Pub Date : 2023-12-14DOI: 10.1353/fam.2023.a915322
Jennifer Thomas
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Liturgy and Sequences of the Sainte-Chapelle: Music, Relics, and Sacral Kingship in Thirteenth-Century France</em> by Yossi Maurey <!-- /html_title --></li> <li> Jennifer Thomas </li> </ul> <em>Liturgy and Sequences of the Sainte-Chapelle: Music, Relics, and Sacral Kingship in Thirteenth-Century France</em>. By Yossi Maurey (Cultural Encounters in Late Antiquity and the Middle Ages, no. 35.) Turnhout: Brepols, 2021. [247 p. ISBN 978-2-503-59105-6; ISBN 978-2-503-59106-3 €95 (e-book)] <p>Much of medieval culture relates to the objects and impetus of personal devotion. The ritual act of pilgrimage moved believers from home to distant destinations, expanding their experience and faith, and marking their devotion. Crusaders in the twelfth and thirteenth centuries performed a type of pilgrimage as they journeyed to the Holy Land, awakening a consciousness across Europe of the material and spiritual power contained in the places and artifacts of the primitive Christian movement. The practice of affective devotion drew believers close to the emotions and actions of the central figures of Christian belief, and as saints became recognised as possessing the attributes of sacrificial faith, objects of veneration multiplied. Personal salvation loomed in the minds of believers, and the Church offered saintly models and essential pathways to that fervently hoped-for state. At this time, Europe oriented itself geographically and politically around leaders who understood and claimed their power as ordained by God. Sites of religious authority shifted from Jerusalem (which Crusaders swore to protect) to Constantinople (where treasures removed from Jerusalem anchored the eastern Christian capitol), to European cities and cathedrals, which sought sacred relics that would elevate their spiritual and earthly status. Relics engaged the devotion of the faithful, many of whom undertook pilgrimages to visit these powerful objects, the focus of their meditations, which awakened or affirmed their understanding and awareness of the reality of the gospel story and its miracles. These pilgrimage sites—such as Jerusalem, Constantinople, Rome, Tours, and Santiago de Compostela—attracted worldly and religious prestige, power, and capital.</p> <p>The bourgeoning and diverse practices and beliefs emanating from both heavenly and earthly sources created a potent cultural moment vividly and thoughtfully explored in Yossi Maurey’s <em>Liturgy and Sequences of the Sainte-Chapelle: Music, Relics, and Sacral Kingship in Thirteenth-Century France</em>. In 1238, King Louis IX of France (canonised Saint Louis, 1297) purchased from his cousin Baldwin, Latin Emperor of Constantinople, some of the most potent relics of Christendom, which the deeply indebted Baldwin had pawned to a Venetian merchant. Acquiring these treasures for France, with
以下是内容的简要摘录，以代替摘要：评论者 圣礼拜堂的礼仪与序列：十三世纪法国的音乐、文物和神圣王权》，作者 Yossi Maurey Jennifer Thomas 圣礼拜堂的礼仪与序列：十三世纪法国的音乐、文物和神圣王权》。作者：Yossi Maurey（《古代晚期和中世纪的文化接触》，第 35 期）：Brepols，2021 年。[247 p. ISBN 978-2-503-59105-6; ISBN 978-2-503-59106-3 €95 (e-book)] 中世纪的许多文化都与个人奉献的对象和动力有关。朝圣仪式将信徒从家乡带到遥远的目的地，拓展了他们的经验和信仰，也标志着他们的虔诚。12 世纪和 13 世纪的十字军在前往圣地的途中进行了一种朝圣活动，唤醒了整个欧洲对原始基督教运动的场所和文物所蕴含的物质和精神力量的意识。情感奉献的做法使信徒接近基督教信仰中心人物的情感和行动，随着圣徒被认为具有牺牲信仰的属性，崇拜对象也成倍增加。个人的救赎在信徒的心中萦绕，教会提供了圣人的楷模和通往这种热切期盼的境界的基本途径。此时，欧洲在地理上和政治上都围绕着那些理解并宣称自己的权力是上帝赋予的领袖。宗教权威的所在地从耶路撒冷（十字军发誓要保护耶路撒冷）转移到君士坦丁堡（从耶路撒冷运来的珍宝成为东方基督教的首都），再转移到欧洲的城市和大教堂，这些城市和大教堂都在寻找能够提升其精神和世俗地位的圣物。圣物唤起了信徒的虔诚，他们中的许多人开始朝圣，探访这些强大的物品，这些物品是他们冥想的焦点，唤醒或肯定了他们对福音故事及其奇迹的理解和认识。这些朝圣地--如耶路撒冷、君士坦丁堡、罗马、图尔和圣地亚哥-德孔波斯特拉--吸引着世俗和宗教的声望、权力和资本。尤西-莫雷（Yossi Maurey）的《圣礼拜堂的礼仪和序列：十三世纪法国的音乐、圣物和神圣王权》生动而深思熟虑地探讨了来自天堂和人间的蓬勃发展和多样化的习俗和信仰，创造了一个强有力的文化时刻。1238 年，法国国王路易九世（1297 年被封为圣路易）从他的堂兄、君士坦丁堡拉丁皇帝鲍德温那里购买了一些基督教最有威力的圣物，这些圣物是负债累累的鲍德温典当给威尼斯商人的。路易以耶稣受难时戴在头上的荆棘王冠为巅峰，为法国购得了这些珍宝，从而确定了自己作为这些珍宝的合法继承人的身份。路易 "光着脚，只穿着一件外衣，肩扛圣物"（第 27 页），像古代以色列的大卫王庆祝约柜归还以色列一样，护送圣物进入法国。不到两年后，来自君士坦丁堡的 21 件新圣物也加入了他们的行列，其中包括 "一大块真正的十字架"（第 102 页）、耶稣基督的鲜血、襁褓、墓穴中的一块石头，以及圣人布莱斯、克莱门特和西缅的头颅。由于古老的宗教之都失去了宝藏和首要地位，路易试图让巴黎成为西方基督教身份的中心。圣物需要灵位，1248 年，圣母院大教堂附近的建筑瑰宝--圣礼拜堂（La Sainte-Chapelle）为此举行了祝圣仪式。圣母院在音乐上开创了以圣母为中心的复杂礼仪，与高耸入云的建筑同步发展。较小的圣礼拜堂在规模、美学和用途上都与圣母院不同，它为法国皇室服务，尤其是在 8 月 11 日纪念荆棘王冠和 9 月 30 日接受遗物的两个特别节日。圣母院的礼仪在创新、复杂的复调音乐中进行。与此相反，圣礼拜堂的礼仪音乐采用的是一种单音音乐形式--序列音乐，这种形式在晚期的文学和音乐创新中得到了确立。
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Pub Date : 2023-12-14DOI: 10.1353/fam.2023.a915320
Ruth Hellen, Liz Hart
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <ul> <li><!-- html_title --> Briefs / Feuilletons <!-- /html_title --></li> <li> Ruth Hellen and Liz Hart </li> </ul> <p><strong>Among the various early music imprints and manuscripts held among the Library of Congress</strong> Music Division’s rare general collections are 306 music anthologies dating from the late fifteenth through seventeenth centuries. These materials represent about ten percent of the total number of musical anthologies produced at that time and are sources for some of the greatest musical works of the period.</p> <p>A new bibliography, <em>Anthologies of Musical Works in Print and Manuscript from the 15th–17th Centuries in the Library of Congress Music Division</em>, presents an inventory of the Music Division’s holdings with tables of contents and annotations for most entries: https://www.loc.gov/static/research-centers/performing-arts/documents/Anthologies-Final-Bibliography.pdf .