Pub Date : 2022-08-04DOI: 10.1017/s1478570622000100
David Breitman
{"title":"Symposium on Beethoven's Pianos The Center for Beethoven Research, Boston University, 8 November 2021","authors":"David Breitman","doi":"10.1017/s1478570622000100","DOIUrl":"https://doi.org/10.1017/s1478570622000100","url":null,"abstract":"","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"4 1","pages":"237 - 239"},"PeriodicalIF":0.1,"publicationDate":"2022-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90816007","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/s1478570622000215
{"title":"ECM volume 19 issue 2 Cover and Back matter","authors":"","doi":"10.1017/s1478570622000215","DOIUrl":"https://doi.org/10.1017/s1478570622000215","url":null,"abstract":"","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"62 1","pages":"b1 - b4"},"PeriodicalIF":0.1,"publicationDate":"2022-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90108419","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 : 2022-02-14DOI: 10.1017/s1478570621000439
Dorian Bandy, Yonatan Bar-Yoshafat, E. Buurman, Maria Christina Cleary
Dorian Bandy is Assistant Professor at McGill University’s Schulich School of Music, where he teaches musicology and historical performance. His research interests include Mozart and Beethoven, with a particular emphasis on improvisation and the relationship between composition and performance. Recent publications include articles in Early Music and the Cambridge Opera Journal, and current projects include a monograph on Mozart.
{"title":"Notes on Contributors","authors":"Dorian Bandy, Yonatan Bar-Yoshafat, E. Buurman, Maria Christina Cleary","doi":"10.1017/s1478570621000439","DOIUrl":"https://doi.org/10.1017/s1478570621000439","url":null,"abstract":"Dorian Bandy is Assistant Professor at McGill University’s Schulich School of Music, where he teaches musicology and historical performance. His research interests include Mozart and Beethoven, with a particular emphasis on improvisation and the relationship between composition and performance. Recent publications include articles in Early Music and the Cambridge Opera Journal, and current projects include a monograph on Mozart.","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"64 1","pages":"1 - 3"},"PeriodicalIF":0.1,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81433315","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 : 2022-02-14DOI: 10.1017/s1478570621000452
{"title":"ECM volume 19 issue 1 Cover and Back matter","authors":"","doi":"10.1017/s1478570621000452","DOIUrl":"https://doi.org/10.1017/s1478570621000452","url":null,"abstract":"","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"36 1","pages":"b1 - b2"},"PeriodicalIF":0.1,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75486458","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 : 2022-02-14DOI: 10.1017/S1478570621000373
A. Fiore
Studies of musical life in cloistered women’s communities are often hindered by the lack of documentary and musical sources or by difficulties in accessing archives. Still elusive, to some extent, is the richness of the life conducted within the walls of institutions that were formally closed to the outside world but were, as a matter of fact, promoters of significant artistic and musical activities. Convents were not only places designated by the nobility to accommodate young women, but also symbols of political prestige and cultural centres for artistic patronage and musical practice. Recently, musicology has been shedding light on the musical activities of the nunneries of the modern age, thanks above all to the contribution of scholars like Robert Kendrick, Craig Monson and Colleen Reardon, who have demonstrated the musical vitality of some of these institutions. In fact, in various European contexts, music was often a point of contact between the cloistered community and city life: religious houses flaunted their power and prestige by organizing