Nineteenth-Century Music Review最新文献

英文中文

IF 0.3 3区艺术学 0 MUSIC

Nineteenth-Century Music Review

Pub Date : 2024-04-17 DOI: 10.1017/s1479409824000065

David Larkin

In an era when historical statues can be toppled and reputations smashed, critical editions remain one of the more durable monuments to the significance of a composer. Initiated by the nineteenth-century Bach-Gesellschaft and Händel-Gesellschaft editions, the practice of trying to produce a ‘correct’ text of the complete musical works of a single composer reached its apogee in the decades after World War II, leading to marquee projects like the Neue Bach-Ausgabe (1954–2007) and the Neue Mozart-Ausgabe (1955–91). So pervasive was edition-making in this era that it led Joseph Kerman to complain ‘there is something wrong with a discipline that spends (or spent) so much more of its time establishing texts than thinking about the texts thus established’. But despite such criticisms and amid the proliferation of alternative forms of musicological research in the last 40 years or so, the making of critical editions has continued, with new projects taking in figures such as Janáček (1978–), Verdi (1983–), Donizetti (1989–) and Bartók (2016–), among many others. Even if it may be nowhere near as dominant a part of musicological endeavour as it once was, edition-making has survived, a tacit refutation of the challenges that the canon has met with.

在一个历史雕像可能被推倒、声誉可能被打碎的时代，评论版本仍然是证明作曲家重要性的更持久的纪念碑之一。由十九世纪的巴赫和亨德尔版本开始，试图为一位作曲家的全部音乐作品制作 "正确 "文本的做法在第二次世界大战后的几十年中达到了顶峰，导致了新巴赫版本（1954-2007 年）和新莫扎特版本（1955-91 年）等重要项目的出现。在这一时期，版本制作如此普遍，以至于约瑟夫-克尔曼（Joseph Kerman）抱怨说："一门学科花费（或花费）在建立文本上的时间远远多于思考已建立文本的时间，这门学科是有问题的"。然而，尽管有这样的批评，在过去 40 多年中，音乐学研究的其他形式也在不断涌现，批评版本的制作仍在继续，新的项目包括雅那切克（1978-）、威尔第（1983-）、多尼采蒂（1989-）和巴托克（2016-）等。尽管版本制作在音乐学工作中的主导地位远不如从前，但它依然存在，这是对经典所面临挑战的一种默示反驳。

{"title":"Richard Strauss Online","authors":"David Larkin","doi":"10.1017/s1479409824000065","DOIUrl":"https://doi.org/10.1017/s1479409824000065","url":null,"abstract":"In an era when historical statues can be toppled and reputations smashed, critical editions remain one of the more durable monuments to the significance of a composer. Initiated by the nineteenth-century Bach-Gesellschaft and Händel-Gesellschaft editions, the practice of trying to produce a ‘correct’ text of the complete musical works of a single composer reached its apogee in the decades after World War II, leading to marquee projects like the Neue Bach-Ausgabe (1954–2007) and the Neue Mozart-Ausgabe (1955–91). So pervasive was edition-making in this era that it led Joseph Kerman to complain ‘there is something wrong with a discipline that spends (or spent) so much more of its time establishing texts than thinking about the texts thus established’. But despite such criticisms and amid the proliferation of alternative forms of musicological research in the last 40 years or so, the making of critical editions has continued, with new projects taking in figures such as Janáček (1978–), Verdi (1983–), Donizetti (1989–) and Bartók (2016–), among many others. Even if it may be nowhere near as dominant a part of musicological endeavour as it once was, edition-making has survived, a tacit refutation of the challenges that the canon has met with.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"29 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2024-04-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140615400","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Nineteenth-Century Women in Music: MuGI, Sophie Drinker, Art Song Augmented and BID 十九世纪音乐中的女性：MuGI、苏菲-德林克、艺术歌曲增强版和 BID

IF 0.3 3区艺术学 0 MUSIC

Nineteenth-Century Music Review

Pub Date : 2024-04-02 DOI: 10.1017/s147940982400003x

Chanda VanderHart

This article focuses on four digital resources for researching nineteenth-century women in music. Two are over two decades old and hail from the German-speaking world: Musik(vermittlung) und Gender(forschung) im Internet (MuGI) and the Sophie Drinker Institut online lexicon. The remaining pair are emerging digital resources based in the United States: Art Song Augmented and the Boulanger Initiative Database (BID).