</p> <p>An accompanying research guide provides discussions about and highlights from this unique body of materials, emphasizing matters of provenance, cataloguing, music publishers, online resources, and bibliography, and how the Music Division’s collection historically parallels the total output of anthology sources: https://guides.loc.gov/music-anthologies/introduction .</p> <p>Please contact https://ask.loc.gov/performing-arts with any questions.</p> <p><strong>The newest volume of the Bohuslav Martinů Complete Edition</strong> has been published. <em>The Frescoes of Piero della Francesca</em>, H 352 and <em>The Parables</em>, H 367, edited by Arne Stollberg and Janina Müller (BMCE II/2/7; BA 10590-01) represent the culmination of the late Neo-Impressionist orchestral output of Bohuslav Martinů, marked by a fantastic, kaleidoscopic style. Martinů transforms his extramusical inspirations (visual, literary) into the principles of musical forms, which are open to associations from mood setting to philosophical inquiries into the essence of human existence.</p> <p>The composer wrote <em>The Frescoes</em> in spring 1955 and conceived them after the cycle of Renaissance frescoes of Piero della Francesca in the Basilica of St Francis of Assisi in Arezzo, Italy. The premiere at the Salzburg Festival on 26 August 1956 was given by the Vienna Philharmonic under Rafael Kubelík, to whom the composition is dedicated. Martinů wrote the first two movements of <em>The Parables</em> in July 1957; he returned to the work after a break in early 1958 (completing the final, third movement on 8 February). <em>The Parables</em> premiered in Boston on 13 February 1959 by Charles Munch and the Boston Symphony Orchestra. The mottos of the first two movements of <em>The Parables</em> reference ‘The Wisdom of the Sands’ by Antoine de Saint-Exupéry. For the third movement, Martinů created a motto from loosely associated excerpts from Georges Neveux’s play ‘The Voyage of Theseus’,
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Pub Date : 2023-12-14DOI: 10.1353/fam.2023.a915321
Peter Asimov
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Accenting the Classics: Editing European Music in France, 1915–1925</em> by Deborah Mawer, et al. <!-- /html_title --></li> <li> Peter Asimov </li> </ul> <em>Accenting the Classics: Editing European Music in France, 1915–1925</em>. By Deborah Mawer, Barbara L. Kelly, Rachel Moore, and Graham Sadler. Woodbridge: The Boydell Press, 2023. [xviii, 364 p. ISBN 978-1-83765-032-3. £85.00/$125.00 (hardback)] <p>Right around the time of the first installment of the Durand publishing house’s Édition classique, the French music critic, Jean Marnold suggested that famous composers lacked the requisite skillset to produce worthy musical ‘editions’: if appending their names helped to boost sales, the commercial gains were, he argued, but a short-sighted reward for a compromise in quality and integrity. Marnold was right to distinguish musicological from musical authority—and Saint-Saëns’s reply to Marnold (‘Tout ce qui, dans l’édition en question, ressort de la “musicology”, comme les dates, n’est pas de mon fait’ [Everything that, in the edition in question, emerges from ‘musicology’, such as the dates, is not my doing]) illustrates the limited awareness of leading musicians about what constituted musicological expertise. Marnold was prescient, too, in foreseeing the waning appeal of scores that traded on the imprint of a contemporary composer in favor of ‘Urtext’ editions premised on philological methods and authentistic ideals. But a century on (and a few French Theories later), the illusion of textual fixity has yielded its preeminence to the allusions of intertextual interplay: ‘Saint-Saëns’s Mozart’ has become as valid (or more valid) a site of inquiry, and even performance, as Mozart’s Mozart, and Durand’s instincts proved, once again, keener than most.</p> <p>The core subject of <em>Accenting the Classics</em>— the Édition Classique A. Durand & Fils (hereafter ÉCD), misleadingly named after Auguste Durand, who despite hatching the idea died before his son Jacques brought it to fruition— is a terrain both fascinating and innovative for research. Instigated by a wartime ban on German imports and a gap in the market for affordable French editions of the European ‘classical’ canon, the ÉCD, initially encompassing core repertory by Bach, Beethoven, Chopin, Mozart, Schumann, and a disconcerting amount of Czerny, was progressively stretched to accommodate works by composers as unclassical as Wagner and as alive as Maurice Emmanuel (himself also an editor), not to mention editions of Couperin and Rameau published before the inception of the series but retroactively incorporated into it. (Apparently Durand was less precious about the boundaries of ‘classic’ than he was attuned to the commercial potential of that moniker.) He recruited at the highest level a network of composers (including Fauré, Debussy, Ra
