Pub Date : 2023-02-08DOI: 10.1017/S1478570622000379
T. Skowroneck
The Erard firm occupies a unique position in the tale of the development of the piano and the harp. The firm ’ s various ground-breaking technical innovations paved the way for the modern actions of these instruments. Along the way, Erard pianos came to be associated with numerous famous pianists and composers. Yet there has not to date been an overarching account of the history of the firm, especially not one that was correct in all its details. The present book fills this gap with aplomb. It is based in part on materials from the substantial 2015 edition of documents from the Erard archives (Robert Adelson, Alain Roudier, Jenny Nex, Laure Barthel and Michel Foussard, eds, The History of the Erard Piano and Harp in Letters and Documents, 1785 – 1959 , two volumes (Cambridge: Cambridge University Press)), and in part on the Erard family archives, which author Robert Adelson discovered in 2016. The text is organized chronologically and consists of fifteen topic-driven chapters, beginning with the apprentice years of Sébastien Erard (1752
{"title":"Erard: A Passion for the Piano Robert Adelson New York: Oxford University Press, 2021 pp. xii + 238, ISBN 978 0 197 56531 5","authors":"T. Skowroneck","doi":"10.1017/S1478570622000379","DOIUrl":"https://doi.org/10.1017/S1478570622000379","url":null,"abstract":"The Erard firm occupies a unique position in the tale of the development of the piano and the harp. The firm ’ s various ground-breaking technical innovations paved the way for the modern actions of these instruments. Along the way, Erard pianos came to be associated with numerous famous pianists and composers. Yet there has not to date been an overarching account of the history of the firm, especially not one that was correct in all its details. The present book fills this gap with aplomb. It is based in part on materials from the substantial 2015 edition of documents from the Erard archives (Robert Adelson, Alain Roudier, Jenny Nex, Laure Barthel and Michel Foussard, eds, The History of the Erard Piano and Harp in Letters and Documents, 1785 – 1959 , two volumes (Cambridge: Cambridge University Press)), and in part on the Erard family archives, which author Robert Adelson discovered in 2016. The text is organized chronologically and consists of fifteen topic-driven chapters, beginning with the apprentice years of Sébastien Erard (1752","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"78 1","pages":"81 - 83"},"PeriodicalIF":0.1,"publicationDate":"2023-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84043050","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/s1478570623000015
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Pub Date : 2023-02-08DOI: 10.1017/S147857062200029X
Britta Kägler, Evan Schreiner
The interdisciplinary research project ‘ Women, Opera and the Public Stage in Eighteenth-Century Venice ’ (WoVen) brings together an international team of researchers dedicated to the question of how women and European opera culture were intertwined in the eighteenth century. The focus is on female singers, librettists and other women involved in performance of the genre, as well as female patrons and audience members. The focus, however, is not only on specific women; the questions are also directed at ‘ women ’ s roles ’ in the operatic context in general. Venice lends itself particularly well to this as a focal point, since the character of European operatic culture can be seen in the Serenissima as if under a burning glass. The theme of the first colloquium was ‘ Concepts, Sources and Methodologies ’ . In her introductory presentation on the project, Melania Bucciarelli (Norges teknisk-naturvitenskapelige
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Pub Date : 2022-08-04DOI: 10.1017/S1478570622000094
Rebekah Ahrendt