本文重点介绍用于研究 19 世纪女性音乐的四种数字资源。其中两个已有二十多年的历史，来自德语世界：Musik（vermittlung） und Gender（forschung）im Internet (MuGI) 和 Sophie Drinker Institut 在线词典。其余两对是位于美国的新兴数字资源：Art Song Augmented 和 Boulanger Initiative Database (BID)。

引用次数: 0

Letting the Lark Ascend: Vaughan Williams's ‘Most Popular Work’ and the Limits of Revisionism 让云雀升空沃恩-威廉斯的 "最受欢迎作品 "与修正主义的局限性

IF 0.3 3区艺术学 0 MUSIC

Nineteenth-Century Music Review

Pub Date : 2024-03-05 DOI: 10.1017/s1479409824000028

Ryan Ross

Ralph Vaughan Williams's The Lark Ascending is a perennial favourite in the British classical music radio station Classic FM's ‘Hall of Fame’ poll. In spite of its apparent popularity, however, the work sits uncomfortably with the way revisionist critics and scholars have wanted to portray the composer. As an escapist piece of English musical pastoralism, The Lark undermines their preferred view of Vaughan Williams as a progressive or even ‘modernist’ participant in his artistic milieu. To combat this image, some critics and musicologists have argued for complex, harder-edged interpretations of the work that have little to no basis in the music's primary source materials or the composer's stated priorities in his own writings. Such emphases reflect a problem in recent revisionist literature, wherein traditionalist, nationalist, or Romantic aspects of Vaughan Williams's music are excessively downplayed (or re-situated) in favour of arguments that better support elite sensibilities. As a work consisting of accessible, melody-centric music, and following from a poem excerpt suggesting an idyllic scene, The Lark serves as a bulwark against revisionist overreach and a check against over-emphasis on trendy priorities.

拉尔夫-沃恩-威廉姆斯（Ralph Vaughan Williams）的《云雀升起》（The Lark Ascending）是英国古典音乐电台 Classic FM "名人堂 "投票中的常胜将军。尽管这部作品表面上很受欢迎，但评论家和学者对作曲家形象的修正却让人感到不舒服。作为一部逃避现实的英式田园音乐作品，《云雀》破坏了他们心目中沃恩-威廉斯作为其艺术环境中的进步甚至 "现代主义 "参与者的形象。为了消除这种印象，一些评论家和音乐学家主张对这部作品进行复杂、强硬的诠释，而这些诠释在音乐的原始资料或作曲家在自己的著作中所阐述的重点方面几乎没有任何依据。这种强调反映了近代修正主义文献中的一个问题，即过分淡化（或重新定位）沃恩-威廉斯音乐中的传统主义、民族主义或浪漫主义方面，而倾向于支持精英情感的论点。云雀》是一部由平易近人、以旋律为中心的音乐组成的作品，其后的诗歌节选展现了田园诗般的场景，它是防止修正主义过度扩张的堡垒，也是防止过度强调潮流优先事项的制衡器。

{"title":"Letting the Lark Ascend: Vaughan Williams's ‘Most Popular Work’ and the Limits of Revisionism","authors":"Ryan Ross","doi":"10.1017/s1479409824000028","DOIUrl":"https://doi.org/10.1017/s1479409824000028","url":null,"abstract":"Ralph Vaughan Williams's The Lark Ascending is a perennial favourite in the British classical music radio station Classic FM's ‘Hall of Fame’ poll. In spite of its apparent popularity, however, the work sits uncomfortably with the way revisionist critics and scholars have wanted to portray the composer. As an escapist piece of English musical pastoralism, The Lark undermines their preferred view of Vaughan Williams as a progressive or even ‘modernist’ participant in his artistic milieu. To combat this image, some critics and musicologists have argued for complex, harder-edged interpretations of the work that have little to no basis in the music's primary source materials or the composer's stated priorities in his own writings. Such emphases reflect a problem in recent revisionist literature, wherein traditionalist, nationalist, or Romantic aspects of Vaughan Williams's music are excessively downplayed (or re-situated) in favour of arguments that better support elite sensibilities. As a work consisting of accessible, melody-centric music, and following from a poem excerpt suggesting an idyllic scene, The Lark serves as a bulwark against revisionist overreach and a check against over-emphasis on trendy priorities.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"84 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2024-03-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140056081","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Delphine von Schauroth, Corinna-Sister 德尔菲娜-冯-绍罗特，科琳娜-姐姐