以下是内容的简要摘录，以代替摘要：评论者： 重音经典：彼得-阿西莫夫（Peter Asimov）《重读经典：法国的欧洲音乐编辑，1915-1925 年》（Accenting the Classics: Editing European Music in France, 1915-1925 年）：编辑 1915-1925 年法国的欧洲音乐。作者：Deborah Mawer、Barbara L. Kelly、Rachel Moore 和 Graham Sadler。伍德布里奇：Woodbridge: The Boydell Press, 2023.[85.00 英镑/125.00 美元（精装本）]就在杜兰出版社出版第一期《经典版本》时，法国音乐评论家让-马诺德（Jean Marnold）提出，著名作曲家缺乏制作有价值的音乐 "版本 "所需的技能：他认为，如果附加他们的名字有助于提高销量，那么商业利益不过是对质量和完整性妥协的短视回报。马诺德正确地区分了音乐学权威和音乐权威--圣桑给马诺德的回信（"Tout ce qui, dans l'édition en question, ressort de la "musicology", comme les dates, n'est pas de mon fait"["在有关版本中，从'音乐学'中产生的一切，如日期，都不是我的功劳"]）说明了主要音乐家对音乐学专业知识的认识有限。马诺德也很有先见之明，他预见到以当代作曲家印记为卖点的乐谱的吸引力正在减弱，而以语言学方法和真实性理想为前提的 "Urtext "版本则大受欢迎。但一个世纪过去了（几部《法兰西理论》也已问世），文本固定性的假象已让位给互文性相互作用的典故："圣桑的莫扎特 "已成为与莫扎特的莫扎特同样有效（甚至更有效）的探究场所，甚至是演奏场所，而杜兰的直觉再次证明他比大多数人更敏锐。经典重音》的核心主题--Édition Classique A. Durand & Fils（以下简称 ÉCD），以奥古斯特-杜兰德的名字命名容易让人产生误解。由于战时禁止德国进口，而市场上又缺乏价格适中的法文版欧洲 "古典 "作品，ÉCD 应运而生，最初包括巴赫、贝多芬、肖邦、莫扎特、舒曼的核心曲目，以及数量惊人的车尔尼作品、逐渐扩展到瓦格纳这样的非经典作曲家和莫里斯-埃马纽埃尔（他本人也是编辑）这样的活跃作曲家的作品，更不用说库珀林和拉莫在系列创立之前出版但被追溯纳入的版本了。(显然，杜兰对 "经典 "的界限并不那么看重，他更看重的是这一称谓的商业潜力）。他在最高层招募了一批作曲家（包括福雷、德彪西、拉威尔、杜卡斯和圣桑）和演奏家（包括伊西多尔-菲利普、路易-迪埃梅尔和玛格丽特-朗）担任 "修订者"--这是法文术语的直译，因为 "éditeur "指的是出版商--尽管最终 "修订 "的范围从校对到乐器重新编排不等。杰出修订者的名册不仅提高了版本的声誉，还在困难时期为音乐家提供了有报酬的工作，而且鉴于他的许多编辑都有教学背景，可以依靠源源不断的学生来支持长期发行（第 273 页）。这套丛书最终收录了 850 多部作品，作者编制了完整的目录，并将其作为开放访问的在线附录--这是一种宝贵的资源，如果能按作曲家和日期而不仅仅是修订者对条目进行排序，那么这一资源将得到进一步加强。Accenting the Classics》是英国艺术与人文研究委员会资助的一个为期三年的项目的主要成果，该项目设在伯明翰城市大学。四位作者在本书封面上的署名相同（马沃作为主要研究者被列在首位），但各章节（除导言和后记外 [完 第 339 页]）由团队成员单独或两人合作完成。构成第一部分的两章介绍了杜兰项目的背景和概况。如果说 ÉCD 并非战时法国唯一的同类项目，那么杜兰的系列作品的规模和寿命则使其有别于竞争公司的同类产品......
{"title":"Accenting the Classics: Editing European Music in France, 1915–1925 by Deborah Mawer, et al. (review)","authors":"Peter Asimov","doi":"10.1353/fam.2023.a915321","DOIUrl":"https://doi.org/10.1353/fam.2023.a915321","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Accenting the Classics: Editing European Music in France, 1915–1925</em> by Deborah Mawer, et al. <!-- /html_title --></li> <li> Peter Asimov </li> </ul> <em>Accenting the Classics: Editing European Music in France, 1915–1925</em>. By Deborah Mawer, Barbara L. Kelly, Rachel Moore, and Graham Sadler. Woodbridge: The Boydell Press, 2023. [xviii, 364 p. ISBN 978-1-83765-032-3. £85.00/$125.00 (hardback)] <p>Right around the time of the first installment of the Durand publishing house’s Édition classique, the French music critic, Jean Marnold suggested that famous composers lacked the requisite skillset to produce worthy musical ‘editions’: if appending their names helped to boost sales, the commercial gains were, he argued, but a short-sighted reward for a compromise in quality and integrity. Marnold was right to distinguish musicological from musical authority—and Saint-Saëns’s reply to Marnold (‘Tout ce qui, dans l’édition en question, ressort de la “musicology”, comme les dates, n’est pas de mon fait’ [Everything that, in the edition in question, emerges from ‘musicology’, such as the dates, is not my doing]) illustrates the limited awareness of leading musicians about what constituted musicological expertise. Marnold was prescient, too, in foreseeing the waning appeal of scores that traded on the imprint of a contemporary composer in favor of ‘Urtext’ editions premised on philological methods and authentistic ideals. But a century on (and a few French Theories later), the illusion of textual fixity has yielded its preeminence to the allusions of intertextual interplay: ‘Saint-Saëns’s Mozart’ has become as valid (or more valid) a site of inquiry, and even performance, as Mozart’s Mozart, and Durand’s instincts proved, once again, keener than most.</p> <p>The core subject of <em>Accenting the Classics</em>— the Édition Classique A. Durand & Fils (hereafter ÉCD), misleadingly named after Auguste Durand, who despite hatching the idea died before his son Jacques brought it to fruition— is a terrain both fascinating and innovative for research. Instigated by a wartime ban on German imports and a gap in the market for affordable French editions of the European ‘classical’ canon, the ÉCD, initially encompassing core repertory by Bach, Beethoven, Chopin, Mozart, Schumann, and a disconcerting amount of Czerny, was progressively stretched to accommodate works by composers as unclassical as Wagner and as alive as Maurice Emmanuel (himself also an editor), not to mention editions of Couperin and Rameau published before the inception of the series but retroactively incorporated into it. (Apparently Durand was less precious about the boundaries of ‘classic’ than he was attuned to the commercial potential of that moniker.) He recruited at the highest level a network of composers (including Fauré, Debussy, Ra","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"46 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138687729","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}
Pub Date : 2023-12-14DOI: 10.1353/fam.2023.a915319
Elizabeth Onyeji, Christian Onyeji
<p><p>Abstract:</p><p>Archiving processes reveal multiple perspectives in physical, digital, and human memories. Africa has cultural archiving that relies on ‘virtual’ repositories in individual memories of people through practice. This is widespread among the Igbo of Nigeria. Threats to such ‘virtual’ archives, arising from deaths, memory loss from aging, as well as urbanisation, call for attention to the fast-eroding data content. This article discusses the nature, significance, and challenges of human memory as archival repositories in the sustaining of musical and cultural heritage practices in Igbo land. We argue for the retrieval, recording, and transfer to digital media of vital indigenous musical data as a support system to individual memory to stem extinction. This discourse draws from postcolonial notions and positions, fieldwork, and personal experiences of the authors to advance a dual system in which performance process as an archival method that depends on individual memories of practitioners is combined with digital transfer as a mechanism for safeguarding the musical heritage of the Igbo due to the perceived increasing abandonments of indigenous musical performances by the younger generation. The idea is to have a recovery and repatriation mechanism for musical material that may go extinct.