Pub Date : 2023-02-08DOI: 10.1017/s1478570622000318
Rachel Cowgill, S. Waltz
The year 2022 saw the two hundredth anniversary of the death of William Herschel, a profoundly significant figure in the field of astronomy, but one who made his early living as a musician – as an oboist, violinist, harpsichordist, organist, composer and impresario. After leaving a military band in his native Hanover for an unsuccessful two-year stint in London (1757–1759), Herschel moved to the north of England (1760), where he composed his symphonies and many other works as an itinerant musician in and around Richmond, Newcastle, Sunderland, Durham, Pontefract, Doncaster, Leeds and Halifax. In 1766 he accepted an invitation to take up the post of organist at the new Octagon Chapel in Bath, where from the following year he became a mainstay of the musical scene until 1782. In Bath William was joined by other musical family members including his sister Caroline, who assisted him first in musical and then in astronomical duties, ultimately becoming a distinguished astronomer in her own right. Herschel’s astronomical interests and construction of very high-quality telescopes, beginning in 1773, brought him international and lasting fame when in 1781 he discovered the planet now called Uranus. He came to the attention of George III, who summoned him to Windsor and effectively ended the musical portion of his career, at the age of forty-three. For the rest of his life Herschel made numerous ground-breaking contributions: designing large telescopes; mapping the Milky Way system of stars and the Sun’s motion in it; cataloguing and classifying thousands of star clusters, nebulae, variable stars and double stars; proving the effectiveness of gravity outside the solar system; discovering several moons around Saturn and Uranus; discovering infrared radiation (from the Sun); postulating an evolving universe with stars and nebulae that are born, age and die; estimating the age of the universe; and arguing that all stars and planets are populated with intelligent beings. For Herschel and other eighteenth-century thinkers, contemporary academia’s separation of music and astronomy across the divide of the arts and the sciences would have been hard to understand, given that both endeavours proceeded for them on mathematical principles. In this spirit, ‘Cosmic Harmonies: A Symposium Celebrating the Life, Science, Music, and Legacy of William Herschel (1738–1822)’ at the University of York – organized by musicologists Rachel Cowgill (University of York) and Sarah Waltz (University of the Pacific) and astronomer Woodruff T. Sullivan III (University of Washington) – brought together an interdisciplinary confluence of musicology, performance, composition, astronomy, data science and philosophy. The aim was to explore new aspects of Herschel’s work as composer, instrumentalist and astronomer in the intellectual, creative and cultural contexts of his time, including the Herschels’ legacy in connections between science and art today. Three sessions of papers, two panel
{"title":"Cosmic Harmonies: A Symposium Celebrating the Life, Science, Music, and Legacy of William Herschel (1738–1822) University of York, 19 June 2022","authors":"Rachel Cowgill, S. Waltz","doi":"10.1017/s1478570622000318","DOIUrl":"https://doi.org/10.1017/s1478570622000318","url":null,"abstract":"The year 2022 saw the two hundredth anniversary of the death of William Herschel, a profoundly significant figure in the field of astronomy, but one who made his early living as a musician – as an oboist, violinist, harpsichordist, organist, composer and impresario. After leaving a military band in his native Hanover for an unsuccessful two-year stint in London (1757–1759), Herschel moved to the north of England (1760), where he composed his symphonies and many other works as an itinerant musician in and around Richmond, Newcastle, Sunderland, Durham, Pontefract, Doncaster, Leeds and Halifax. In 1766 he accepted an invitation to take up the post of organist at the new Octagon Chapel in Bath, where from the following year he became a mainstay of the musical scene until 1782. In Bath William was joined by other musical family members including his sister Caroline, who assisted him first in musical and then in astronomical duties, ultimately becoming a distinguished astronomer in her own right. Herschel’s astronomical interests and construction of very high-quality telescopes, beginning in 1773, brought him international and lasting fame when in 1781 he discovered the planet now called Uranus. He came to the attention of George III, who summoned him to Windsor and effectively ended the musical portion of his career, at the age of forty-three. For the rest of his life Herschel made numerous ground-breaking contributions: designing large telescopes; mapping the Milky Way system of stars and the Sun’s motion in it; cataloguing and classifying thousands of star clusters, nebulae, variable stars and double stars; proving the effectiveness of gravity outside the solar system; discovering several moons around Saturn and Uranus; discovering infrared radiation (from the Sun); postulating an evolving universe with stars and nebulae that