IF 0.3 3区艺术学 0 MUSIC

Nineteenth-Century Music Review

Pub Date : 2024-02-22 DOI: 10.1017/s1479409823000423

Amanda Lalonde

Despite her current marginal position, the nineteenth-century pianist and composer Delphine von Schauroth (1813–1887) once ranked among the most prominent virtuosos of the nineteenth century and had connections with Fanny Hensel, Ferdinand Hiller, Josephine Lang, Franz Liszt, Felix Mendelssohn, Robert Schumann and others. Drawing on large body of music criticism, as well as compositions, letters, images and literary works, this article presents a portrait of Schauroth as an artist, with an emphasis on the role of improvisation and the improvisatory in her pianism. In particular, the article fleshes out Robert Schumann's characterization of Schauroth as a ‘Corinna-sister’, a reference to the improvising poetess of Madame de Stäel's novel Corinne, or Italy. The article suggests that Schumann's comparison highlights key facets of Schauroth's status and character as a pianist and composer. Firstly, like Corinne, Schauroth was widely renowned as an eminent performer and was celebrated as a genius by critics, which was particularly notable for a woman musician in the early nineteenth century. Secondly, Schauroth was received as a creator, not only for her compositions, but also for her performances: in the late 1820s and early 1830s, in particular, critics responded to these performances with images of magical creation and an emphasis on the newness of her performance over the composer's work. Thirdly, Schauroth displayed a varied practice of improvisation, and her compositions were understood as having an improvisatory character.

十九世纪钢琴家兼作曲家德尔菲娜-冯-绍洛特（Delphine von Schauroth，1813-1887 年）尽管目前处于边缘地位，但她曾是十九世纪最杰出的演奏家之一，与芬妮-亨塞尔、费迪南德-希勒、约瑟芬-朗、弗朗茨-李斯特、费利克斯-门德尔松、罗伯特-舒曼等人都有交往。本文通过大量的音乐评论以及作品、信件、图片和文学作品，展示了绍罗特作为艺术家的形象，并重点介绍了即兴演奏和即兴演奏在她的钢琴演奏中的作用。文章特别阐述了罗伯特-舒曼将绍罗特称为 "科琳娜姐姐 "的描述，科琳娜指的是德-施泰尔夫人的小说《科琳娜，意大利》中的即兴女诗人。文章认为，舒曼的比喻突出了绍罗特作为钢琴家和作曲家的地位和性格的关键方面。首先，与科琳娜一样，绍洛特也是广为人知的杰出演奏家，被评论界誉为天才，这在十九世纪初的女性音乐家中尤为突出。其次，绍洛特不仅在作曲方面，而且在演奏方面都被视为创作者：特别是在 19 世纪 20 年代末和 30 年代初，评论家们用神奇的创作形象来回应这些演奏，并强调她的演奏比作曲家的作品更新颖。第三，绍洛斯的即兴创作手法多种多样，她的作品也被认为具有即兴创作的特点。

{"title":"Delphine von Schauroth, Corinna-Sister","authors":"Amanda Lalonde","doi":"10.1017/s1479409823000423","DOIUrl":"https://doi.org/10.1017/s1479409823000423","url":null,"abstract":"Despite her current marginal position, the nineteenth-century pianist and composer Delphine von Schauroth (1813–1887) once ranked among the most prominent virtuosos of the nineteenth century and had connections with Fanny Hensel, Ferdinand Hiller, Josephine Lang, Franz Liszt, Felix Mendelssohn, Robert Schumann and others. Drawing on large body of music criticism, as well as compositions, letters, images and literary works, this article presents a portrait of Schauroth as an artist, with an emphasis on the role of improvisation and the improvisatory in her pianism. In particular, the article fleshes out Robert Schumann's characterization of Schauroth as a ‘Corinna-sister’, a reference to the improvising poetess of Madame de Stäel's novel Corinne, or Italy. The article suggests that Schumann's comparison highlights key facets of Schauroth's status and character as a pianist and composer. Firstly, like Corinne, Schauroth was widely renowned as an eminent performer and was celebrated as a genius by critics, which was particularly notable for a woman musician in the early nineteenth century. Secondly, Schauroth was received as a creator, not only for her compositions, but also for her performances: in the late 1820s and early 1830s, in particular, critics responded to these performances with images of magical creation and an emphasis on the newness of her performance over the composer's work. Thirdly, Schauroth displayed a varied practice of improvisation, and her compositions were understood as having an improvisatory character.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"103 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2024-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139919888","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