</p><p>Abstract:</p><p>Les processus d’archivage révèlent de multiples perspectives dans les mémoires physiques, numériques et humaines. En Afrique, l’archivage culturel repose sur les dépôts “virtuels” que constituent les mémoires individuelles des individus par le biais de leur pratique. Ce phénomène est très répandu chez les Igbo du Nigeria. Les menaces qui pèsent sur ces archives “virtuelles”, dues aux décès, à la perte de mémoire liée au vieillissement, ainsi qu’à l’urbanisation, exigent que l’on s’intéresse à la rapide érosion des contenus de ces données. Cet article traite de la nature, de l’importance et des défis posés par la mémoire humaine en tant que dépôt d’archives pour la préservation des pratiques musicales et du patrimoine culturel dans le pays Igbo. Nous défendons la récupération, l’enregistrement et le transfert sur support numérique des données musicales indigènes vitales en tant que système de soutien à la mémoire individuelle pour éviter son extinction. Ce discours prend appui sur les concepts et les positions postcoloniales, le travail de terrain et les expériences personnelles des auteurs pour promouvoir un double système dans lequel le processus de performance comme méthode d’archivage dépendant des souvenirs individuels des exécutants est combiné avec le transfert numérique en tant que mécanisme de sauvegarde du patrimoine musical des Igbo face à la constatation de l’abandon croissant des pratiques musicales indigènes par la jeune génération. L’idée est de disposer d’un dispositif de récupération et de restitution du matériel musical susceptible de disparaître.</p><p>Abstract:</p><p>Archivierungsprozesse eröffnen vielfä
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Pub Date : 2023-10-01DOI: 10.1353/fam.2023.a915317
Armin Brinzing
Abstract:This article examines the development of the library of the International Mozarteum Foundation after Austria’s annexation by Nazi Germany, 1938 to 1945. Although the Mozarteum Foundation was under direct government control, it nominally remained a non-governmental institution even during the Nazi era. Therefore, although it was not directly involved in the National Socialist system of cultural property theft, it made intensive efforts to expand its holdings from collections expropriated by the National Socialists. The driving force behind this was the musicologist Erich Valentin, who was also responsible for the library; he worked closely with the Viennese professor of musicology, Erich Schenk. Various, entirely unsuccessful attempts to profit from the expropriation of Jewish collectors (like Stefan zweig) are described. In contrast, the intensive efforts of the Mozarteum Foundation to take over expropriated libraries of ecclesiastical institutions, such as St Peter’s Abbey in Salzburg with its valuable historical holdings, were successful.The article also deals with the restitutions after World War II, which only began a decade after the end of the war and were not carried out systematically. Therefore, looted property could still be identified in recent years, the restitution of which is also addressed. An important concern of the article is also to point out the importance of a thorough documentation of the results of provenance research (not only in regard to the Nazi period). All the information ascertained about the provenance of the individual sources should be permanently documented in the catalogues, if possible, in standardised form.Abstract:Cet article examine le développement de la bibliothèque de la Fondation internationale Mozarteum après l’annexion de l’Autriche par l’Allemagne nazie, de 1938 à 1945. La Fondation Mozarteum était certes sous le contrôle direct de l’État, mais elle restait nominalement une institution non gouvernementale même pendant la période nazie. Elle n’a donc pas été directement impliquée dans le processus national-socialiste de spoliations de biens culturels, mais elle a déployé des efforts considérables pour accroître ses fonds à partir de collections spoliées par les nationaux-socialistes. Le musicologue Erich Valentin, également responsable de la bibliothèque, en étroite collaboration avec le professeur de musicologie viennois Erich Schenk, a joué un rôle moteur dans cette entreprise. Diverses tentatives, totalement infructueuses, de profiter de l’expropriation de collectionneurs juifs (tels que Stefan zweig) sont décrites. En revanche, les efforts intensifs de la Fondation Mozarteum pour récupérer les bibliothèques confisquées d’institutions ecclésiastiques, telles que l’abbaye Saint-Pierre de Salzbourg et ses précieux fonds historiques, ont été couronnés de succès.L’article aborde également les restitutions effectuées après la Seconde Guerre mondiale, qui n’ont commencé qu’une décennie après la f
摘要：本文研究了 1938 年至 1945 年奥地利被纳粹德国吞并后国际莫扎特音乐学院基金会图书馆的发展情况。虽然莫扎特基金会受政府直接控制，但即使在纳粹时期，它在名义上仍是一个非政府机构。因此，尽管它没有直接参与国家社会主义的文化财产盗窃制度，但它仍大力扩充被国家社会主义者没收的藏品。这背后的推动者是音乐学家埃里希-瓦伦丁（Erich Valentin），他也是图书馆的负责人；他与维也纳音乐学教授埃里希-申克（Erich Schenk）密切合作。他与维也纳音乐学教授埃里希-申克（Erich Schenk）合作密切。他曾多次试图通过征用犹太收藏家（如斯蒂芬-茨威格（Stefan zweig））的财产来牟利，但完全没有成功。与此相反，莫扎特基金会为接管被征用的教会机构图书馆（如拥有珍贵历史藏品的萨尔茨堡圣彼得修道院）所做的不懈努力却取得了成功。因此，近年来仍有可能发现被掠夺的财产，对这些财产的归还问题也进行了探讨。文章的另一个重要关注点是指出彻底记录来源研究成果（不仅是纳粹时期的研究成果） 的重要性。在可能的情况下，所有已确定的关于个别资料来源的信息都应以标准化的形式永久记录在目录中。莫扎特国际基金会确实受到国家的直接控制，但在纳粹统治时期，它名义上仍是一个非官方机构。虽然她没有直接参与国家社会主义掠夺文化财产的过程，但她付出了巨大的努力，从国家社会主义掠夺的藏品中积累资金。音乐学家埃里希-瓦伦丁（Erich Valentin）也是图书馆的负责人，他与维也纳音乐学家埃里希-申克（Erich Schenk）教授密切合作，在这个企业中发挥了重要作用。在此过程中，他曾多次尝试以完全无效的方式从征用犹太音乐收藏者（如 Stefan Zweig）中获利。相反，莫扎特基金会为恢复被宗教机构收藏的书库（如萨尔茨堡圣皮埃尔修道院及其珍贵的历史文物）所做的不懈努力取得了成功。文章还提到了第二次世界大战后的归还工作，这些工作在战争结束后的十年内才开始，而且没有以系统的方式进行。