Pub Date : 2022-08-04DOI: 10.1017/s1478570622000033
W. D. Sutcliffe
{"title":"Cayetano Brunetti: Complete Oboe Sextets Gaetano (Cayetano) Brunetti (1744–1798) Il Maniatico Ensemble / Robert Silla (oboe) IBS Classical IBS92021; two discs, 130 minutes","authors":"W. D. Sutcliffe","doi":"10.1017/s1478570622000033","DOIUrl":"https://doi.org/10.1017/s1478570622000033","url":null,"abstract":"","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"51 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78205229","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/S1478570622000112
Jen-yen Chen
Harry White ’ s The Musical Discourse of Servitude: Authority, Autonomy, and the Work-Concept in Fux, Bach, and Handel proceeds from an innovative premise, though not one without precedent: the linkage of two composers frequently paired in earlier musicological literature with a third who now-adays scarcely garners attention as a composer, though his oeuvre is of comparable size. The pre-cedent is Charles Burney ’ s, but the intervening two centuries seem to have produced no further instances of such a conjunction, at least not with the degree of absorbing attention devoted to it by White. Yet this stimulating new study manifestly demonstrates the fruits of closely examining Fux ’ s music and its Viennese imperial milieu in order to illuminate what its author terms the European musical imagination of the eighteenth century, as it was diversely realized by three exem-plary figures. White ’ view is defines pre-cariously to balance White ’ ’
{"title":"The Musical Discourse of Servitude: Authority, Autonomy, and the Work-Concept in Fux, Bach, and Handel Harry White New York: Oxford University Press, 2020 pp. xvi + 307, ISBN 978 0 190 90387 9","authors":"Jen-yen Chen","doi":"10.1017/S1478570622000112","DOIUrl":"https://doi.org/10.1017/S1478570622000112","url":null,"abstract":"Harry White ’ s The Musical Discourse of Servitude: Authority, Autonomy, and the Work-Concept in Fux, Bach, and Handel proceeds from an innovative premise, though not one without precedent: the linkage of two composers frequently paired in earlier musicological literature with a third who now-adays scarcely garners attention as a composer, though his oeuvre is of comparable size. The pre-cedent is Charles Burney ’ s, but the intervening two centuries seem to have produced no further instances of such a conjunction, at least not with the degree of absorbing attention devoted to it by White. Yet this stimulating new study manifestly demonstrates the fruits of closely examining Fux ’ s music and its Viennese imperial milieu in order to illuminate what its author terms the European musical imagination of the eighteenth century, as it was diversely realized by three exem-plary figures. White ’ view is defines pre-cariously to balance White ’ ’","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"154 1","pages":"211 - 213"},"PeriodicalIF":0.1,"publicationDate":"2022-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73102626","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/S1478570622000124
Ewald Demeyere
Abstract It is now well established that stock voice-leading patterns were an essential component of eighteenth-century compositional and improvisational practices both in Italy and abroad. In this article I focus on one of those patterns, which, as far as I am aware, remains unscrutinized: a dominant pedal point in the bass with a paradigmatic upper voice that descends chromatically from scale steps 5 to 2. In the first two sections, I deal with this pattern successively in eighteenth-century music pedagogy, with special emphasis on the teaching of the Neapolitan maestro Fedele Fenaroli, and in actual galant repertory, thereby exploring both its voice-leading and its syntactic possibilities. In the third section, I compare how this dominant pedal relates to other, already identified pedal-based patterns.