are born, age and die; estimating the age of the universe; and arguing that all stars and planets are populated with intelligent beings. For Herschel and other eighteenth-century thinkers, contemporary academia’s separation of music and astronomy across the divide of the arts and the sciences would have been hard to understand, given that both endeavours proceeded for them on mathematical principles. In this spirit, ‘Cosmic Harmonies: A Symposium Celebrating the Life, Science, Music, and Legacy of William Herschel (1738–1822)’ at the University of York – organized by musicologists Rachel Cowgill (University of York) and Sarah Waltz (University of the Pacific) and astronomer Woodruff T. Sullivan III (University of Washington) – brought together an interdisciplinary confluence of musicology, performance, composition, astronomy, data science and philosophy. The aim was to explore new aspects of Herschel’s work as composer, instrumentalist and astronomer in the intellectual, creative and cultural contexts of his time, including the Herschels’ legacy in connections between science and art today. Three sessions of papers, two panel ","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":"74545632","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/S1478570622000392
Alejandro Vera
The musical corpus of the old cathedral in Antigua Guatemala, which was heavily damaged by an earthquake in 1773, was moved to the country’s new capital city in 1779 and is preserved there in the Archivo Histórico Arquidiocesano Francisco de Paula García Peláez (frequently referred to as the Archivo Histórico Arquidiocesano de Guatemala). It is one of the most important in Latin America. According to Omar Morales Abril (‘Teatralización de villancicos paralitúrgicos del siglo XVII’ (PhD dissertation, Universidad Nacional Autónoma de México, 2021)), this corpus is divided into three large sections: plainchant choir books, polyphonic books and ‘music papers’ or parts. The last of these alone comprises about three thousand records of mainly manuscript pieces, two thousand of which are villancicos, that is, music with poetic texts in the vernacular. Along with local repertory, the collection includes music from various places in the Hispanic world, such as Mexico City, Puebla, Lima, Madrid, Toledo and Seville. In addition, it contains hundreds of works from the sixteenth and seventeenth centuries, unlike other Spanish-American cathedral archives, which mostly preserve music from the eighteenth and nineteenth centuries. It is therefore one of Latin America’s largest and oldest musical collections. For this reason, a new recording dedicated to the music of the Guatemalan Cathedral during the colonial period can only be welcomed, especially an album such as this, performed by the experienced musicians of El Mundo under the able directorship of Richard Savino. Among the many options that this extensive corpus offers to performers, Savino has chosen to focus on the ‘music papers’ and, more particularly, on the villancico. The characteristics of this genre, which combines features of sacred and secular music (the latter mainly from theatre and dance), fit well with Savino’s idea of Latin American music of the time. As he expresses it in the booklet, this repertory would have been influenced by ‘folk music’, and its performers would have used percussion instruments, giving rise to a unique sound that would then persist to the present day. I leave for the end some reflections on this matter. Among the selected composers, the chief protagonist is the Guatemalan Rafael Antonio Castellanos (died 1791), chapel master of the cathedral in the second half of the eighteenth century, to whom six of the seventeen recorded pieces belong (tracks 1, 2, 4, 6, 8 and 16). The other local composer on the album is his predecessor, Manuel José de Quirós (died 1765), who is represented by two works (tracks 12 and 15). Savino also includes villancicos by composers who never visited the New World but whose work has been preserved in the Archivo Histórico Arquidiocesano de Guatemala: Sebastián Durón (1660–1716) (tracks 7 and 10) and José de Torres (c1670–1738) (track 11). This decision seems reasonable because it reflects the musical life of the time, characterized by the coexisten
在1773年的地震中严重受损的危地马拉安提瓜老大教堂的音乐库，于1779年被转移到该国的新首都，并保存在那里的archiivo Histórico Arquidiocesano Francisco de Paula García Peláez(通常被称为archiivo Histórico Arquidiocesano de Guatemala)。它是拉丁美洲最重要的城市之一。根据Omar Morales Abril (' Teatralización de villancicos paralitúrgicos del siglo XVII '(博士论文，universsidad Nacional Autónoma de m录影带，2021))，该语料库分为三大部分:平淡的唱诗班书籍，复调书籍和“音乐论文”或部分。仅最后一个就包含了大约3000份主要是手稿的记录，其中2000份是villancicos，也就是用方言写的诗歌文本的音乐。除了当地的曲目，收藏还包括来自西班牙世界各地的音乐，如墨西哥城、普埃布拉、利马、马德里、托莱多和塞维利亚。此外，它还包含了16世纪和17世纪的数百件作品，不像其他西班牙裔美国人的大教堂档案，主要保存的是18世纪和19世纪的音乐。因此，它是拉丁美洲最大和最古老的音乐收藏之一。因此，在殖民时期专门录制危地马拉大教堂音乐的新唱片只能受到欢迎，特别是像这样的专辑，由El Mundo经验丰富的音乐家在Richard Savino的干将指导下演奏。在这个庞大的语料库为表演者提供的众多选择中，萨维诺选择了专注于“音乐论文”，尤其是villancico。这种流派的特点，结合了神圣和世俗音乐的特点(后者主要来自戏剧和舞蹈)，非常符合萨维诺对当时拉丁美洲音乐的看法。正如他在小册子中所表达的那样，这个剧目可能受到“民间音乐”的影响，表演者可能会使用打击乐器，从而产生一种独特的声音，这种声音一直持续到今天。我在结尾处留下对这个问题的一些思考。在入选的作曲家中，主要的主角是危地马拉人拉斐尔·安东尼奥·卡斯特拉诺斯(死于1791年)，他是18世纪下半叶大教堂的教堂主人，17首录音作品中有6首属于他(曲目1、2、4、6、8和16)。专辑中的另一位本地作曲家是他的前任Manuel jossore de Quirós(死于1765年)，他的两首作品(第12首和第15首)代表了他。萨维诺还包括从未访问过新世界的作曲家的villancicos，但他们的作品被保存在Histórico危地马拉Arquidiocesano档案馆:Sebastián Durón(1660-1716)(曲目7和10)和jos·德·托雷斯(1670 - 1738)(曲目11)。这个决定似乎是合理的，因为它反映了当时的音乐生活，其特点是当地和半岛的剧目共存，特别是与马德里皇家教堂有关的作曲家。但萨维诺更进一步，包括墨西哥城保存的作品:两首匿名的“小提琴奏鸣曲”(第5首)和胡安García de的一首维拉西科