C'est pourquoi des biens spoliés ont encore pu être identifiés ces dernières années, et leur restitution est également évoquée.L'un des principaux objectifs de cet article est de souligner à quel point il est important de documenter minutieusement les résultats des recherches sur la provenance (pas seulement en ce qui concerne la période nazie).Toutes les informations relatives à la provenance devraient être documentées de manière permanente dans les catalogues, si possible sous une forme standardisée.Abstract:Der Beitrag untersucht die Entwicklung der Bibliothek der Internationalen Stiftung Mozarteum nach dem Anschluss Österreichs an Nazi-Deutschland in der zeit zwischen 1938 und 1945.莫扎特音乐学院基金会曾受到国家的直接控制，但在纳粹时期也曾被提名为非国家机构。尽管如此，这些艺术品并没有完全融入民族主义的文化体系，而是在民族主义收藏馆的基础上不断发展壮大。埃里希-瓦伦丁（Erich Valentin）是一位音乐学者，也是图书馆的忠实读者；他与维也纳音乐教授埃里希-申克（Erich Schenk）一起工作。他与维纳音乐学教授埃里希-申克（Erich Schenk）合作进行了多项研究，并取得了丰硕成果。与此相对应的是，莫扎特博物馆基金会也在加紧努力，以便从萨尔茨堡的圣彼得基金会（Stift St. Peter in Salzburg）等叽里咕噜的机构的藏书中获取更多具有历史价值的资料。
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English Abstract: This article investigates the impact of the COVID-19 pandemic on music education in Ukraine. In March 2020, Ukrainian authorities proclaimed a national lockdown like the ones in most other European countries. Restrictions included prohibition for students to attend lessons at schools or universities that would make any classroom musical activities illegal. Relevant legal acts have been collected in this article. To avoid closure, most of music education institutions provided a distance form of education. However, remote methods did not appear to be a worthy substitute for in-person lessons, especially in such disciplines as ensemble playing or singing. This article reveals the main disadvantages of distance music education, the most important of which is a signal delay during remote communication via the Internet. A survey of teachers in Ukrainian music schools about their experience under lockdown restrictions was conducted. The survey shows that many teachers regard distance education as much harder and less effective. Moreover, most teachers feel that students lose motivation to learn and practice music. This result does not significantly differ in rural areas from that of large cities and does not depend on teachers’ attitudes to COVID-19 prevention methods, and as such, indicates an objective nature of fact. Undesirable consequences of the measures taken during the pandemic arise as a key discussion of whether the restrictions are of benefit or harm. French Abstract: Cet article étudie l’impact de la pandémie de COVID-19 sur l’éducation musicale en Ukraine. En mars 2020, les autorités ukrainiennes ont proclamé un confinement national comme dans la plupart des autres pays européens. Les restrictions comprenaient l’interdiction pour les étudiants de suivre des cours dans les écoles ou les universités, ce qui rendait illégales toutes les activités musicales en classe. Les actes juridiques correspondant ont été rassemblés dans cet article. Pour éviter la fermeture, la plupart des établissements d’enseignement musical ont proposé une forme d’enseignement à distance. Toutefois, les méthodes à distance n’ont pas semblé être un substitut valable aux cours en personne, en particulier dans des disciplines telles que le jeu d’ensemble ou le chant. Cet article révèle les principaux inconvénients de l’enseignement musical à distance, dont le plus important est le délai de réponse lors de la communication à distance via Internet. Une enquête a été menée auprès d’enseignants d’écoles de musique ukrainiennes sur leur expérience des restrictions d’accès. L’enquête montre que de nombreux enseignants considèrent que l’enseignement à distance est beaucoup plus difficile et moins efficace. En outre, la plupart des enseignants estiment que les élèves perdent la motivation d’apprendre et de pratiquer la musique. Ce résultat ne diffère pas de manière significative entre les zones rurales et les grandes villes et ne dépend pas de l’attitude des ens
摘要:本文调查了新冠肺炎疫情对乌克兰音乐教育的影响。2020年3月，乌克兰当局宣布全国封锁，就像大多数其他欧洲国家一样。限制包括禁止学生在学校或大学上课，这将使任何课堂音乐活动非法。本文收集了相关的法律文件。为了避免关闭，大多数音乐教育机构提供远程教育形式。然而，远程方法似乎并不能代替面对面的教学，特别是在合奏或唱歌等学科中。本文揭示了远程音乐教育的主要弊端，其中最主要的弊端是网络远程通信的信号延迟。对乌克兰音乐学校的教师进行了一项调查，了解他们在封锁限制下的经历。调查显示，许多教师认为远程教育难度更大，效率更低。此外，大多数教师认为学生失去了学习和练习音乐的动力。这一结果在农村地区与大城市没有显著差异，也不取决于教师对COVID-19预防方法的态度，因此表明了事实的客观性质。大流行期间所采取措施的不良后果是关于这些限制是有益还是有害的关键讨论。摘要:本文在乌克兰研究了COVID-19病毒对人体的影响和对音乐教育的影响。到2020年3月，乌克兰当局将宣布“国家自由贸易组织”(national comme dans)为乌克兰当局提供“欧洲自由贸易组织”。所有的限制和禁令都禁止学生在课程中生存，禁止学生在大学中生存，禁止学生在学校中生存，禁止学生在学校中生存，禁止学生在学校中生存，禁止学生在学校中生存，禁止学生在学校中生存。管辖行为对应于与该条款有关的和其他。Pour samiter la fermeture, la plupart des sametisements d ' enseement musical .建议一个形式的sametement在距离。然而，我们不能代替有价值的个人课程，特别是那些学科课程，比如我们的专业课程，我们的专业课程，我们的专业课程。这篇文章描述了通过互联网通讯的距离，不允许再加上一些重要的因素，比如通过互联网通讯的距离。1 . enquête .一份关于乌克兰音乐的电子文件和一份关于乌克兰音乐的电子文件的电子文件说明了电子文件对电子文件的限制。L 'enquête montre que de nombreux enseignants consident que L 'enseignement(距离)est beauoup + difficile et moins效率。因此，我们可以从“学习动机”和“音乐实践”两个方面来判断是否存在“学习动机”和“学习动机”。这是一种非常独特的、客观的、客观的、客观的、客观的、具有重大意义的、不同的、不同的、不同的、不同的、不同的、不同的、不同的、不同的、不同的。所有的交换条件和交换条件都是可变的，所有的交换条件和交换条件都是可变的。摘要:乌克兰新冠肺炎疫情爆发后，德国媒体报道了乌克兰新冠肺炎疫情。我März 2020 verhängten die ukrainischen Behörden我在den meisten anderen europäischen Ländern einen landesween封锁。zuden Einschränkungen gehörte das Verbot f r sch ler, Unterrichtsstunden和Schulen oder Universitäten zubesuchen，是auch jegliche musikalische Aktivität im Klassenzimmer非法机器。相关研究表明:大鼠在生物力学中的应用。在德语学习中，我们学习德语musikpädagogischen德语学习德语。在科学研究的基础上，科学研究方法在科学研究中的应用，科学研究在科学研究中应用，在科学研究中应用，在科学研究中应用。在德国，Artikel werden werden Hauptnachteile von musikalischem Fernunterricht augezet。Der wiichtigste davon ist die Signalverzögerung bei Der communication 她是互联网。他说:“我在乌克兰学习音乐，我在德国学习音乐，我在德国学习音乐，我在德国学习音乐，我在德国学习音乐，我在德国学习音乐，我在德国学习音乐。”音乐的学习与发展，音乐的发展与发展，音乐的发展与发展，音乐的发展与发展。Die Ergebnisse unterscheiden sich in ländli-chen Gebieten night wesentlich von denen in Großstädten和hängen night von der Einstellung der Lehrkräfte zu COVID-19-Schutzmaßnahmen ab, womit sie aufine hohe Objektivität der studdie hinweisen。unerwnschte Folgen der Maßnahmen während der Pandemie werfen die Kernfrage auf, ob die Einschränkungen Nutzen oder Schaden hatten。
