Pub Date : 2023-02-08DOI: 10.1017/s1478570622000367
David J. Rhodes
This disc is a well-thought-out and imaginative coupling of two odes written for specific performing occasions in Dublin, one by Henry Purcell in 1694 and the other by Johann Sigismund Cousser in 1711, the former for an institutional and the latter a royal birthday celebration
{"title":"The Hibernian Muse: Music for Ireland by Purcell and Cousser Johann Sigismund Cousser (1660–1727), Henry Purcell (1659–1695) Irish Baroque Orchestra / Peter Whelan (conductor) Linn CKD 685, 2022; one disc, 70 minutes","authors":"David J. Rhodes","doi":"10.1017/s1478570622000367","DOIUrl":"https://doi.org/10.1017/s1478570622000367","url":null,"abstract":"This disc is a well-thought-out and imaginative coupling of two odes written for specific performing occasions in Dublin, one by Henry Purcell in 1694 and the other by Johann Sigismund Cousser in 1711, the former for an institutional and the latter a royal birthday celebration","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86083582","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/s1478570622000306
Maria Virginia Acuña
{"title":"Tonadillas. Volumen 1: Obras del periodo 1768–1778 Jacinto Valledor (1744–1809), ed. Aurèlia Pessarrodona Madrid: Consejo Superior de Investigaciones Científicas, 2019 pp. 412, ISBN 978 8 400 10498 6","authors":"Maria Virginia Acuña","doi":"10.1017/s1478570622000306","DOIUrl":"https://doi.org/10.1017/s1478570622000306","url":null,"abstract":"","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84808753","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/S1478570622000380
Laura Trujillo Sanz
The annual ‘ Musicking ’ conference brought together culturally informed musical performances and masterclasses with academic research in a series of events centred on the study of early music within its broader cultural context. In 2022, its seventh year, the conference celebrated and honoured Musicking ’ s artistic director Marc Vanscheeuwijck on his retirement from the University of Oregon. As a tribute to his scholarly contributions, the event focused primarily (but not exclusively) on genres, composers, instruments and music in and around Bologna and Naples. The conference consisted of five ‘ Intermezzo ’ lecture-concerts, three panels, a special lecture, a keynote address, masterclasses and two concerts. As was the case in 2021, participants had the option of attending in person or virtually, the latter allowing for presenters and attendees to engage with conference events on a national and international scale. The conference opened on Tuesday 19 April with the Intermezzo lecture-concert ‘ Eighteenth-Century Spanish Violin Repertory through its Own Lens ’ by Guillermo Salas Suárez (Case Western Reserve University). Taking Spanish treatises as a starting-point, Salas focused on issues of bowings and articulation, ornamentation and accompaniment techniques. He illustrated the topics of his talk with excerpts from Domenico Scarlatti (1685 – 1757), Francisco Manalt ( c 1710 – 1759), José Herrando ( c 1720 – 1763) and Gaetano Brunetti (1744 – 1798). Issues concerning vocal performance took centre stage on the Wednesday. The term ‘ falsetto ’ , L ’ homme armé masses, the cantatas of Leonardo Vinci (1690 – 1730) and prosulas for mass propers from Benevento occupied the attendees on one of the busiest days of the conference. The panel ‘ Soldiers and Castrati ’ brought together Cameron Steuart (University of Georgia) and John Ahern (Princeton University) in a fascinating session that dealt with terminology and authorship. Steuart analysed the use of the term ‘ falsetto ’ in eighteenth-century opera, debunking some of the negative connotations
一年一度的“音乐”会议汇集了文化知识丰富的音乐表演和大师班，以及一系列以更广泛的文化背景下的早期音乐研究为中心的学术研究。在2022年，也就是它的第七年，会议庆祝并表彰了musoning的艺术总监Marc Vanscheeuwijck从俄勒冈大学退休。为了向他的学术贡献致敬，这次活动主要(但不限于)关注博洛尼亚和那不勒斯及其周边地区的流派、作曲家、乐器和音乐。会议由五场“间奏曲”讲座音乐会、三场小组讨论、一场专题讲座、一场主题演讲、大师班和两场音乐会组成。与2021年的情况一样，与会者可以选择亲自出席或虚拟出席，后者允许主持人和与会者在国内和国际范围内参与会议活动。会议于4月19日星期二开幕，由吉列尔莫·萨拉斯Suárez(凯斯西储大学)主持的间奏曲讲座音乐会“十八世纪西班牙小提琴保留曲目”。以西班牙论文为出发点，萨拉斯关注弓弦和发音，装饰和伴奏技术的问题。他以多梅尼科·斯卡拉蒂(1685 - 1757)、弗朗西斯科·马纳特(1710 - 1759)、约瑟·埃尔兰多(1720 - 1763)和加埃塔诺·布鲁内蒂(1744 - 1798)的作品为例阐述了他的演讲主题。周三，有关声乐表演的问题成为人们关注的焦点。在会议最繁忙的一天，与会者们讨论了假声(falsetto)、人声(L ' homme arm mass)、列奥纳多·芬奇(Leonardo Vinci, 1690 - 1730)的康塔塔(cantatas)和贝内文托(Benevento)的人声(prosulas)。“士兵与阉畜”小组邀请了卡梅隆·斯图尔特(佐治亚大学)和约翰·埃亨(普林斯顿大学)参加了一场精彩的讨论，讨论了术语和作者身份。斯图尔特分析了“假声”一词在18世纪歌剧中的使用，揭穿了一些负面含义