solemn celebrations with professional singers and instrumentalists, thus becoming producers and patrons of sacred music. The studies of Janet K. Page add a significant element to the investigation of convent music in Austria. Page has rediscovered the close relationship between the Habsburg court and Viennese religious institutions, revealing the political and cultural value of this type of environment. The Augustinian convent of St Jakob auf der Hülben in Vienna was certainly one of the most interesting examples: visitor reports from the mid-seventeenth century describe female musicians as the protagonists of musical performances that took place there. The musical practices of these nuns did not consist simply in accompanying the liturgy, but also included theatrical performances, oratorios and sacred genres. The oratorio Le sacre stimmate di San Francesco d’Assisi was composed in 1695 by the canoness Maria Anna von Raschenau, and it represents today the most complete example of this sort of production. As Page explains in the detailed Introduction, Maria Anna von Raschenau arrived in the convent of St Jakob around 1672 as a novice, but her musical activity began earlier in the Viennese imperial court, where her father, Johann Rasch von Raschenau, was employed. It is worth noting that the imperial court itself provided Maria Anna with a ‘scholar’s stipend’, allowing her to receive adequate musical training in singing, composing and playing instruments such as keyboards, violin, viola da gamba and transverse flute. Between 1694 and 1709, at St Jakob, Raschenau composed seven major musical works dedicated to the Emperor Leopold I. Le sacre stimmate was performed in 1695 on 25 July, during the feast of St James, the patron saint of the convent. However, the only surviving manuscript of this oratorio is a version that was probably written by a court copyist, since, as Page explains, Leopold I loved to f
{"title":"Le sacre stimmate di San Francesco d'Assisi Maria Anna von Raschenau (c1650–1714), ed. Janet K. Page Middleton, WI: A-R Editions, 2019 pp. xxxviii + six plates + 92, ISBN 978 1 987 20255 7","authors":"A. Fiore","doi":"10.1017/S1478570621000373","DOIUrl":"https://doi.org/10.1017/S1478570621000373","url":null,"abstract":"Studies of musical life in cloistered women’s communities are often hindered by the lack of documentary and musical sources or by difficulties in accessing archives. Still elusive, to some extent, is the richness of the life conducted within the walls of institutions that were formally closed to the outside world but were, as a matter of fact, promoters of significant artistic and musical activities. Convents were not only places designated by the nobility to accommodate young women, but also symbols of political prestige and cultural centres for artistic patronage and musical practice. Recently, musicology has been shedding light on the musical activities of the nunneries of the modern age, thanks above all to the contribution of scholars like Robert Kendrick, Craig Monson and Colleen Reardon, who have demonstrated the musical vitality of some of these institutions. In fact, in various European contexts, music was often a point of contact between the cloistered community and city life: religious houses flaunted their power and prestige by organizing solemn celebrations with professional singers and instrumentalists, thus becoming producers and patrons of sacred music. The studies of Janet K. Page add a significant element to the investigation of convent music in Austria. Page has rediscovered the close relationship between the Habsburg court and Viennese religious institutions, revealing the political and cultural value of this type of environment. The Augustinian convent of St Jakob auf der Hülben in Vienna was certainly one of the most interesting examples: visitor reports from the mid-seventeenth century describe female musicians as the protagonists of musical performances that took place