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Pub Date : 2023-07-01DOI: 10.1353/fam.2023.a909194
Cameron Pyke
Reviewed by: Alan Bush, Modern Music, and the Cold War: The Cultural Left in Britain and the Communist Bloc by Joanna Bullivant Cameron Pyke Alan Bush, Modern Music, and the Cold War: The Cultural Left in Britain and the Communist Bloc. By Joanna Bullivant. Cambridge: Cambridge University Press, 2022. [288 p. ISBN 978-1-107-03336-8 (hardback). £88.99; ISBN 978-1-009-15879-4 (paperback). £22.99)] This is an elegantly written and thought-provoking assessment of the work and political and cultural contexts of the composer Alan Bush (1900–1995). While acknowledging that the book is not a comprehensive survey of Bush’s works and career, omitting, for example, a full consideration of his symphonic output, Joanna Bullivant considers the ‘contradictory impulses’ and ‘complex subjectivity’ that define it with a refreshing nuance and sharp understanding of historical detail. Bullivant’s survey is particularly impressive in Bush’s post-war relationship with the Deutsche Demokratische Republik (DDR), through opera commissions and his ‘intimate role’ in the development of its music. Bullivant rightly views this engagement as the culmination of his longstanding creative relationship with German political and cultural émigrés, and also relates these works to the régime’s cultural preoccupations. Her assessments of Wat Tyler, The Sugar Reapers, and Joe Hill are particularly astute in their cultural reference. Pertinent comparisons could perhaps have been made with the reception of Benjamin Britten’s operas behind the Iron Curtain, and more reference could have been made to Bush’s correspondence with Grigori Shneerson of the Soviet Union’s Society for Cultural Relations with Foreign Countries (VOKS), but this is impressive and important analysis and research, nonetheless, shedding significant light on Cold War cultural politics. Bush’s relationships with modernism and with ‘late-style’ aesthetics are also discussed with sensitivity. The book employs a significant number of musical examples to illustrate the text. These are clearly presented and discussed in a refreshingly jargon-free way. Bullivant makes a case for a positive reassessment of Bush as ‘a prolific and thoughtful commentator who placed modern music and politics at the heart of his aesthetic concerns’ (p. 19); he is ‘a focal point’ for a fuller understanding of British music. In seeking to substantiate this, she does not downplay what she sees as Bush’s more questionable political judgements, but convincingly highlights continuities in compositional principles and his ‘developing Communist selfhood’ (p. 143). She also astutely highlights some affinities between his personal vision of English music and composers such as Michael Tippett, Britten, and Ralph Vaughan Williams: allusions, for example, to Christian ritual in The Pilgrim’s Progress and Wat Tyler. These are well-judged, though points of similarity and difference could perhaps have been explored further: why, for example, was it Britten rather
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Pub Date : 2023-07-01DOI: 10.1353/fam.2023.a909195
Howard Pollack
Reviewed by: Aaron Copland in Latin America: Music and Cultural Politics by Carol A. Hess Howard Pollack Aaron Copland in Latin America: Music and Cultural Politics. By Carol A. Hess. (Music in American Life.) Urbana: University of Illinois Press, 2023. [344 p. ISBN 978-0-252-04485-4 (hardback). $125; ISBN 978-0-252-05400-6 (e-book). $14.95] In addition to all his other notable accomplishments as composer, pianist, conductor, writer, and concert organiser, Aaron Copland’s work as a cultural ambassador—both officially and unofficially—rates among his most significant and impressive achievements. Over the years, he travelled far and wide, championing American music abroad, and conversely introducing foreign contemporary music to Americans back home. As head of the faculty at the Berkshire Music Center for twenty-five years, he made Tanglewood a hub for such activities by inviting distinguished foreign composers to teach there, and by arranging for students from around the world to study there as well. Even before such activities began to take shape in the 1930s, Copland (1900–1990) had done likewise on the domestic front, promoting his colleagues at home to the point that even as a young man he became known as ‘the dean of American music’. He recognised that the cause of new music—his own and others—could be greatly enriched, both artistically and pragmatically, by communal solidarity and interaction; and in addition to the quality of his music and musicianship, he had the energy, idealism, intelligence, congeniality, eloquence, tact, and connections to make him a natural and effective leader in this respect. Being a bachelor without steady employment facilitated a certain freedom of time and movement as well. Whereas his efforts on behalf of his com-patriots—as reflected in his association with the League of Composers, Copland-Sessions Concerts, Yaddo Festival, Cos Cob Press, New School for Social Research, Tanglewood, and