From Musical Writings To Writing Music: Book-Writing Leading to Music School in Nineteenth-Century Calcutta 从音乐著作到音乐写作：十九世纪加尔各答音乐学校的图书写作之路

IF 0.3 3区艺术学 0 MUSIC

Nineteenth-Century Music Review

Pub Date : 2024-02-16 DOI: 10.1017/s1479409823000411

Anirban Bhattacharyya

Print created the urge to innovate new modalities of musical knowledge production and dissemination in nineteenth-century Bengal. Publication of music books made the bifurcation between music theory and practice clearer, but only as a textual category. As the literature suggests, these were two categories for organizing musical knowledge, intimately entwined, where one produces the other and also doesn't exist without each other. The technology of ‘swaralipi’ (musical notation) used in the modern printed books materialized the project of disseminating music to the reader who could now ‘read’ the music from the book. For some book writers, music books were meant to be a replacement for the oral tutelage, published as ‘self-instructors’. But, on the contrary, the most prolific book-writers of the time used their books as the basis of oral tutelage in the music school. In the modern setting of the music school, the person of the ‘guru’ or ‘ustad’ was replaced by the formalized, systematic teaching of the ‘professors’ of music. Music books, as the medium of modern music pedagogy, thus changed not only the way students learned – making it possible to learn from the book with no instructor – but also the role of teachers, whose teaching was validated by the book. The music books came to function as the ‘modern shastras’ – to exercise regulatory authority over music practice, and how music is learned and taught. The ‘orality’ of music emerges as a liminal space in the gap between the writings on music and the writing of music. What emerges is an unlikely milieu where a new form of musical education is devised, the possibility of an education without a guru is conceived, and the schema of musical notation brings the entire process to life.

在 19 世纪的孟加拉，印刷品催生了创新音乐知识生产和传播方式的冲动。音乐书籍的出版使音乐理论与实践之间的分界更加清晰，但这只是作为一种文本范畴。正如文献所言，这是组织音乐知识的两个范畴，两者紧密交织，相辅相成，缺一不可。现代印刷书籍中使用的 "swaralipi"（音乐符号）技术将向读者传播音乐的计划具体化，读者现在可以从书中 "阅读 "音乐。对于一些书籍作者来说，音乐书籍的目的是取代口头教学，作为 "自学教材 "出版。但恰恰相反，当时最多产的书籍作者却将他们的书籍作为音乐学校口头教学的基础。在现代音乐学校的环境中，"大师 "或 "乌斯塔德 "被正规化、系统化的音乐 "教授 "教学所取代。因此，音乐书籍作为现代音乐教学法的媒介，不仅改变了学生的学习方式--使学生可以无师自通地从书本中学习，还改变了教师的角色--教师的教学得到了书籍的认可。音乐书籍开始发挥 "现代经书 "的作用--对音乐实践以及音乐的学习和教学方式行使管理权。音乐的 "口述性 "成为音乐著作与音乐写作之间的边缘空间。在这个不太可能出现的环境中，一种新的音乐教育形式被设计出来，一种没有大师的教育的可能性被构想出来，而音乐记谱法则使整个过程栩栩如生。