there. The musical practices of these nuns did not consist simply in accompanying the liturgy, but also included theatrical performances, oratorios and sacred genres. The oratorio Le sacre stimmate di San Francesco d’Assisi was composed in 1695 by the canoness Maria Anna von Raschenau, and it represents today the most complete example of this sort of production. As Page explains in the detailed Introduction, Maria Anna von Raschenau arrived in the convent of St Jakob around 1672 as a novice, but her musical activity began earlier in the Viennese imperial court, where her father, Johann Rasch von Raschenau, was employed. It is worth noting that the imperial court itself provided Maria Anna with a ‘scholar’s stipend’, allowing her to receive adequate musical training in singing, composing and playing instruments such as keyboards, violin, viola da gamba and transverse flute. Between 1694 and 1709, at St Jakob, Raschenau composed seven major musical works dedicated to the Emperor Leopold I. Le sacre stimmate was performed in 1695 on 25 July, during the feast of St James, the patron saint of the convent. However, the only surviving manuscript of this oratorio is a version that was probably written by a court copyist, since, as Page explains, Leopold I loved to f","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"85 1","pages":"73 - 75"},"PeriodicalIF":0.1,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74093092","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 : 2022-02-14DOI: 10.1017/S1478570621000348
Maria Christina Cleary
I am someone who is drawn to missing objects from the past. I try to revive interest in lost books, scores or art works by recirculating their titles and authors, in publications and with colleagues and friends. I suppose my hope is that by giving these items a new breath of life in contemporary scholarship, they might just turn up one day. The Nouvelle méthode pour apprendre à jouer de la harpe (1774) by Michel Corrette (1707–1795) was previously known only from descriptions. When a copy came to light and went up for auction in late 2016, I was delighted. I didn’t know what to expect, as this book was merely one of many titles on my list of over one hundred harp methods from the eighteenth and nineteenth centuries. Although Corrette himself was not known as a harpist, it turns out that his Nouvelle méthode is a unique resource for the history of harps, harp pedagogy and historical performing practices. This copy of the Nouvelle méthode is a hardbound book consisting of forty-six pages preceded by a frontispiece illustrating a harpist in a plausible playing position with a score open on a table beside her. The engraving is accompanied by a quatrain, the text of which comes from one of the two ariettes for voice and harp included at the end of the volume. The method contains an introductory history of the harp, followed by fourteen chapters, two chansons and over thirty short simple pieces. The Australian historical harpist Hannah Lane wrote an informative post on the method when it was acquired by the library of the University of Melbourne in 2017 (https://blogs.unimelb.edu.au/library collections/2017/03/22/a-lost-eighteenth-century-harp-method-rediscovered-michel-correttes-nouvellemethode-pour-apprendre-a-jouer-de-la-harpe-1774-a-new-acquisition-for-rare-music/). The online Catalogue des ouvrages théoriques, manuscrits et imprimés en France entre 1660 et 1800 (http://catalogue.philippe-lescat-asso.fr) by the late Philippe Lescat includes thirty-six publications by Corrette, of which four are currently lost or of unknown whereabouts. The publication of the harp method was advertised in the Mercure de France on 1 January 1775. While this year is often cited as the date of publication, 1774 can now be established as the correct date, as it appears on the title-page. Hence, it can be considered the third harp treatise to be published in the eighteenth century. (The harpist Philippe-Jacques Meyer (1737–1819) published two earlier methods: Essai sur la vraie manière de jouer de la harpe, Op. 1 (Paris: author, 1763), and Nouvelle méthode pour apprendre à jouer de la harpe, Op. 9 (Paris: Bouin), in early 1774.) The newly invented harp of the eighteenth century was one with pedals, which Denis Diderot called a ‘harpe organisée’ (Recueil de planches, sur les sciences, les arts libéraux, et les arts méchaniques, avec leur explication, quatrième livraison (Paris: Briasson, David, Le Breton, 1767), Lutherie, Seconde suite, Planche XIX). For further details a