so forth—are relatively well known, his extensive engagement with Latin-American music has gone less studied and appreciated. This latter involvement, which dated back to the 1920s, and his close friendship with the Mexican composer Carlos Chávez, drew in large part on the conviction that American and Latin American composers were bound by history, culture, and destiny, including what Copland saw as the need to strike new paths from those laid down by European hegemony (as much as he held the great European tradition in high esteem). Having written books on Manuel de Falla (2004), Pan Americanism (2013), and Latin American music (2018), Carol A. Hess, Distinguished Professor of Music at the University of California, Davis, is in an excellent position to give this topic some much-needed attention. In this new book, she focusses on Cop-land’s four U.S. government-sponsored tours in 1941, 1947, 1962, and 1963. Sponsored by the Office of Inter-American Affairs, the five-month 1941 trip took him to nine countries: Mexico, Colombia, E
亚伦·科普兰《拉丁美洲:音乐与文化政治》作者:卡罗尔·a·赫斯·霍华德·波拉克卡罗尔·a·赫斯著。(《美国生活中的音乐》)厄巴纳:伊利诺伊大学出版社，2023。[344页。ISBN 978-0-252-04485-4(精装本)。]125美元;ISBN 978-0-252-05400-6(电子书)。[14.95]亚伦·科普兰除了作为作曲家、钢琴家、指挥家、作家和音乐会组织者所取得的显著成就之外，他作为文化大使的工作——无论是官方的还是非官方的——都是他最重要、最令人印象深刻的成就之一。多年来，他四处旅行，在国外倡导美国音乐，反过来又把外国当代音乐介绍给美国人。他在伯克希尔音乐中心担任了25年的院长，通过邀请杰出的外国作曲家在坦格伍德任教，并安排来自世界各地的学生在那里学习，使坦格伍德成为此类活动的中心。甚至在这些活动在20世纪30年代开始形成之前，科普兰(1900-1990)在国内也做了同样的事情，在国内推广他的同事，甚至作为一个年轻人，他就被称为“美国音乐的院长”。他认识到，新音乐事业——他自己的和其他人的——可以通过社区的团结和互动，在艺术上和实用上得到极大的丰富;除了他的音乐和音乐才能之外，他还有精力充沛、理想主义、智慧、平易近人、口才好、机智和人际关系，这些都使他在这方面成为一个天生有效的领导者。作为一个没有稳定工作的单身汉，也有一定的时间和行动自由。尽管他为他的爱国同胞所做的努力——反映在他与作曲家联盟、科普兰-赛辛斯音乐会、亚多音乐节、科斯·科布出版社、新社会研究学院、坦格伍德等等的联系上——相对来说是众所周知的，但他与拉丁美洲音乐的广泛接触却很少被研究和欣赏。后一种参与，可以追溯到20世纪20年代，他与墨西哥作曲家卡洛斯Chávez的亲密友谊，在很大程度上吸引了美国和拉丁美洲作曲家被历史，文化和命运联系在一起的信念，包括科普兰所看到的需要从欧洲霸权奠定的新道路上走出来(就像他高度尊重伟大的欧洲传统一样)。加州大学戴维斯分校的杰出音乐教授卡罗尔·a·赫斯(Carol A. Hess)写过关于曼努埃尔·德·法拉(2004年)、泛美主义(2013年)和拉丁美洲音乐(2018年)的书，她很好地为这个话题提供了一些急需的关注。在这本新书中，她聚焦于科普兰在1941年、1947年、1962年和1963年四次美国政府资助的旅行。1941年，在美洲事务办公室的赞助下，他进行了为期5个月的访问，访问了9个国家:墨西哥、哥伦比亚、厄瓜多尔、秘鲁、智利、阿根廷、乌拉圭、巴西和古巴。作为访问教授计划的一部分，他于1947年回到南美洲，在巴西、乌拉圭和阿根廷呆了三个月。受美国专家计划的委托，科普兰再次以政府代理人的身份前往拉丁美洲，他将自己的任务分为两部分，1962年前往墨西哥、巴西和乌拉圭，1963年前往阿根廷、智利、哥伦比亚，1963年再次前往巴西。作为这些政府资助的旅行的一部分，科普兰亲自在电台和电视上讲美国音乐;与管弦乐队一起指挥美国音乐，并演奏了他的一些钢琴作品;会见了几十位作曲家，研究了他们的音乐;安排拉丁美洲音乐家到美国学习和演出;反过来，推荐美国艺术家出国旅游补贴。赫斯对这些活动进行了深入研究，并对其中的许多活动进行了调查报告，尤其是在科普兰逗留期间保存的日记和他的演讲和音乐会的报纸报道中。尽管对这些事业中固有的矛盾和限制很敏感，但赫斯认为科普兰的努力总的来说是非常成功的，这不仅要归功于上面提到的个人特征，还要归功于他流利的西班牙语和基本的葡萄牙语知识……
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Pub Date : 2023-07-01DOI: 10.1353/fam.2023.a909189
Michael Burden
English Abstract: This article examines the form, contents, and context of Fitzwilliam Museum MU.MS.108. This is a gathering together of a group of arias in autograph written by the Italian composer, Domenico Paradies (1707–1791), for London’s King’s Theatre, the elite venue for imported opera and dance. The manuscript, either as loose leaves or as a bound collection, was sold by Paradies to the founder of the museum, Richard, 7th Viscount Fitzwilliam (1745–1816) in 1770. While known, the source has not been examined closely, nor has it been explored in relation to the opera seasons for which its contents were composed. There are twenty-one numbers all told, spanning the years 1746 to 1751, a period in which there is a paucity of information on the running of the King’s Theatre and one in which the audience had only a limited critical engagement with the works that were performed. Paradies’ role not only included the provision of new arias, but also the alteration of old ones, new overtures, and other music required for new adaptations. MU.MS.108 is, therefore, a microcosm that illustrates the type of work required of an eighteenth-century composer working in an opera house and throws light onto the dim world of the pasticcio, compilations that are the result of unrecorded discussions between all the parties involved in the production of opera: managers, singers, composers, librettists, and musical directors. French Abstract: Cet article examine la forme, le contenu et le contexte du Fitzwilliam Museum MU.MS.108. Il s’agit d’un ensemble d’arias autographes écrites par le compositeur italien Domenico Paradies (1707–1791) pour le King’s Theatre de Londres, la scène privilégiée de l’opéra et de la danse en provenance de l’étranger. Le manuscrit, sous forme de feuillets détachés ou de recueil relié, a été vendu par Paradies au fondateur du musée, Richard, 7e vicomte Fitzwilliam (1745–1816), en 1770. Bien que connue, la source n’a pas été examinée de près, ni étudiée en relation avec les saisons d’opéra pour lesquelles son contenu a été composé. On compte en tout vingt-et-un numéros, couvrant les années 1746 à 1751, une période pour laquelle on dispose de très peu d’informations sur le fonctionnement du King’s Theatre et au cours de laquelle le public n’a eu qu’un engagement critique limité vis-à-vis des œuvres représentées. Le rôle de Paradies ne consistait pas seulement à proposer de nouveaux airs, mais aussi à transformer les anciens, à créer de nouvelles ouvertures et autres musiques nécessaires à la réalisation de nouvelles adaptations. MU.MS.108 est donc un microcosme qui illustre le type de travail exigé d’un compositeur du XVIIIe siècle travaillant dans une maison d’opéra et qui éclaire le monde obscur du pasticcio, des compilations qui sont le résultat de discussions non documentées entre toutes les parties impliquées dans la production d’un opéra : imprésarios, chanteurs, compositeurs, librettistes et directeurs musicaux. German Abstract: Di