{"title":"From Musical Writings To Writing Music: Book-Writing Leading to Music School in Nineteenth-Century Calcutta","authors":"Anirban Bhattacharyya","doi":"10.1017/s1479409823000411","DOIUrl":"https://doi.org/10.1017/s1479409823000411","url":null,"abstract":"Print created the urge to innovate new modalities of musical knowledge production and dissemination in nineteenth-century Bengal. Publication of music books made the bifurcation between music theory and practice clearer, but only as a textual category. As the literature suggests, these were two categories for organizing musical knowledge, intimately entwined, where one produces the other and also doesn't exist without each other. The technology of ‘swaralipi’ (musical notation) used in the modern printed books materialized the project of disseminating music to the reader who could now ‘read’ the music from the book. For some book writers, music books were meant to be a replacement for the oral tutelage, published as ‘self-instructors’. But, on the contrary, the most prolific book-writers of the time used their books as the basis of oral tutelage in the music school. In the modern setting of the music school, the person of the ‘guru’ or ‘ustad’ was replaced by the formalized, systematic teaching of the ‘professors’ of music. Music books, as the medium of modern music pedagogy, thus changed not only the way students learned – making it possible to learn from the book with no instructor – but also the role of teachers, whose teaching was validated by the book. The music books came to function as the ‘modern shastras’ – to exercise regulatory authority over music practice, and how music is learned and taught. The ‘orality’ of music emerges as a liminal space in the gap between the writings on music and the writing of music. What emerges is an unlikely milieu where a new form of musical education is devised, the possibility of an education without a guru is conceived, and the schema of musical notation brings the entire process to life.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"26 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2024-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139765946","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Digitized Publications of Spirituals from the Nineteenth Century 19世纪灵歌的数字化出版物

3区艺术学 0 MUSIC

Nineteenth-Century Music Review

Pub Date : 2023-11-03 DOI: 10.1017/s147940982300037x

Chris Fenner

Compilers and editors of hymnals and scholars of hymnology have often lacked suitable tools for identifying the earliest sources of spirituals, or even key sources that serve as models for later arrangements. In the twenty-first century, the development of internet-based repositories of digital books has enabled the ability to search for publications of spirituals using strings of lyrics or keywords, but more importantly, these repositories allow researchers to examine the relevant sources and glean contextual information about those spirituals beyond what might exist in any list or index. Although African slaves had been present in North America since 1619, this unique musical artform was not considered a national treasure worth preserving and publishing until the onset of the Civil War, thus any study of sources of antebellum plantation spirituals really begins at the end of that era and moves forward from there. In order to understand the problem and the digital solution to tracing these songs, a brief overview of the longstanding publishing standard will be presented, followed by an overview of older research materials, then a detailed examination of three existing repositories (HathiTrust, Google, Internet Archive), and one forthcoming repository (Sounding Spirit). The publications located in these repositories have been tied together through a pair of web-based bibliographies at Hymnology Archive, covering the years 1862–1900 and 1901–1942.

赞美诗的编者和编辑以及赞美诗学者常常缺乏合适的工具来识别最早的灵歌来源，甚至是作为后来编曲模式的关键来源。在21世纪，基于互联网的数字图书资源库的发展使人们能够使用歌词或关键词搜索灵歌的出版物，但更重要的是，这些资源库允许研究人员检查相关来源并收集有关这些灵歌的上下文信息，而不是存在于任何列表或索引中。尽管非洲奴隶早在1619年就已经出现在北美，但这种独特的音乐艺术形式直到南北战争开始才被认为是值得保存和出版的国宝，因此，任何对内战前种植园精神歌曲来源的研究都是从那个时代结束时开始的，并从那里开始向前发展。为了了解问题和追踪这些歌曲的数字解决方案，将简要介绍长期出版标准，然后概述旧的研究材料，然后详细检查三个现有的存储库(HathiTrust, Google, Internet Archive)和一个即将到来的存储库(探听精神)。位于这些图书馆的出版物通过一对基于网络的书目在《赞美诗档案》(Hymnology Archive)上联系在一起，涵盖了1862-1900年和1901-1942年。

