个为期两年的研究项目，由Leverhulme信托基金(参考编号RPG-2022-338)资助，并得到英国研究参与研究基金的额外支持。虽然这个项目是在伦敦的市政厅学校进行的，但项目团队是多学科和国际的:Luisa Morales(西班牙的Festival Internacional de Música de Tecla Española)， Marco Moiraghi(意大利)，jsamrsammie Lumbroso(美国)，Jasper van der Klis(荷兰)和Barry Ife(英国)。另外一个由多达50名志愿“公民科学家”组成的庞大团体正在协助我们的工作。该项目正在对所有现存的18世纪斯卡拉蒂键盘奏鸣曲的手稿和印刷副本进行第一次全面和系统的研究。“全面”和“系统”这两个词对于项目的范围和方法来说是至关重要的:
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Pub Date : 2023-08-25DOI: 10.1017/S1478570623000179
Kim Sauberlich
Authority emanates from Roger Mathew Grant ’ s Peculiar Attunements: How Affect Theory Turned Musical . From the back cover, readers learn that the monograph has garnered praise from leading literary critic Sianne Ngai and that Carolyn Abbate refers to it as a ‘ tour-de-force ’ . In the course of four chapters on operatic and instrumental music, Peculiar Attunements traces a central transformation in musical aesthetics, all while claiming to provide a new history of affect that places music at the centre of its discussion. First, Grant shows how early-modern and eighteenth-century music critics replaced the doctrine of mimesis – in which artworks produce human affects by imitating worldly things – with a concept that privileged an understanding of the individual body ’ s capacity to apprehend indeterminate reverberations. This is what Grant calls the notion of attunement. Second, the book discusses the persistence of eighteenth-century modes of musical attunement in affect theory today. Grant thus formulates his thesis as a critique, one that traces ‘ the structure of events in intellectual history that created these parallel historical turns away from representation and toward affect ’ (23). A self-avowed work of intellectual history, Peculiar Attunements surveys a combination of sources in aesthetic theory, canonical and otherwise
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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/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":null,"pages":null},"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/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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