Johann Sigismund Kusser got around. His peregrinations across Europe brought him into contact with a vibrant and ever-changing cast of sovereigns, musicians and librettists – yet none so mutable as Kusser himself. Though he was known to be a difficult character, somehow he managed to thrive, acquiring important positions wherever he ended up. Kusser’s success, evidenced in part by the volume under review here, might just be attributed to his political flexibility. Put simply, Kusser knew how to cultivate power by composing on-trend music in line with the desires of the authorities. Whether that music stands the test of time remains to be seen. This volume is the latest product of Samantha Owens’s long-standing engagement with Kusser (or Cousser), thoroughly detailed in her monograph The Well-Travelled Musician: John Sigismond Cousser and Musical Exchange in Baroque Europe (Woodbridge: Boydell, 2017). The three serenatas stem from Kusser’s lengthy affiliation with the Dublin viceregal court, a relationship he cultivated from the time of his arrival in Ireland in July 1707. Controlled by the Protestant Ascendancy, the largely English and exclusively Protestant ruling class of Ireland, the court confirmed its authority by celebrating British interests. Topically, the serenatas immortalize the memory of William III (a still-controversial subject in Ireland), Queen Anne herself and the British triumph at Utrecht. While a firm date is lacking for the ode to William III (No! He’s Not Dead!; more on this below), evidence uncovered by Owens reveals that The Universal Applause of Mount Parnassus dates from Anne’s birthday celebrations in 1711, while An Idylle on the Peace was premiered at Dublin’s Theatre Royal on 16 June 1713. The serenatas are products of their time. Each exists in a single manuscript source: the odes for Anne and William are both autograph manuscripts (Bodleian Library (GB-Ob), Ms. Tenbury 765, and Hamburg, Staatsund Universitätsbibliothek Carl von Ossietzky, Musiksammlung (D-Hs), M A/836), while An Idylle on the Peace was copied by someone close to Kusser (D-Hs ND VI 2892). Owens’s edition, based on these unique sources with additional textual confirmation from librettos printed in 1711 and 1713, helpfully provides three plates demonstrating the hands. All three works typify the mixed style practised by Kusser and many of his contemporaries: a ‘French’ overture opens the action, followed by Italianate recitative–aria pairs for solo singers interspersed with choruses, dances and the occasional duet, all accompanied by four-part orchestra. An edition of the texts updates the spelling and punctuation; however, some additional glosses on characters’ names, events referred to and even vocabulary (including the luscious word ‘truckle’) would have been desirable. The poetry rarely rises above mediocre and sometimes descends to offensive, at least to modern sensibilities. Like many composers of his day, Kusser and his unknown librettists liber
约翰·西吉斯蒙德·库瑟四处奔走。他在欧洲的游历使他接触到一群充满活力和不断变化的君主、音乐家和自由主义者——但没有人比库瑟自己更多变。虽然大家都知道他是一个很难相处的人，但不知怎么的，他还是成功了，无论他走到哪里，都获得了重要的职位。库塞尔的成功，在一定程度上可以从本文所述的这本书中得到证明，这可能仅仅归功于他在政治上的灵活性。简而言之，库瑟知道如何根据当局的愿望创作流行音乐来培养权力。这种音乐是否经得起时间的考验还有待观察。本卷是萨曼莎·欧文斯与库瑟(或库瑟)长期合作的最新产品，在她的专著《旅行的音乐家:约翰·西吉斯蒙德·库瑟和巴洛克欧洲音乐交流》(伍德布里奇:博伊德尔，2017)中详细介绍。这三首小夜曲源于库瑟与都柏林总督法院的长期关系，这种关系是他在1707年7月抵达爱尔兰时培养起来的。在新教统治阶级的控制下，爱尔兰的统治阶级主要是英格兰人，并且完全是新教徒，法院通过庆祝英国的利益来确认其权威。从主题上讲，这些小夜曲是对威廉三世(在爱尔兰仍然是一个有争议的话题)、安妮女王本人和英国在乌得勒支的胜利的永恒记忆。虽然没有确定的日期来歌颂威廉三世(不!他没死!欧文斯发现的证据表明，《帕纳苏斯山的普遍掌声》可以追溯到1711年安妮的生日庆祝活动，而《和平诗歌》于1713年6月16日在都柏林皇家剧院首演。小夜曲是他们那个时代的产物。它们都存在于一个单一的手稿来源:安妮和威廉的颂歌都是亲笔签名的手稿(牛津图书馆(GB-Ob)， Tenbury女士765，汉堡，Staatsund Universitätsbibliothek卡尔·冯·奥西茨基，Musiksammlung (D-Hs)， m.a /836)，而《和平诗》是由库塞尔身边的人抄写的(D-Hs ND VI 2892)。欧文斯的版本，基于这些独特的来源，并从1711年和1713年印刷的剧本中获得额外的文本确认，提供了三个展示手的板块。这三部作品都是库塞尔和他同时代的许多人所练习的混合风格的典型:一个“法国”序曲开始了行动，然后是意大利式的独奏咏叹调，穿插着合唱、舞蹈和偶尔的二重唱，所有这些都由四人管弦乐队伴奏。新版文本更新了拼写和标点符号;然而，在角色的名字、所指的事件甚至词汇(包括“truckle”这个诱人的词)上添加一些额外的注释是可取的。这些诗很少能超越平庸，有时甚至会冒犯人，至少对现代人来说是如此。像他那个时代的许多作曲家一样，库瑟和他的不知名的自由主义者在创作这些小夜曲时，大量地借鉴了已有的作品。根据欧文斯的说法，《和平诗》的文本是模仿吕利的《普罗塞福涅》序言的英文翻译。此外,
{"title":"Serenatas for Dublin Johann Sigismund Kusser (1660–1727), ed. Samantha Owens Middleton, WI: A-R Editions, 2020 pp. xxviii + 262, ISBN 978 1 9872 0450 6","authors":"Rebekah Ahrendt","doi":"10.1017/S1478570622000094","DOIUrl":"https://doi.org/10.1017/S1478570622000094","url":null,"abstract":"Johann Sigismund Kusser got around. His peregrinations across Europe brought him into contact with a vibrant and ever-changing cast of sovereigns, musicians and librettists – yet none so mutable as Kusser himself. Though he was known to be a difficult character, somehow he managed to thrive, acquiring important positions wherever he ended up. Kusser’s success, evidenced