{"title":"Digitized Publications of Spirituals from the Nineteenth Century","authors":"Chris Fenner","doi":"10.1017/s147940982300037x","DOIUrl":"https://doi.org/10.1017/s147940982300037x","url":null,"abstract":"Compilers and editors of hymnals and scholars of hymnology have often lacked suitable tools for identifying the earliest sources of spirituals, or even key sources that serve as models for later arrangements. In the twenty-first century, the development of internet-based repositories of digital books has enabled the ability to search for publications of spirituals using strings of lyrics or keywords, but more importantly, these repositories allow researchers to examine the relevant sources and glean contextual information about those spirituals beyond what might exist in any list or index. Although African slaves had been present in North America since 1619, this unique musical artform was not considered a national treasure worth preserving and publishing until the onset of the Civil War, thus any study of sources of antebellum plantation spirituals really begins at the end of that era and moves forward from there. In order to understand the problem and the digital solution to tracing these songs, a brief overview of the longstanding publishing standard will be presented, followed by an overview of older research materials, then a detailed examination of three existing repositories (HathiTrust, Google, Internet Archive), and one forthcoming repository (Sounding Spirit). The publications located in these repositories have been tied together through a pair of web-based bibliographies at Hymnology Archive, covering the years 1862–1900 and 1901–1942.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"35 5","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135819746","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Vaughan Williams: On Wenlock Edge & other songs Nicky Spence, ten, Julius Drake, pf Timothy Ridout, vla Piatti Quartet: Michael Trainor, vln, Zara Benyounes, vln,Tetsuumi Nagata, vla, Jessie Ann Richardson, vnc Hyperion CDA68378, 2022 (1 CD: 69’50”) £8.99 沃恩-威廉斯On Wenlock Edge & other songs Nicky Spence, ten, Julius Drake, pf Timothy Ridout, vla Piatti Quartet：迈克尔-特雷纳（Michael Trainor），五线谱；扎拉-本尤尼斯（Zara Benyounes），五线谱；长田哲美（Tetsuumi Nagata），五线谱；杰西-安-理查森（Jessie Ann Richardson），五线谱 Hyperion CDA68378, 2022 (1 CD: 69'50") £8.99

3区艺术学 0 MUSIC

Nineteenth-Century Music Review

Pub Date : 2023-10-06 DOI: 10.1017/s1479409823000368

Ryan Ross

Vaughan Williams: On Wenlock Edge & other songs Nicky Spence, ten, Julius Drake, pf Timothy Ridout, vla Piatti Quartet: Michael Trainor, vln, Zara Benyounes, vln,Tetsuumi Nagata, vla, Jessie Ann Richardson, vnc Hyperion CDA68378, 2022 (1 CD: 69’50”) £8.99

沃恩-威廉斯On Wenlock Edge & other songs Nicky Spence, ten, Julius Drake, pf Timothy Ridout, vla Piatti Quartet：迈克尔-特雷纳（Michael Trainor），五线谱；扎拉-本尤尼斯（Zara Benyounes），五线谱；长田哲美（Tetsuumi Nagata），五线谱；杰西-安-理查森（Jessie Ann Richardson），五线谱 Hyperion CDA68378, 2022 (1 CD: 69'50") £8.99

引用次数: 0

Moniuszko and the Revival of the Noble Traditions: The Countess and The Haunted Manor 莫纽斯科和贵族传统的复兴:伯爵夫人和闹鬼的庄园

3区艺术学 0 MUSIC

Nineteenth-Century Music Review

Pub Date : 2023-09-29 DOI: 10.1017/s1479409823000332

Anne Swartz

The two recently recorded CD sets of Hrabina (The Countess) and Straszny dwór (The Haunted Manor) in complete concert versions with eighteenth-century instruments add enormously to the Polish operatic repertoire in the nineteenth century, and offer a fresh listening experience for those who have long wished for first-rate recordings of lesser-known, yet brilliantly executed, works of the hitherto neglected composer, Stanisław Moniuszko (1819–1872). Born in the Minsk district of modern Belarus, Monisuzko was gentry, and his nostalgia for the customs, the fields and forest, and the rural community that shaped his childhood years, fuelled his enthusiasm for modern operas set in the eighteenth century. These stellar concert versions of The Countess and The Haunted Manor provide a fascinating glimpse into the provocative and glittering salons of the eighteenth-century Warsaw nobility, whose inhabitants stand firmly in contrast to the more modest and self-effacing life of the peasants and the country gentry. In both operas Moniuszko successfully provides a romanticized portrayal of pre-Partition courtly life in Poland. While these two operas were highly regarded as national treasures in Poland, they were not particularly well known outside of the country. Polish opera at that time was largely overshadowed by Italian, French, and German composers, and the nation's subjugation to the Hapsburgs, Prussians, and Russians throughout the nineteenth century contributed mightily to the neglect of staged works by Polish composers. Additionally, singers needed to be trained in the nuances and inflections of the language. Prior recordings were either incomplete or were not available with English translations of the librettos. With the Biondi and Nowak recordings, Moniuszko's vision of expanding his art to a global audience has finally been achieved. These recordings are accessible to all opera enthusiasts on an international playing field.