我是那种被过去遗失的东西所吸引的人。我试图通过在出版物上、在同事和朋友之间重新传播它们的标题和作者，来恢复人们对丢失的书籍、乐谱或艺术作品的兴趣。我想我的希望是，通过在当代学术中赋予这些物品新的生命，它们可能有一天会出现。Michel Corrette(1707-1795)的《Nouvelle m thode pour apprendre jouer de la harpe》(1774)以前只从描述中得知。当这本书在2016年底曝光并被拍卖时，我很高兴。我不知道该期待什么，因为这本书只是我列出的十八、十九世纪一百多种竖琴方法中的一本。虽然Corrette本人并不以竖琴演奏家而闻名，但事实证明，他的Nouvelle m thode是竖琴历史、竖琴教学法和历史演奏实践的独特资源。这是一本精装本，共有46页，前面的扉页描绘了一位竖琴师在她旁边的桌子上打开乐谱，以一种看似合理的姿势演奏。这幅版画附有一首四行诗，这首诗的文本来自本卷末尾的两首人声和竖琴咏叹调中的一首。该方法包含了竖琴的入门历史，随后是14章，两个香颂和30多个简短的作品。澳大利亚历史竖琴家Hannah Lane在2017年被墨尔本大学图书馆收藏时，写了一篇关于这种方法的信息丰富的文章(https://blogs.unimelb.edu.au/library collections/2017/03/22/a-lost-十八世纪-harp-method- rediscovere-michel-corretes -nouvellemethode-pour- prendrea -jouer-de-la-harpe-1774-a-new- acquired -for-rare-music/)。在线目录des ouvrages theoriques, manuscrits等imprimes在法国在1660到1800之间(http://catalogue.philippe-lescat-asso.fr)到菲利普Lescat包括36 Corrette出版物,其中四个是目前丢失或下落不明的。竖琴法的出版于1775年1月1日在《法国信使报》上刊登了广告。虽然这一年经常被引用为出版日期，但现在可以确定1774年是正确的日期，因为它出现在标题页上。因此，它可以被认为是18世纪出版的第三部竖琴专著。(竖琴家Philippe-Jacques Meyer(1737-1819)发表了两种更早的方法:Essai sur la vraie manitre de jouer de la harpe, Op. 1(巴黎:作者，1763年)和Nouvelle msamthode pour apprendre jouer de la harpe, Op. 9(巴黎:Bouin)， 1774年初。)18世纪新发明的竖琴是带有踏板的竖琴，Denis Diderot称之为“harpe organisacei”(receil de planches, sur les sciences, les arts lib， et les arts msamichanques, avec leur explication, quatri livraison(巴黎:Briasson, David, Le Breton, 1767)， Lutherie, Seconde suite, Planche XIX)。关于18世纪竖琴上越来越多的踏板的详细信息，请参阅我的博士论文，“The harpe organisacei”，1720-1840。用单动作踏板机构重新发现竖琴上丢失的踏板技术”(莱顿大学，2016)，27-34。来自阿尔萨斯地区和德国的演奏者将这种新乐器带到了巴黎，竖琴制作开始了。最初，键盘曲目
{"title":"The Rediscovery of the Nouvelle méthode pour apprendre à jouer de la harpe by Michel Corrette","authors":"Maria Christina Cleary","doi":"10.1017/S1478570621000348","DOIUrl":"https://doi.org/10.1017/S1478570621000348","url":null,"abstract":"I am someone who is drawn to missing objects from the past. I try to revive interest in lost books, scores or art works by recirculating their titles and authors, in publications and with colleagues and friends. I suppose my hope is that by giving these items a new breath of life in contemporary scholarship, they might just turn up one day. The Nouvelle méthode pour apprendre à jouer de la harpe (1774) by Michel Corrette (1707–1795) was previously known only from descriptions. When a copy came to light and went up for auction in late 2016, I was delighted. I didn’t know what to expect, as this book was merely one of many titles on my list of over one hundred harp methods from the eighteenth and nineteenth centuries. Although Corrette himself was not known as a harpist, it turns out that his Nouvelle méthode is a unique resource for the history of harps, harp pedagogy and historical performing practices. This copy of the Nouvelle méthode is a hardbound book consisting of forty-six pages preceded by a frontispiece illustrating a harpist in a plausible playing position with a score open on a table beside her. The engraving is accompanied by a quatrain, the text of which comes from one of the two ariettes for voice and harp included at the end of the volume. The method contains an introductory history of the harp, followed by fourteen chapters, two chansons and over thirty short simple pieces. The Australian historical harpist Hannah Lane wrote an informative post on the method when it was acquired by the library of the University of Melbourne in 2017 (https://blogs.unimelb.edu.au/library collections/2017/03/22/a-lost-eighteenth-century-harp-method-rediscovered-michel-correttes-nouvellemethode-pour-apprendre-a-jouer-de-la-harpe-1774-a-new-acquisition-for-rare-music/). The online Catalogue des ouvrages théoriques, manuscrits et imprimés en France entre 1660 et 1800 (http://catalogue.philippe-lescat-asso.fr) by the late Philippe Lescat includes thirty-six publications by Corrette, of which four are currently lost or of unknown whereabouts. The publication of the harp method was advertised in the Mercure de France on 1 January 1775. While this year is often cited as the date of publication, 1774 can now be established as the correct date, as it appears on the title-page. Hence, it can be considered the third harp treatise to be published in the eighteenth century. (The harpist Philippe-Jacques Meyer (1737–1819) published two earlier methods: Essai sur la vraie manière de jouer de la harpe, Op. 1 (Paris: author, 1763), and Nouvelle méthode pour apprendre à jouer de la harpe, Op. 9 (Paris: Bouin), in early 1774.) The newly invented harp of the eighteenth century was one with pedals, which Denis Diderot called a ‘harpe organisée’ (Recueil de planches, sur les sciences, les arts libéraux, et les arts méchaniques, avec leur explication, quatrième livraison (Paris: Briasson, David, Le Breton, 1767), Lutherie, Seconde suite, Planche XIX). For further details a","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"49 1","pages":"88 - 90"},"PeriodicalIF":0.1,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86919171","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 : 2022-02-14DOI: 10.1017/S147857062100035X
D. Davies
The most prolific composer of music in the colonial Americas, Antonio Juanas (c1762–c1821) served as the last chapel master of Mexico City Cathedral before Mexican independence. A native of Spain, Juanas wrote liturgical music in multiple styles, including a cappella polyphony and galant works for chorus and small orchestra, as appropriate for cathedral ritual. He also organized and inventoried the cathedral’s music archive, shaping the compositional legacy of the colonial period into more or less what exists today at the Archivo del Cabildo Catedral Metropolitano de México (ACCMM). As part of this endeavour, Juanas – like other chapel masters – made numerous arrangements and contrafacta of works by his predecessors, especially Ignacio Jerusalem (1707– 1769). Juanas left annotations in the original scores that document his interventions, which range from the addition of new oboe parts to the composition of substantial new sections of music to accommodate a contrafacted liturgical text. Despite his large oeuvre and interesting historical role, Juanas has attracted few professional performing groups, and the vast majority of his works remain unedited. Thus the release of Antonio Juanas: Premiere Recordings of Selected Choral Works, with Collegium Mundi Novi featuring Variant 6 conducted by R. Ryan Endris, is both thrilling and revelatory. Endris, who prepared the performing editions using microfilms from the ACCMM music collection made under the direction of E. Thomas Stanford and Lincoln Spiess in the 1960s, offers a generous and varied selection of repertory for Vespers and Matins services. While none of the pieces is a liturgical reconstruction, Endris does grant listeners a series of independent Vespers psalms, a collected Vespers service consisting of two psalms and a Magnificat, a setting of the antiphon ‘Regina caeli’, a lamentation for Holy Week and a cycle of eight responsories for the Feast of the Holy Trinity: seventeen pieces altogether. In his selection, Endris has privileged psalm settings in minor keys, including a Lauda Jerusalem in B minor (ACCMM, Papeles de música, A0284.01), a Credidi propter in G minor (A0258), a Beatus vir in E minor (A0287.01) and a Vespers service in E minor (A0288) (the call numbers may be used to consult further