{"title":"Archivo de Guatemala: Music from the Guatemala City Cathedral Archive El Mundo / Richard Savino (director) Naxos 8.574295, 2021; one disc, 74 minutes","authors":"Alejandro Vera","doi":"10.1017/S1478570622000392","DOIUrl":"https://doi.org/10.1017/S1478570622000392","url":null,"abstract":"The musical corpus of the old cathedral in Antigua Guatemala, which was heavily damaged by an earthquake in 1773, was moved to the country’s new capital city in 1779 and is preserved there in the Archivo Histórico Arquidiocesano Francisco de Paula García Peláez (frequently referred to as the Archivo Histórico Arquidiocesano de Guatemala). It is one of the most important in Latin America. According to Omar Morales Abril (‘Teatralización de villancicos paralitúrgicos del siglo XVII’ (PhD dissertation, Universidad Nacional Autónoma de México, 2021)), this corpus is divided into three large sections: plainchant choir books, polyphonic books and ‘music papers’ or parts. The last of these alone comprises about three thousand records of mainly manuscript pieces, two thousand of which are villancicos, that is, music with poetic texts in the vernacular. Along with local repertory, the collection includes music from various places in the Hispanic world, such as Mexico City, Puebla, Lima, Madrid, Toledo and Seville. In addition, it contains hundreds of works from the sixteenth and seventeenth centuries, unlike other Spanish-American cathedral archives, which mostly preserve music from the eighteenth and nineteenth centuries. It is therefore one of Latin America’s largest and oldest musical collections. For this reason, a new recording dedicated to the music of the Guatemalan Cathedral during the colonial period can only be welcomed, especially an album such as this, performed by the experienced musicians of El Mundo under the able directorship of Richard Savino. Among the many options that this extensive corpus offers to performers, Savino has chosen to focus on the ‘music papers’ and, more particularly, on the villancico. The characteristics of this genre, which combines features of sacred and secular music (the latter mainly from theatre and dance), fit well with Savino’s idea of Latin American music of the time. As he expresses it in the booklet, this repertory would have been influenced by ‘folk music’, and its performers would have used percussion instruments, giving rise to a unique sound that would then persist to the present day. I leave for the end some reflections on this matter. Among the selected composers, the chief protagonist is the Guatemalan Rafael Antonio Castellanos (died 1791), chapel master of the cathedral in the second half of the eighteenth century, to whom six of the seventeen recorded pieces belong (tracks 1, 2, 4, 6, 8 and 16). The other local composer on the album is his predecessor, Manuel José de Quirós (died 1765), who is represented by two works (tracks 12 and 15). Savino also includes villancicos by composers who never visited the New World but whose work has been preserved in the Archivo Histórico Arquidiocesano de Guatemala: Sebastián Durón (1660–1716) (tracks 7 and 10) and José de Torres (c1670–1738) (track 11). This decision seems reasonable because it reflects the musical life of the time, characterized by the coexisten","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":"78304659","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/s1478570623000027
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Pub Date : 2023-02-08DOI: 10.1017/S1478570622000355
M. A. Marín
from
从
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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":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":"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/S147857062200032X
Hansjörg Drauschke
{"title":"Die leidende und am Creutz sterbende Liebe Jesu Gottfried Heinrich Stölzel (1690–1749), ed. Warwick Cole Middleton, WI: A-R Editions, 2020 pp. xxxii + 220, ISBN 978 1 987 20613 5","authors":"Hansjörg Drauschke","doi":"10.1017/S147857062200032X","DOIUrl":"https://doi.org/10.1017/S147857062200032X","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":"87830708","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/s1478570622000409
{"title":"Notes on Contributors","authors":"","doi":"10.1017/s1478570622000409","DOIUrl":"https://doi.org/10.1017/s1478570622000409","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":"75744129","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
{"title":"ECM volume 20 issue 1 Cover and Front matter","authors":"","doi":"10.1017/s1478570623000015","DOIUrl":"https://doi.org/10.1017/s1478570623000015","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":"85007379","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/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,
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