最近录制的两套CD是赫拉比娜(伯爵夫人)和斯特拉斯尼dwór(鬼庄园)的完整音乐会版本，使用18世纪的乐器，极大地增加了19世纪波兰歌剧的保留曲目，并为那些长期以来一直希望听到迄今为止被忽视的作曲家Stanisław莫纽斯科(1819-1872)的不太知名但出色执行的作品的一流录音的人提供了一种新鲜的聆听体验。莫尼苏兹科出生在现代白俄罗斯的明斯克地区，出身士绅，他对风俗、田野、森林和农村社区的怀念塑造了他的童年，这激发了他对以18世纪为背景的现代歌剧的热情。这些著名的音乐会版本的《伯爵夫人》和《闹鬼的庄园》提供了一个迷人的一瞥，让我们得以一窥十八世纪华沙贵族的挑衅和闪闪发光的沙龙，那里的居民与农民和乡村绅士的谦逊和谦逊的生活形成鲜明对比。在这两部歌剧中，莫努什科成功地为波兰分裂前的宫廷生活提供了浪漫化的描绘。虽然这两部歌剧在波兰被视为国宝，但在国外却并不出名。当时，波兰歌剧在很大程度上被意大利、法国和德国作曲家所掩盖，整个19世纪，波兰对哈布斯堡王朝、普鲁士和俄罗斯的征服，极大地导致了波兰作曲家的舞台作品被忽视。此外，歌手需要在语言的细微差别和变化方面接受训练。先前的录音要么不完整，要么没有歌词的英文译本。随着比昂迪和诺瓦克的唱片，莫努什科将自己的艺术传播给全球观众的愿景终于实现了。这些录音在国际舞台上对所有歌剧爱好者开放。

{"title":"Moniuszko and the Revival of the Noble Traditions: The Countess and The Haunted Manor","authors":"Anne Swartz","doi":"10.1017/s1479409823000332","DOIUrl":"https://doi.org/10.1017/s1479409823000332","url":null,"abstract":"The two recently recorded CD sets of Hrabina (The Countess) and Straszny dwór (The Haunted Manor) in complete concert versions with eighteenth-century instruments add enormously to the Polish operatic repertoire in the nineteenth century, and offer a fresh listening experience for those who have long wished for first-rate recordings of lesser-known, yet brilliantly executed, works of the hitherto neglected composer, Stanisław Moniuszko (1819–1872). Born in the Minsk district of modern Belarus, Monisuzko was gentry, and his nostalgia for the customs, the fields and forest, and the rural community that shaped his childhood years, fuelled his enthusiasm for modern operas set in the eighteenth century. These stellar concert versions of The Countess and The Haunted Manor provide a fascinating glimpse into the provocative and glittering salons of the eighteenth-century Warsaw nobility, whose inhabitants stand firmly in contrast to the more modest and self-effacing life of the peasants and the country gentry. In both operas Moniuszko successfully provides a romanticized portrayal of pre-Partition courtly life in Poland. While these two operas were highly regarded as national treasures in Poland, they were not particularly well known outside of the country. Polish opera at that time was largely overshadowed by Italian, French, and German composers, and the nation's subjugation to the Hapsburgs, Prussians, and Russians throughout the nineteenth century contributed mightily to the neglect of staged works by Polish composers. Additionally, singers needed to be trained in the nuances and inflections of the language. Prior recordings were either incomplete or were not available with English translations of the librettos. With the Biondi and Nowak recordings, Moniuszko's vision of expanding his art to a global audience has finally been achieved. These recordings are accessible to all opera enthusiasts on an international playing field.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":"57 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135199304","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Candace Bailey, Unbinding Gentility: Women Making Music in the Nineteenth-Century South (Urbana: University of Illinois Press, 2021). xviii + 292 pp. $30 坎迪斯贝利，Unbinding Gentility:女性在十九世纪的南方制作音乐(厄巴纳:伊利诺伊大学出版社，2021年)。Xviii + 292页，30美元

3区艺术学 0 MUSIC

Nineteenth-Century Music Review

Pub Date : 2023-09-28 DOI: 10.1017/s1479409823000356

Evangeline Athanasiou

An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.