information about these works in the music catalogue at www.musicat.unam.mx). These minor-mode pieces are relatively rare in the late colonial repertory (as they are also, for example, in Haydn or Mozart), and they involve greater harmonic complexity and perhaps more varied tonal colours than some of the major-mode works by Juanas do. Altogether, the album presents an attractive and dignified repertory illustrating functional Catholic church music of the 1790s and early 1800s. Few recordings of any comparable music from the Spanish world exist; stylistic comparisons might be made with the slightly older composers Francisco Javier García Fajer (1730–1809) and Gaetano Brunetti (1744–1798), who were ac
作为美洲殖民地时期最多产的作曲家，安东尼奥·胡安纳斯(Antonio Juanas, 1762 - 1821)在墨西哥独立前担任墨西哥城大教堂的最后一位教堂主人。胡安纳斯是西班牙人，他创作了多种风格的礼拜音乐，包括无伴奏复调音乐，以及适合大教堂仪式的合唱和小型管弦乐队的华丽作品。他还组织和整理了大教堂的音乐档案，将殖民时期的音乐遗产或多或少地塑造成今天在m西科大都会大教堂档案(ACCMM)中存在的东西。作为这一努力的一部分，胡安纳斯-像其他教堂大师一样-对他的前任，特别是伊格纳西奥耶路撒冷(1707 - 1769)的作品进行了大量的安排和合同。胡纳斯在原始乐谱中留下了注解，记录了他的干预，从增加新的双簧管声部到创作大量新的音乐部分，以适应精简的礼仪文本。尽管他的作品很多，历史角色也很有趣，但他吸引的专业表演团体很少，他的大部分作品都没有经过编辑。因此，《安东尼奥·胡安纳斯:合唱作品精选首演唱片》的发行既令人兴奋，又发人深省，该片由r·瑞安·恩德里斯指挥，由世界新学院演奏第六变奏曲。Endris在20世纪60年代在E. Thomas Stanford和Lincoln Spiess的指导下，使用ACCMM音乐收藏的微缩电影制作了表演版本，为晚祷和圣餐服务提供了丰富多样的曲目选择。虽然没有一件作品是礼仪重建，但Endris确实给听众提供了一系列独立的晚祷赞美诗，一个由两篇赞美诗和一首尊主颂组成的晚祷服务集，一段“Regina caeli”的对唱，一段圣周的哀歌和一段圣三位一体盛宴的八首颂歌:总共十七件作品。在他的选择中，Endris拥有小调的特权诗篇设置，包括B小调的Lauda Jerusalem (ACCMM, Papeles de música, A0284.01)， G小调的Credidi proter (A0258)， E小调的Beatus vir (A0287.01)和E小调的晚祷服务(A0288)(可使用呼叫号码在www.musicat.unam.mx的音乐目录中查询有关这些作品的进一步信息)。这些小调式的作品在殖民地晚期的剧目中相对罕见(比如海顿和莫扎特的作品)，它们比胡安娜的一些大调式作品包含更复杂的和声和更多样的调性色彩。总的来说，这张专辑呈现了一个有吸引力和庄严的剧目，说明了18世纪90年代和19世纪初的功能性天主教会音乐。很少有来自西班牙世界的类似音乐的录音存在;风格比较可以与稍老的作曲家弗朗西斯科·哈维尔García法耶尔(1730-1809)和盖塔诺·布鲁内蒂(1744-1798)，谁是活跃在西班牙。在接近Juanas的音乐时，Endris做出了一些明智的、历史上相当合适的表演决定。例如，他保留了一个由只有
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Pub Date : 2022-02-14DOI: 10.1017/S1478570621000257
I. Curkovic
In 2020 both the Halle Handel Festival and the annual musicological conference in the composer’s birthplace were cancelled, though the conference papers were published in the 2021 volume of the Händel-Jahrbuch. By contrast, in 2021 a significant number of festival concerts were held online and the conference was transferred fully to Zoom. Thanks to the organization of the latter by Wolfgang Hirschmann, Annette Landgraf and Konstanze Musketa, as well as the enthusiasm of the participants, the online format did not impair the scholarly gathering in any way. As opposed to the last couple of years when the themes of the conference were conceived along broader, often interdisciplinary lines, this time it was instigated by a specific circumstance, the two hundred and eightieth anniversary of the first performance of Messiah in Dublin in 1741.The call for papers invited applicants to explore ‘the performance history, the history of the arrangements and the history of the impact’ of Handel’s most famous oratorio. The conference opened with a keynote lecture by Andreas Waczkat (Georg-August-Universität Göttingen) on images of Jesus Christ as saviour and hero in oratorios by composers from Handel to Friedrich Schneider. After briefly examining Charles Jennens’s theological precepts, Waczkat devoted most of his attentions to Handel’s lesser-known successors. The prolific, but unpopular, oratorio author Schneider composed a trilogy about Christ but was criticized by his librettist Philipp Mayer for portraying him only as triumphant, while settings of sections from Klopstock’s Messias by composers such as Andreas Romberg rarely offered a heroic view. After this address, the biennial Handel research prize was awarded to Teresa Ramer-Wünsche (Hallische Händel Ausgabe, Halle) for her dissertation on the genesis of Handel’s serenata Parnasso in festa per gli sponsali di Teti e Peleo, HWV73, stemming from her work on the critical edition (Bärenreiter: Kassel, 2017). The ceremony was followed by her lecture