{"title":"Yet Another Galant Schema: The Dominant Pedal Accompanied by a Chromatic Descent","authors":"Ewald Demeyere","doi":"10.1017/S1478570622000124","DOIUrl":"https://doi.org/10.1017/S1478570622000124","url":null,"abstract":"Abstract It is now well established that stock voice-leading patterns were an essential component of eighteenth-century compositional and improvisational practices both in Italy and abroad. In this article I focus on one of those patterns, which, as far as I am aware, remains unscrutinized: a dominant pedal point in the bass with a paradigmatic upper voice that descends chromatically from scale steps 5 to 2. In the first two sections, I deal with this pattern successively in eighteenth-century music pedagogy, with special emphasis on the teaching of the Neapolitan maestro Fedele Fenaroli, and in actual galant repertory, thereby exploring both its voice-leading and its syntactic possibilities. In the third section, I compare how this dominant pedal relates to other, already identified pedal-based patterns.","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"41 1","pages":"173 - 199"},"PeriodicalIF":0.1,"publicationDate":"2022-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85013562","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/S1478570622000070
Eric Boaro
This conference, presented online by the Centro Studi Opera Omnia Luigi Boccherini of Lucca, the Palma Choralis Research Group & Early Music Ensemble and the Dipartimento di Musica Antica ‘ Città di Brescia ’ came as manna from heaven for scholars of music theory. Organized during our Covid-scarred times, it allowed numerous academics and musicians from around the world to con-vene and shed new light on a variety of topics related to basso continuo. How might we achieve a historically informed basso-continuo practice? To what extent does basso-continuo practice manifest geographical and regional differences? What was the role of basso continuo in the reworking of pre-existing music? What is the relationship between basso continuo, partimenti and music education? And between basso continuo and other instruments? Answers to these questions were offered by the large gathering of scholars and musicians, both emerging and experienced, who took part in the four-day event. In this report I will emphasize only the main issues that emerged. I apologize, both to the readers of this report and to the conference ’ s speakers, for not including all forty papers: the high quality and quantity of the presentations forced me to select only those that expanded on the conference ’ s main themes as listed above. these issues: we basso-continuo :
{"title":"The Figured Bass Accompaniment in Europe Lucca, 9–12 September 2021","authors":"Eric Boaro","doi":"10.1017/S1478570622000070","DOIUrl":"https://doi.org/10.1017/S1478570622000070","url":null,"abstract":"This conference, presented online by the Centro Studi Opera Omnia Luigi Boccherini of Lucca, the Palma Choralis Research Group & Early Music Ensemble and the Dipartimento di Musica Antica ‘ Città di Brescia ’ came as manna from heaven for scholars of music theory. Organized during our Covid-scarred times, it allowed numerous academics and musicians from around the world to con-vene and shed new light on a variety of topics related to basso continuo. How might we achieve a historically informed basso-continuo practice? To what extent does basso-continuo practice manifest geographical and regional differences? What was the role of basso continuo in the reworking of pre-existing music? What is the relationship between basso continuo, partimenti and music education? And between basso continuo and other instruments? Answers to these questions were offered by the large gathering of scholars and musicians, both emerging and experienced, who took part in the four-day event. In this report I will emphasize only the main issues that emerged. I apologize, both to the readers of this report and to the conference ’ s speakers, for not including all forty papers: the high quality and quantity of the presentations forced me to select only those that expanded on the conference ’ s main themes as listed above. these issues: we basso-continuo :","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"135 1","pages":"229 - 231"},"PeriodicalIF":0.1,"publicationDate":"2022-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87037200","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/S1478570622000082
Felix Diergarten