摘要:本文考察了菲茨威廉博物馆mums .108的形式、内容和语境。这是意大利作曲家多梅尼科·帕拉迪斯(1707-1791)为引进歌剧和舞蹈的精英场所——伦敦国王剧院所写的一组咏叹调的集锦。1770年，手稿以活页或装订的形式被Paradies卖给了博物馆的创始人Richard，第七代子爵Fitzwilliam(1745-1816)。虽然已知，但它的来源并没有被仔细研究，也没有被探讨与它的内容组成的歌剧季节的关系。共有21个数字，时间跨度从1746年到1751年，在这段时间里，关于国王剧院的运营信息很少，观众对演出作品的评论也很有限。paradades的角色不仅包括提供新的咏叹调，而且还包括旧的改变，新的序曲，以及新的改编所需的其他音乐。MU.MS。因此，《108》是一个缩影，它说明了18世纪在歌剧院工作的作曲家所需要的工作类型，并为pasticcio的昏暗世界带来了光明，这些汇编是参与歌剧制作的所有各方:经理、歌手、作曲家、剧作家和音乐总监之间未记录的讨论的结果。摘要:本文考察了菲茨威廉博物馆的形式、内容和背景。在伦敦国王剧院，我将为你提供一份由意大利作曲家多梅尼克·帕拉迪斯(1707-1791)亲笔签名的档案，我将为你提供一份档案，我将为你提供一份档案。李氏，1745-1816子爵，1770年，《文氏文氏文集》，第7期，《文氏文氏文集》，第7期，《文氏文氏文集》。在过去的时间里，你可以从过去的和其他所有的和其他所有的和其他所有的和其他所有的和所有的和所有的和所有的和所有的和所有的和所有的和所有的。1 .在完成所有的可变可变因素后，如可变可变因素，如可变可变因素，如可变可变因素，如可变可变因素，如可变可变因素，如可变可变因素，如可变可变因素，如可变可变因素，如可变可变因素，如可变可变因素，如可变可变因素，如可变可变因素，如可变可变因素，如可变可变因素，如可变可变因素，如可变可变因素。rôle de Paradies ne包含了过去的解决方案，提议者de nouveaux airs, mais aussi，变革者de ancies， 新一代的新一代的新一代的新一代的新一代的新一代的新一代的新一代的适应。MU.MS。108年美国东部时间所以联合国microcosme, illustre le类型de阵痛exige用品compositeur du XVIIIe世纪末travaillant在一个商店d 'opera等eclaire《世界报》遮蔽du pasticcio des编译是结果德讨论非documentees之间全部的政党impliquees在生产d一个歌剧:承办者,歌唱者,compositeurs,歌词作者等说话”。[摘要]德国菲茨威廉博物馆，德国艺术与艺术研究中心，2008。作者Arien，意大利作曲家Domenico Paradies(1707-1791)，伦敦国王剧院，奥地利芭蕾舞剧，奥地利芭蕾舞剧，德国芭蕾舞剧。Die Handschriften wurde entweder als lose Blätter oder als gebundene Sammlung 1770 von Paradies and den museumsgrunder, Richard, 7。菲茨威廉子爵(1745-1816)【翻译】:“我想说的是，我想说的是，我想说的是，我想说的是，我想说的是，我想说的是，我想说的是，我想说的是，我想说的是，我想说的是，我想说的是，我想说的是，我想说的是。”Insgesamt beinhaltet der巴德einundzwanzig Nummern来自窝几年1746年国际清算银行1751年,静脉zeitspanne,祖茂堂der es努尔wenige Informationen uber窝Betrieb des国王剧院有西奇和德das Publikum kaum kritisch麻省理工学院窝威尔beschaftigte。德语德语:德语:德语:德语:德语:德语:德语:德语:德语:德语:德语:德语:德语:德语:德语:德语:德语:德语:德语:德语:德语:德语:德语:德语:德语:德语:德语:德语:德语:德语:德语:德语:德语:德语:德语:德语:德语:德语:德语MU.MS。我的父亲在微观宇宙中，der die Arbeitsweise veranschaulicht，死于18岁。Jahrhundert von einem and einem Opernhaus beschäftigten Komponisten erwartet wurde。Damit wird die verborgene Welt der Pasticcios erhellt，也称为von zusammenstellungen, die das Ergebnis night dokumentiter Aushandlungen zwischen allen和iner opernproduction between lighlighten Parteien wimanagern, Sängern, Komponisten, Librettisten和musikdirecttoren sind。
{"title":"When Mr Paradies Provided the Songs: The London Opera Arias of Fitzwilliam Museum, Mu.Ms.108","authors":"Michael Burden","doi":"10.1353/fam.2023.a909189","DOIUrl":"https://doi.org/10.1353/fam.2023.a909189","url":null,"abstract":"English Abstract: This article examines the form, contents, and context of Fitzwilliam Museum MU.MS.108. This is a gathering together of a group of arias in autograph written by the Italian composer, Domenico Paradies (1707–1791), for London’s King’s Theatre, the elite venue for imported opera and dance. The manuscript, either as loose leaves or as a bound collection, was sold by Paradies to the founder of the museum, Richard, 7th Viscount Fitzwilliam (1745–1816) in 1770. While known, the source has not been examined closely, nor has it been explored in relation to the opera seasons for which its contents were composed. There are twenty-one numbers all told, spanning the years 1746 to 1751, a period in which there is a paucity of information on the running of the King’s Theatre and one in which the audience had only a limited critical engagement with the works that were performed. Paradies’ role not only included the provision of new arias, but also the alteration of old ones, new overtures, and other music required for new adaptations. MU.MS.108 is, therefore, a microcosm that illustrates the type of work required of an eighteenth-century composer working in an opera house and throws light onto the dim world of the pasticcio, compilations that are the result of unrecorded discussions between all the parties involved in the production of opera: managers, singers, composers, librettists, and musical directors. French Abstract: Cet article examine la forme, le contenu et le contexte du Fitzwilliam Museum MU.MS.108. Il s’agit d’un ensemble d’arias autographes écrites par le compositeur italien Domenico Paradies (1707–1791) pour le King’s Theatre de Londres, la scène privilégiée de l’opéra et de la danse en provenance de l’étranger. Le manuscrit, sous forme de feuillets détachés ou de recueil relié, a été vendu par Paradies au fondateur du musée, Richard, 7e vicomte Fitzwilliam (1745–1816), en 1770. Bien que connue, la source n’a pas été examinée de près, ni étudiée en relation avec les saisons d’opéra pour lesquelles son contenu a été composé. On compte en tout vingt-et-un numéros, couvrant les années 1746 à 1751, une période pour laquelle on dispose de très peu d’informations sur le fonctionnement du King’s Theatre et au cours de laquelle le public n’a eu qu’un engagement critique limité vis-à-vis des œuvres représentées. Le rôle de Paradies ne consistait pas seulement à proposer de nouveaux airs, mais aussi à transformer les anciens, à créer de nouvelles ouvertures et autres musiques nécessaires à la réalisation de nouvelles adaptations. MU.MS.108 est donc un microcosme qui illustre le type de travail exigé d’un compositeur du XVIIIe siècle travaillant dans une maison d’opéra et qui éclaire le monde obscur du pasticcio, des compilations qui sont le résultat de discussions non documentées entre toutes les parties impliquées dans la production d’un opéra : imprésarios, chanteurs, compositeurs, librettistes et directeurs musicaux. German Abstract: Di","PeriodicalId":41623,"journal":{"name":"FONTES ARTIS MUSICAE","volume":"65 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135852669","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}
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