on affect, subject matter, word setting and borrowing in Parnasso in festa. She focused first on the working methods of the Italian librettist who wrote parody texts based on English models in the works from which Handel borrowed, and then investigated the roles that the original affect and subject matter of those models may or may not have played in Handel’s compositional process. The first two sessions on 31 May continued the pursuit of theological questions and approaches. Karl Friedrich Ulrichs (Theologische Fakultät Universität Leipzig) explored the comparatively infrequent use of extracts from Messiah in evangelical homilies, that is, sermons which take a piece of music as a source of inspiration. While Ulrichs merely stressed in a neutral manner the suitability of Handel’s music for such purposes, the following two papers took a more polemical stance, mostly on the controversial view by Michael Marissen – as expressed first in his article ‘Rejoicing again
2020年，哈勒·亨德尔音乐节和在作曲家出生地举行的年度音乐学会议都被取消了，尽管会议论文发表在Händel-Jahrbuch的2021年卷中。相比之下，在2021年，大量的节日音乐会在网上举行，会议完全转移到Zoom。多亏了Wolfgang Hirschmann, Annette Landgraf和Konstanze Musketa的组织，以及参与者的热情，在线形式没有以任何方式影响学术聚会。过去几年，会议的主题是沿着更广泛的、往往是跨学科的路线构思的，而这一次，会议是由一个特定的情况引发的，即1741年《弥赛亚》(Messiah)在都柏林首演二百八十周年。论文征集邀请申请者探索亨德尔最著名清唱剧的“表演历史、编曲历史和影响历史”。会议以安德烈亚斯·瓦茨卡特(Georg-August-Universität Göttingen)的主题演讲拉开了序幕，主题演讲是关于韩德尔和弗里德里希·施耐德等作曲家的清剧中耶稣基督的救世主和英雄形象。在简要地研究了查尔斯·詹宁斯的神学戒律之后，瓦茨卡特把大部分注意力放在了韩德尔那些不太知名的继承者身上。这位多产但不受欢迎的清唱剧作家施耐德创作了一部关于基督的三部曲，但他的自由作家菲利普·梅尔批评他只把基督描绘成胜利的形象，而克洛普斯托克的《弥赛亚》中由安德烈亚斯·隆伯格等作曲家创作的章节设置很少提供英雄的视角。在这次演讲之后，两年一次的亨德尔研究奖授予了Teresa rmer - w nsche (Hallische Händel Ausgabe, Halle)，以表彰她在festa per gli sponsali di Teti Peleo, HWV73上关于亨德尔的小鸣曲Parnasso的起源的论文，该论文源于她对关键版的研究(Bärenreiter: Kassel, 2017)。仪式之后是她的演讲，主题是情感、主题、词的设置和借用在帕纳索艺术节。她首先研究了这位意大利剧作家的工作方法，他在亨德尔所借鉴的作品中以英国模型为基础创作戏仿文本，然后研究了这些模型的原始情感和主题在亨德尔的创作过程中可能或可能没有发挥的作用。5月31日的前两届会议继续探讨神学问题和方法。卡尔·弗里德里希·乌尔里希斯(Theologische Fakultät Universität Leipzig)探索了福音派布道中相对较少使用的弥赛亚摘录，即以音乐作为灵感来源的布道。虽然乌尔里希斯只是以中立的方式强调亨德尔的音乐适合这样的目的，但接下来的两篇论文采取了更具争议性的立场，主要是迈克尔·马瑞森(Michael Marissen)的有争议的观点——首先表达在他的文章“在亨德尔的弥赛亚中欢呼反对犹太教”，音乐学杂志24/2(2007)，167-194，并在他的专著《亨德尔的弥赛亚:世界上最受欢迎的合唱作品的不安历史》(纽黑文)中进行了扩展:耶鲁大学出版社(Yale University Press, 2014)——詹宁斯故意破坏了他的歌词的圣经来源，以表达反犹太情绪。一个例子是咏叹调“哦
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Pub Date : 2022-02-14DOI: 10.1017/s1478570621000270
Beverly Wilcox
The other papers were a smorgasbord that included English and French luxury goods at London pleasure gardens that were produced by slave labour in the West Indies (Ashley Greathouse, University of Cincinnati), the unpublished music treatise of the musician-turned-astronomer William Herschel (Sarah Waltz, University of the Pacific), early London musical-miscellany publications that presented excerpts from Handel's operas in new and surprising ways (Alison DeSimone, University of Missouri–Kansas City) and my own paper concerning a satire on French provincial orchestras (Beverly Wilcox, California State University Sacramento). Faith Lanam (University of California Santa Cruz) gave an update on her latest research on the Vezerro de lecciones manuscript, a collection of solfeggi by Feo, Leo and Ignacio Jerusalem that was used to train lower-status girls to enter high-status Mexico City convents as choir nuns. [...]Louise K. Stein (University of Michigan) presented new documentation about the first opera productions in the Americas, La púrpura de la rosa (Lima, 1701), Celos aun del aire matan (Mexico, 1728), El Zeleuco (Mexico, 1710) and La Partenope (Mexico, undated), explaining how they travelled via Spanish diplomatic networks from Naples and Madrid to the colonies and observed a number of typically Spanish performance conventions. Most used the Zoom desktop client, but a few relied on mobile phones, and about half left their cameras off during the talks, so that the audience conserved bandwidth while still giving speakers the sort of visual feedback that a live audience normally provides.