The year 2020 will enter the history books for many things – but probably not for Beethoven’s two hundred and fiftieth birthday in December. Around the world, concerts, projects and conferences had to be either cancelled or postponed. On the other hand, some day one will probably remember the years 2021 and 2022 as the longest Beethoven year ever, with all postponed events now slowly being caught up on. One of these was a conference organized by Hans-Joachim Hinrichsen (Universität Zürich) at the Fritz Thyssen Stiftung in Cologne. The conference focused on the Missa solemnis, a notoriously contentious composition, the pièce de résistance of Beethoven’s late style, a work whose reception vacillates between the highest superlatives on the one hand and frank rejection on the other. The first superlative was spread by Beethoven himself, who famously referred to the Missa as his ‘greatest’ work. It is a moot point (and so it was at this conference) whether this should be considered a reference to the spiritual qualities of the work, or rather a reference to its mere outer dimensions – or just as sales talk altogether. And this is where the stakes still seem to be in discussions of the Missa, returning periodically to the question of whether Beethoven composed this piece for specific (liturgical) circumstances and necessities or, rather, against them. If that is a question to be answered, it can certainly only be answered from a multidimensional perspective, combining documentary studies, reception history, and aesthetic, liturgical and methodological issues, and that was the aim of Hinrichsen’s conference, which brought together scholars from these different fields. The event opened with Jürgen Stolzenberg (Martin-Luther-Universität Halle-Wittenberg), who drew a picture of the philosophy of religion ‘between reason and sentiment’ in Beethoven’s time. Stolzenberg avoided positioning Beethoven within this field, as reliable documents are missing, but made a strong point that one should not hastily identify Beethoven’s position with Kant’s rational religion (Vernunftreligion), notwithstanding his acquaintance with some of Kant’s ideas. Stolzenberg suggested including Johann Michael Sailer and Ignaz Aurelius Feßler in the picture, as writings of both authors were present in Beethoven’s library. While Feßler did follow Kant’s philosophy of religion, all in all he stands for a more eclectic version of it, and Sailer, though in some senses an ‘enlightened’ Catholic, was an anti-Kantian: he argued that a pure Vernunftreligion is deprived of two substantial components, Gefühl and Liebe (feeling and love). Was Beethoven maybe more Catholic than we would like him to have been? That was the question behind the presentation on Beethoven and church music by Julia Ronge (Beethoven-Haus Bonn). She presented a wealth of documents that shed light on Beethoven’s lifelong contact with Catholic institutions. It was late nineteenth-century German musicology, with its anti-
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Pub Date : 2022-08-04DOI: 10.1017/s1478570622000136
F. Kiernan
their annual on the music of Jan Zelenka addressed issues relevant to critical of Zelenka programme is on past, pre-sent and future in
他们每年关于简·泽伦卡的音乐讨论了与泽伦卡计划的过去，现在和未来有关的问题
{"title":"Zelenka Conference Prague 2021: Seventh Edition Velkopřevorský palác, Prague, 16 October 2021","authors":"F. Kiernan","doi":"10.1017/s1478570622000136","DOIUrl":"https://doi.org/10.1017/s1478570622000136","url":null,"abstract":"their annual on the music of Jan Zelenka addressed issues relevant to critical of Zelenka programme is on past, pre-sent and future in","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"62 1","pages":"232 - 233"},"PeriodicalIF":0.1,"publicationDate":"2022-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87935299","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/S1478570622000185
H. Yang
{"title":"Listening to China: Sound and the Sino-Western Encounter, 1770–1839 Thomas Irvine Chicago: University of Chicago Press, 2020 pp. 263, ISBN 9 780226 667126","authors":"H. Yang","doi":"10.1017/S1478570622000185","DOIUrl":"https://doi.org/10.1017/S1478570622000185","url":null,"abstract":"","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"26 1","pages":"201 - 204"},"PeriodicalIF":0.1,"publicationDate":"2022-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81244359","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/s1478570622000203
{"title":"ECM volume 19 issue 2 Cover and Front matter","authors":"","doi":"10.1017/s1478570622000203","DOIUrl":"https://doi.org/10.1017/s1478570622000203","url":null,"abstract":"","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"37 1","pages":"f1 - f4"},"PeriodicalIF":0.1,"publicationDate":"2022-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76287101","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/S1478570622000069
R. Grant
{"title":"Hypermetric Manipulations in Haydn and Mozart: Chamber Music for Strings, 1787–1791 Danuta Mirka New York: Oxford University Press, 2021 pp. 389 + xiii, ISBN 978 0 197 54890 5","authors":"R. Grant","doi":"10.1017/S1478570622000069","DOIUrl":"https://doi.org/10.1017/S1478570622000069","url":null,"abstract":"","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"34 1","pages":"208 - 210"},"PeriodicalIF":0.1,"publicationDate":"2022-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75480358","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/s1478570622000021
Ruth Padel
{"title":"The Life behind the Music, the Life behind the Words: On Writing Poems about String Quartets by Haydn, Beethoven and Schubert","authors":"Ruth Padel","doi":"10.1017/s1478570622000021","DOIUrl":"https://doi.org/10.1017/s1478570622000021","url":null,"abstract":"","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"40 1","pages":"119 - 123"},"PeriodicalIF":0.1,"publicationDate":"2022-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86264201","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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