{"title":"Musicking: Culturally Informed Performance Practices University of Oregon School of Music and Dance, 19–24 April 2022","authors":"Laura Trujillo Sanz","doi":"10.1017/S1478570622000380","DOIUrl":"https://doi.org/10.1017/S1478570622000380","url":null,"abstract":"The annual ‘ Musicking ’ conference brought together culturally informed musical performances and masterclasses with academic research in a series of events centred on the study of early music within its broader cultural context. In 2022, its seventh year, the conference celebrated and honoured Musicking ’ s artistic director Marc Vanscheeuwijck on his retirement from the University of Oregon. As a tribute to his scholarly contributions, the event focused primarily (but not exclusively) on genres, composers, instruments and music in and around Bologna and Naples. The conference consisted of five ‘ Intermezzo ’ lecture-concerts, three panels, a special lecture, a keynote address, masterclasses and two concerts. As was the case in 2021, participants had the option of attending in person or virtually, the latter allowing for presenters and attendees to engage with conference events on a national and international scale. The conference opened on Tuesday 19 April with the Intermezzo lecture-concert ‘ Eighteenth-Century Spanish Violin Repertory through its Own Lens ’ by Guillermo Salas Suárez (Case Western Reserve University). Taking Spanish treatises as a starting-point, Salas focused on issues of bowings and articulation, ornamentation and accompaniment techniques. He illustrated the topics of his talk with excerpts from Domenico Scarlatti (1685 – 1757), Francisco Manalt ( c 1710 – 1759), José Herrando ( c 1720 – 1763) and Gaetano Brunetti (1744 – 1798). Issues concerning vocal performance took centre stage on the Wednesday. The term ‘ falsetto ’ , L ’ homme armé masses, the cantatas of Leonardo Vinci (1690 – 1730) and prosulas for mass propers from Benevento occupied the attendees on one of the busiest days of the conference. The panel ‘ Soldiers and Castrati ’ brought together Cameron Steuart (University of Georgia) and John Ahern (Princeton University) in a fascinating session that dealt with terminology and authorship. Steuart analysed the use of the term ‘ falsetto ’ in eighteenth-century opera, debunking some of the negative connotations","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83341484","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/s1478570622000239
Nathalie Dupuis-Désormeaux
Abstract This article shares the exciting discovery of previously unidentified arias within the music amassed by the eighteenth-century English poet Thomas Gray. His ten-volume collection, now held at the Lewis Walpole Library, Yale University, contains some of the only surviving copies of important arias dating back as far as 1690 and bears many annotations by Gray listing performance venues, composers, opera roles and singers. One volume of the collection contains many unattributed works, among which I identify a number of arias. Five of them match the libretto to La caduta del regno dell'Amazzoni (1690) and another corresponds to Il Colombo overo l'India scoperta (1691), both operas originally set by Bernardo Pasquini. The texts of the two ensuing arias align with Carlo Sigismondo Capeci's libretto for Ifigenia in Tauri (1713), the opera he wrote with Domenico Scarlatti for their patroness, Maria Kazimiera Sobieska. In addition, in the first pages of the assemblage, instructions in Gray's hand on how to execute a basso-continuo accompaniment continue from another volume, where he entitled these ‘Regole per l'Accompagnamento’ and interwove them with a ‘Toccata per il Cembalo’. This article seeks to describe the newfound works and stimulate study into the full contents of Gray's music collection, but its main focus is on the two excerpts from Ifigenia in Tauri and their possible attribution to Domenico Scarlatti. Salient characteristics of these scores are presented, as is an evaluation of their concordance with Capeci's libretto. Further, I underline features that these numbers share with other Ifigenia in Tauri arias known to be by Domenico Scarlatti and provide comprehensive tables detailing equivalent structural proportions.