其他的论文是一份大杂烩，包括西印度群岛奴隶劳动生产的伦敦娱乐花园里的英国和法国奢侈品(阿什利·格雷特豪斯，辛辛那提大学)，音乐家出身的天文学家威廉·赫舍尔未发表的音乐论文(萨拉·瓦尔兹，太平洋大学)，早期的伦敦音乐杂记出版物，以新的和令人惊讶的方式展示了亨德尔歌剧的摘录(Alison DeSimone，密苏里大学堪萨斯城分校)和我自己关于讽刺法国省级管弦乐队的论文(Beverly Wilcox，加州州立大学萨克拉门托分校)。Faith Lanam(加州大学圣克鲁斯分校)对Vezerro de lecciones手稿的最新研究进行了更新。Vezerro de lecciones手稿是Feo、Leo和Ignacio Jerusalem的视唱曲合集，用来训练地位较低的女孩进入地位较高的墨西哥城修道院，成为唱诗班的修女。[…Louise K. Stein(密歇根大学)展示了关于美洲第一批歌剧作品的新文献，La púrpura de La rosa(利马，1701年)，Celos aun del aire matan(墨西哥，1728年)，El Zeleuco(墨西哥，1710年)和La Partenope(墨西哥，未注明日期)，解释了他们如何通过西班牙外交网络从那不勒斯和马德里前往殖民地，并遵守一些典型的西班牙表演公约。大多数人使用Zoom桌面客户端，但也有少数人使用手机，大约一半的人在演讲过程中关闭了摄像头，这样一来，观众在节省带宽的同时，仍能向演讲者提供现场观众通常提供的那种视觉反馈。
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Pub Date : 2022-02-14DOI: 10.1017/S1478570621000415
Adeline Mueller
Robert O. Gjerdingen is among the musicologists who have helped loosen the grip of romanticism and mid-century modernism from scholars’ and performers’ approaches to European music from the long eighteenth century. His books A Classic Turn of Phrase: Music and the Psychology of Convention (Philadelphia: University of Pennsylvania Press, 1988) and Music in the Galant Style (New York: Oxford University Press, 2007), along with numerous articles and papers on music theory, cognition and perception, have demonstrated both the ubiquity and the salience of galant schemata – those stock musical phrases with which musicians navigated the rich, wide borderlands between convention and invention, performance, improvisation and composition. In doing so, he gives us an insider’s perspective on the building-blocks of common-practice tonality. Now a new generation of scholars, including Giorgio Sanguinetti, Nicholas Baragwanath and Peter van Tour, are publishing critical editions of surviving manuscripts of partimenti and solfeggi; and series like Monuments of Partimento Realizations (Visby: Wessmans Musikförlag, 2017–) and Gjerdingen’s own Monuments of Partimenti (partimenti.org), as well as publications, recordings, videos and online resources by performer-scholars like Robert Levin, Nicoleta Paraschivescu, Ewald Demeyere, L’Arpeggiata and the Scroll Ensemble, offer students, scholars and aficionados a trove of materials with which to explore this tradition. In his new book, Child Composers in the Old Conservatories, Gjerdingen takes a step back from the what of galant schemata to examine the how: how exactly did apprentice composers learn these tools of their trade? What was their curriculum, how were they assessed and how were the rules and norms transmitted (and modified) down the generations? In a wide-ranging study that encompasses source studies, archival documents and a generous helping of analogies from Charles Dickens to Pixar, Gjerdingen retraces the steps of composers working out and working through the formulae as they learned and taught musical phrasing. Along the way, he paints portraits of a host of noteworthy apprentices and masters in this craft. The geographical and temporal scope of Gjerdingen’s book is wide. He focuses primarily on the eighteenth-century tradition at the four boys’ conservatories in Naples, with a second focus being the Paris Conservatoire in the nineteenth and early twentieth centuries. This represents, as Gjerdingen notes, a largely unbroken tradition of some 250 years, extending from the late seventeenth-century intavolature of Gaetano Greco and partimenti of Bernardo Pasquini all the way to the chant donné realizations of Claude Debussy (1879) and the first-prize harmony realization of the little-known Colette Boyer (1938). The dual focus on Naples and Paris – with occasional detours to Bologna, Regensburg, Vienna and Montpellier – makes for frequent abrupt leaps between cities and centuries, and some recapitulation of
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