in part by the volume under review here, might just be attributed to his political flexibility. Put simply, Kusser knew how to cultivate power by composing on-trend music in line with the desires of the authorities. Whether that music stands the test of time remains to be seen. This volume is the latest product of Samantha Owens’s long-standing engagement with Kusser (or Cousser), thoroughly detailed in her monograph The Well-Travelled Musician: John Sigismond Cousser and Musical Exchange in Baroque Europe (Woodbridge: Boydell, 2017). The three serenatas stem from Kusser’s lengthy affiliation with the Dublin viceregal court, a relationship he cultivated from the time of his arrival in Ireland in July 1707. Controlled by the Protestant Ascendancy, the largely English and exclusively Protestant ruling class of Ireland, the court confirmed its authority by celebrating British interests. Topically, the serenatas immortalize the memory of William III (a still-controversial subject in Ireland), Queen Anne herself and the British triumph at Utrecht. While a firm date is lacking for the ode to William III (No! He’s Not Dead!; more on this below), evidence uncovered by Owens reveals that The Universal Applause of Mount Parnassus dates from Anne’s birthday celebrations in 1711, while An Idylle on the Peace was premiered at Dublin’s Theatre Royal on 16 June 1713. The serenatas are products of their time. Each exists in a single manuscript source: the odes for Anne and William are both autograph manuscripts (Bodleian Library (GB-Ob), Ms. Tenbury 765, and Hamburg, Staatsund Universitätsbibliothek Carl von Ossietzky, Musiksammlung (D-Hs), M A/836), while An Idylle on the Peace was copied by someone close to Kusser (D-Hs ND VI 2892). Owens’s edition, based on these unique sources with additional textual confirmation from librettos printed in 1711 and 1713, helpfully provides three plates demonstrating the hands. All three works typify the mixed style practised by Kusser and many of his contemporaries: a ‘French’ overture opens the action, followed by Italianate recitative–aria pairs for solo singers interspersed with choruses, dances and the occasional duet, all accompanied by four-part orchestra. An edition of the texts updates the spelling and punctuation; however, some additional glosses on characters’ names, events referred to and even vocabulary (including the luscious word ‘truckle’) would have been desirable. The poetry rarely rises above mediocre and sometimes descends to offensive, at least to modern sensibilities. Like many composers of his day, Kusser and his unknown librettists liber","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"13 1","pages":"214 - 216"},"PeriodicalIF":0.1,"publicationDate":"2022-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72533665","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 : 2022-08-04DOI: 10.1017/S1478570622000173
Qingfan Jiang
Abstract This article offers a fresh perspective on the study of the eighteenth-century musical dialogue between China and France, not as an episode of exotic encounter but as an intellectual movement that profoundly shaped how scholars conceived of music and the study of its theories within an increasingly integrated world. Taking Jean-Philippe Rameau's and Jean-Jacques Rousseau's explorations into the origins of music as an example, I foreground the importance of Chinese music in the formation of their influential concepts of the corps sonore and of the unity of music and language respectively. While these two thinkers made two opposing claims about the origins of music, both used Chinese music as key evidence to support their arguments. Moreover, certain Jesuit missionaries, particularly Jean-Joseph-Marie Amiot, played a crucial role in the global transmission of musical knowledge that enabled French thinkers like Rameau and Rousseau to incorporate music beyond Western Europe. Ultimately, this article reverses the Eurocentric narrative that tends to trace the influence of ‘Western music’ on other parts of the world by showing how Chinese music exerted a major impact on musical debates in France. Situating the study of eighteenth-century music in a global context, I demonstrate what we commonly recognize as ‘Western music theory’ was shaped by knowledge from the East.