此内容的摘要不可用，因此提供了预览。有关如何访问此内容的信息，请使用上面的获取访问链接。

引用次数: 0

Jessica Gabriel Peritz, The Lyric Myth of Voice: Civilizing Song in Enlightenment Italy (Oakland: University of California Press, 2022). xi + 282 pp. $65.00, £55.00 杰西卡·加布里埃尔·佩里茨，《声音的抒情神话:启蒙意大利的文明化歌曲》(奥克兰:加州大学出版社，2022年)。

3区艺术学 0 MUSIC

Nineteenth-Century Music Review

Pub Date : 2023-09-26 DOI: 10.1017/s1479409823000344

Danielle L Herrington

An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.

此内容的摘要不可用，因此提供了预览。有关如何访问此内容的信息，请使用上面的获取访问链接。

引用次数: 0

下一页尾页

类型

全部化学•材料生命科学医学物理工程技术环境•农林材料科学地球科学法学管理学化学环境科学与生态学计算机科学教育学经济学农林科学人文科学生物学数学物理与天体物理心理学综合性期刊其他工业工程理学历史学农学文学信息工程

数据库

全部 ACS Publications Elsevier ieeexplore Springer The Royal Society of Chemistry Wiley

期刊

Nineteenth-Century Music Review

全部 Acc. Chem. Res. ACS Applied Bio Materials ACS Appl. Electron. Mater. ACS Appl. Energy Mater. ACS Appl. Mater. Interfaces ACS Appl. Nano Mater. ACS Appl. Polym. Mater. ACS BIOMATER-SCI ENG ACS Catal. ACS Cent. Sci. ACS Chem. Biol. ACS Chemical Health & Safety ACS Chem. Neurosci. ACS Comb. Sci. ACS Earth Space Chem. ACS Energy Lett. ACS Infect. Dis. ACS Macro Lett. ACS Mater. Lett. ACS Med. Chem. Lett. ACS Nano ACS Omega ACS Photonics ACS Sens. ACS Sustainable Chem. Eng. ACS Synth. Biol. Anal. Chem. BIOCHEMISTRY-US Bioconjugate Chem. BIOMACROMOLECULES Chem. Res. Toxicol. Chem. Rev. Chem. Mater. CRYST GROWTH DES ENERG FUEL Environ. Sci. Technol. Environ. Sci. Technol. Lett. Eur. J. Inorg. Chem. IND ENG CHEM RES Inorg. Chem. J. Agric. Food. Chem. J. Chem. Eng. Data J. Chem. Educ. J. Chem. Inf. Model. J. Chem. Theory Comput. J. Med. Chem. J. Nat. Prod. J PROTEOME RES J. Am. Chem. Soc. LANGMUIR MACROMOLECULES Mol. Pharmaceutics Nano Lett. Org. Lett. ORG PROCESS RES DEV ORGANOMETALLICS J. Org. Chem. J. Phys. Chem. J. Phys. Chem. A J. Phys. Chem. B J. Phys. Chem. C J. Phys. Chem. Lett. Analyst Anal. Methods Biomater. Sci. Catal. Sci. Technol. Chem. Commun. Chem. Soc. Rev. CHEM EDUC RES PRACT CRYSTENGCOMM Dalton Trans. Energy Environ. Sci. ENVIRON SCI-NANO ENVIRON SCI-PROC IMP ENVIRON SCI-WAT RES Faraday Discuss. Food Funct. Green Chem. Inorg. Chem. Front. Integr. Biol. J. Anal. At. Spectrom. J. Mater. Chem. A J. Mater. Chem. B J. Mater. Chem. C Lab Chip Mater. Chem. Front. Mater. Horiz. MEDCHEMCOMM Metallomics Mol. Biosyst. Mol. Syst. Des. Eng. Nanoscale Nanoscale Horiz. Nat. Prod. Rep. New J. Chem. Org. Biomol. Chem. Org. Chem. Front. PHOTOCH PHOTOBIO SCI PCCP Polym. Chem.

﹀