这篇文章分享了十八世纪英国诗人托马斯·格雷收集的音乐中以前未被识别的咏叹调的令人兴奋的发现。他的十卷本作品集现在保存在耶鲁大学的刘易斯·沃波尔图书馆，其中包含了一些仅存的重要咏叹调的副本，这些咏叹调可以追溯到1690年，并附有格雷的许多注释，列出了表演场所、作曲家、歌剧角色和歌手。其中一卷包含了许多未署名的作品，其中我发现了一些咏叹调。其中五部与《亚马逊地区的caduta del regno dell’amazzoni》(1690年)的剧本相匹配，另一部与《印度的科伦坡》(1691年)的剧本相匹配，这两部歌剧最初都是由贝尔纳多·帕斯基尼创作的。随后的两个咏咏曲的文本与卡洛·西吉斯蒙多·卡佩西为金牛座的伊菲根尼亚(1713年)所写的歌词一致，这是他与多梅尼科·斯卡拉蒂为他们的赞助人玛丽亚·卡齐米耶拉·索别斯卡写的歌剧。此外，在合集的前几页，格雷手中关于如何执行低音继续伴奏的说明继续来自另一卷，他将这些命名为“Regole per l’accompagnamento”，并将它们与“Toccata per il Cembalo”交织在一起。本文试图描述这些新发现的作品，并激发对格雷音乐收藏全部内容的研究，但其主要重点是金牛座的伊菲根尼亚的两段摘录，以及它们可能属于多梅尼科·斯卡拉蒂。这些分数的显著特征被提出，作为他们与卡佩奇的剧本一致性的评价。此外，我强调了这些数字与Domenico Scarlatti已知的金牛座arias中的其他Ifigenia共有的特征，并提供了详细说明等效结构比例的综合表格。
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Pub Date : 2023-02-08DOI: 10.1017/S1478570622000240
Callum Blackmore
{"title":"From Servant to Savant: Musical Privilege, Property, and the French Revolution Rebecca Dowd Geoffroy-Schwinden New York: Oxford University Press, 2022 pp. xxii + 328, ISBN 978 0 197 51151 0","authors":"Callum Blackmore","doi":"10.1017/S1478570622000240","DOIUrl":"https://doi.org/10.1017/S1478570622000240","url":null,"abstract":"","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86975304","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/S1478570622000252
Olivia Bloechl
The opéra-comique encompassed a striking variety of lyrical forms and subject matter across its long history, but two characteristics have been seen as defining features: its use of spoken dialogue and its popularity. Both characteristics, in a schematic account of old-regime musical theatre, contrast readily with the opéra-comique ’ s more prestigious, fully sung counterpart, the tragédie en musique. The popularity of opéra-comique lay partly in its origins outside the ‘ legitimate ’ compan-ies and theatres patronized by the Crown and partly in its ability to appeal to audiences that spanned the French social hierarchy. Indeed, this popular quality has, with good reason, been so closely associated with opéra-comique that a recent book by David Charlton integrates its history within a broader study of ‘ popular opera ’ in eighteenth-century France ( Popular Opera in Eighteenth-Century France (Cambridge: Cambridge University Press, 2021)). In contrast, Julia Doe ’ s new study, The Comedians of the King: Opéra Comique and the Bourbon Monarchy on the Eve of Revolution , focuses on opéra-comique ’ s fortunes in the decades just before the Revolution, and it yields a rather different view of the genre ’ s development and its popularity. The book ’ s Introduction and six chapters, including a substantial Epilogue, offer a study of the institutional and genre history of opéra-comique in France during the pivotal decades of the 1760s to the 1790s. As the book ’ s title suggests, two ‘ revolutions ’ , one aesthetic and the other political, haunt the discussion that unfolds across its chapters. Its central question, as I read it, is how we should view the relationship of opéra-comique to the dramatic cultural and political transformations of the later eighteenth century, with which the genre has been so intimately linked in French opera historiography.
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Pub Date : 2023-02-08DOI: 10.1017/S1478570622000288
John A. Rice
musicologists
音乐
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Pub Date : 2023-02-08DOI: 10.1017/S1478570622000343
Erica P. Levenson
Abstract This article examines how French vaudeville tunes circulated in England through both theatrical performances and French-language textbooks (or ‘grammars’). My central concern is to consider how audiences in London – who had little exposure to the rich satirical and cultural connotations that these tunes had acquired over years of performance in Paris – might have been able to grasp their significance within staged works performed by visiting Parisian troupes between the years 1718 and 1735. I suggest that in tracing the transmission of tunes from France to England, scholars should consider a wider range of print sources, since vaudevilles had a social life extending beyond the plays in which they were performed. To this end, I focus on analysing vaudevilles found in French ‘grammars’. The pedagogical nature of these sources explicitly puts on display how French culture was translated for an English readership. By comparing the tunes found in grammars with plays that used the same tunes, I reveal both how Londoners could have become acquainted with the Parisian understanding of French tunes and how the grammar books could have shifted the meanings of these tunes for English readers and audiences. Ultimately, the circulation of French tunes abroad through grammars directs our attention to the material and cultural practices undergirding the mobility of eighteenth-century musical culture.
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Pub Date : 2023-02-08DOI: 10.1017/S1478570622000227
Alison DeSimone
Abstract During the early eighteenth century, music composed by George Frideric Handel began to circulate in miscellaneous publications of songs and arias. His music appeared in various forms. Some publications, such as four notable pocket collections published in the mid-1720s, preserve the music largely unchanged, although within a new sonic context. Other publications completely transform arias and even overtures into vocal works with new texts, creating layers of musical associations and meanings. Unauthorized appearances of Handel's music in songbook miscellanies and single-sided prints show alternative ways in which consumers may have heard and experienced the composer outside of the opera house or a concert setting. Examining these alternative sources for Handel's music allows for an enriched assessment of which works of the composer were critically and commercially appreciated during the early eighteenth century. Analysing appearances of Handel's music in songbook anthologies also offers insight into how musical miscellanies became ubiquitous forms of the production and reception of his works in the early eighteenth century.
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