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Pub Date : 2022-08-04DOI: 10.1017/S1478570622000045
M. Talbot
Abstract In his own time Diogenio Bigaglia (1678–1745) was viewed as the equal of Venice's three great amateur musicians active during the first half of the eighteenth century (Tomaso Albinoni, Alessandro Marcello and Benedetto Marcello), but he is largely forgotten today. Part of the reason is the secluded, uneventful life he led as a Benedictine monk at the abbey of San Giorgio Maggiore. This article analyses an impressive early work: a twelve-movement Dixit Dominus probably composed between 1700 and 1710. This work occupies the borderland between late seventeenth-century musical practice and the more progressive musical forms, styles and techniques introduced in the early eighteenth century. It survives in a late eighteenth-century copy by the Venetian copisteria of Giuseppe Baldan that probably passed via Domenico Dragonetti to Vincent Novello, who donated it to the British Museum in 1843. The music contains many attractive features, including an imaginative use of the instruments and dextrous counterpoint, pointing the way forward to the choral masterpieces of Bigaglia's maturity.
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Pub Date : 2022-08-04DOI: 10.1017/S1478570622000148
Szymon Paczkowski
[...]numbers could be moved from one opera to another with no detriment to the latter work's dramatic structure, so long as they still reflected the emotions expressed by the original. Initially planned as an in situ event, the Covid-19 pandemic meant that it took place online, which – despite the lack of human contact – helped boost the number of observers and the reception of the event among opera and theatre scholars. Berthold Over (Universität Greifswald), in his paper ‘The Art of Cooking a Pasticcio: Musical Recipes and Ingredients for Pasticcio Operas’, employed culinary analogies to explain the concept of ‘unity in diversity’ that was typical of this genre. Barbara Wiermann (Sächsische Landesbibliothek – Staats- und Universitätsbibliothek, Dresden), in ‘Source Studies – Authority Data – Digital Musicology’, highlighted the fluid concept of the work in the pasticcio genre and also the diversity of the relevant sources, which today results in numerous problems with standardizing data.
[…[8]个数字可以从一部歌剧搬到另一部歌剧，而不会损害后一部作品的戏剧结构，只要它们仍然反映了原作品所表达的情感。最初计划为现场活动，但新冠肺炎大流行意味着它在网上进行，尽管缺乏人际接触，但这有助于增加观察员人数，并在歌剧和戏剧学者中受到欢迎。Berthold Over (Universität Greifswald)在他的论文《烹饪杂烩歌剧的艺术:杂烩歌剧的音乐食谱和配料》中，用烹饪类比来解释这一流派典型的“多样性中的统一”概念。Barbara Wiermann (Sächsische Landesbibliothek - Staats- und Universitätsbibliothek, Dresden)在“来源研究-权威数据-数字音乐学”中强调了pasticcio流派中工作的流动概念以及相关来源的多样性，这在今天导致了许多标准化数据的问题。
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Pub Date : 2022-08-04DOI: 10.1017/s147857062200001x
A. Woolley
The 2021 Handel Institute Conference went ahead as an in-person event despite continuing diffi-culties for international travel. Some speakers had to withdraw very late in the day, to be replaced by members of the Institute ’ s council, who gave papers that either had been presented at other recent events or had had to be withdrawn. A small conference in plenary sessions grouping papers into pairs in generous slots of forty minutes each – making for a very welcome convivial atmosphere – it was a triumph in the circumstances. This year ’ s theme, Interactions and Influences, was prompted by the anniversary of Royal Academy opera Muzio Scevola (1721), composed jointly by Amadei, Bononcini and Handel. In the end, only five of the sixteen papers addressed it directly. Nevertheless, many of them, presented by emerging and established scholars based in the UK, Europe and the US, were of extremely high quality. The stimulating tone was set from the beginning by a refreshing and imaginative harpsichord recital by Bridget Cunningham after an evening reception at the Foundling Museum. It interspersed selected movements from Handel ’ s ground-breaking 1720 Suites de Pieces with little-performed contemporary arrangements of arias from Muzio Scevola and Floridante . Fittingly enough, the first paper the following morning, my Woolley, Nova was concerned with the keyboard music Handel composed before his Italian period. I proposed on the basis of the ritornello-like structures in some these pieces that Handel perhaps the first German composer to explore the Italian instrumental-concerto style and that through it he developed skills as a virtuoso keyboard player. This presentation was paired with a wide-ranging paper North Texas) on the eighteenth-century reception of Handel ’ s Water Music and Music for the Royal Fireworks . the role of these suites in framing the monarchy ’ s public image and highlighted their historical significance, they heard in concert-like settings that, for
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Pub Date : 2022-08-04DOI: 10.1017/S1478570622000057
R. Geoffroy-Schwinden
Music, Pantomime & Freedom in Enlightenment France follows the trajectory of pantomime from the commedia dell ’ arte tradition on Parisian foire stages to its integration into the reform operas of Christoph Willibald Gluck and Antonio Salieri. The status of pantomime rose from the 1730s to the 1750s, particularly through Jean-Jacques Rousseau ’ s Le devin du village (1752 – 1754), and it came to be accepted as a more articulate form of gesture than ‘ decorative ’ dance ( la belle danse ). At times, it was even believed to communicate more effectively than language. As the demand for operatic veri-similitude grew through the 1770s, Gluck drew on both pantomime and pantomime-inspired musical gestures to propel dramatic action forward. By the 1780s, Salieri was using gesture and motion within music not only to articulate conflicting or unspoken thoughts, as Gluck had done, but also to dramatize inaction. Hedy Law emphasizes that pantomime falls within a genealogy of dance as well as an archaeology of communication: through a comprehensive study of pantomime in Paris, she narrates how the significance of physical and musical gesture was honed and refined over the course of the eighteenth century.
《法国启蒙时期的音乐、哑剧与自由》遵循了哑剧的发展轨迹，从巴黎早期的艺术喜剧传统到与克里斯托夫·威廉德·格鲁克和安东尼奥·萨列里的改革歌剧相融合。哑剧的地位从1730年代到1750年代上升，特别是通过让-雅克卢梭的Le devin du village(1752 - 1754)，它开始被接受为一种比“装饰”舞蹈(la belle danse)更清晰的姿态形式。有时，它甚至被认为比语言更有效地交流。随着18世纪70年代对歌剧真实性的需求不断增长，格拉克利用哑剧和受哑剧启发的音乐手势来推动戏剧动作的发展。到18世纪80年代，萨列里在音乐中使用手势和动作，不仅像格拉克那样表达冲突或未说出来的想法，而且还戏剧化了不作为。海蒂·劳强调哑剧属于舞蹈谱系，也属于交流考古学:通过对巴黎哑剧的全面研究，她讲述了肢体和音乐手势的重要性是如何在十八世纪的过程中得到磨练和完善的。
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Pub Date : 2022-08-04DOI: 10.1017/s147857062200015x
Rupert Ridgewell
Of particular note was a leaf of Beethoven's transcriptions from the poetry of Herder alongside his own personal reflections on the power of nature, written first in pencil – apparently outdoors – before being inked over (Zweig MS 15). Visitors could place their elbows on a wooden panel and clasp their hands over their ears, allowing the vibrations created by the music to be conveyed from the panel via bones in the elbow and upper arm to the inner ear, thus bypassing the ear canal. Franz Xaver Stöber's engraving of Beethoven's funeral procession provided a striking visual representation of the unprecedented scale of and public interest in the event.
{"title":"Beethoven Exhibition at the British Library","authors":"Rupert Ridgewell","doi":"10.1017/s147857062200015x","DOIUrl":"https://doi.org/10.1017/s147857062200015x","url":null,"abstract":"Of particular note was a leaf of Beethoven's transcriptions from the poetry of Herder alongside his own personal reflections on the power of nature, written first in pencil – apparently outdoors – before being inked over (Zweig MS 15). Visitors could place their elbows on a wooden panel and clasp their hands over their ears, allowing the vibrations created by the music to be conveyed from the panel via bones in the elbow and upper arm to the inner ear, thus bypassing the ear canal. Franz Xaver Stöber's engraving of Beethoven's funeral procession provided a striking visual representation of the unprecedented scale of and public interest in the event.","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"1 1","pages":"222 - 224"},"PeriodicalIF":0.1,"publicationDate":"2022-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77168209","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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