Abstract When Matteo Ricci and the Jesuit missionaries landed in China in the late 16th century, they heard a language they could not readily reproduce in their own tongue. Unlike Latin and the Romance languages, Chinese is a tone language, in which the meaning of a word varies according to its relative pitch level. In order to Romanize Chinese, the Jesuits applied their knowledge of music theory and assigned solmization syllables to the Chinese tones. Although their manuscript musical dictionary remains lost, the essence of it is preserved in print in the most widely disseminated treatise on China of the time: China illustrata (1667), by the Jesuit polymath Athanasius Kircher. To date, sinologists have generally dismissed Kircher’s musical Chinese as unintelligible. Musicologists, meanwhile, having long poured over Kircher’s Musurgia universalis (1650), have yet to offer a detailed critique of China illustrata. In reapproaching this singular source in Sino-Western history, this article argues that the Jesuits’ musical representation of the Chinese language should not be rejected a priori. Kircher’s cryptic description of Chinese can, in fact, be clarified by a letter from Beijing in which a Jesuit spelled out the Chinese tones in musical staff notation. A musical analysis of the lead illustration in China illustrata—the Nestorian Stele of Xi’an—indicates that the Jesuits’ solmizations were closer approximations of Chinese than one might assume. Off-tone though it might at first appear, China illustrata is a valuable record of how the Jesuits Romanized Chinese.
{"title":"Romanizing Chinese: word–tone relations in Athanasius Kircher’s <i>China illustrata</i>","authors":"Jeffrey Levenberg","doi":"10.1093/em/caad013","DOIUrl":"https://doi.org/10.1093/em/caad013","url":null,"abstract":"Abstract When Matteo Ricci and the Jesuit missionaries landed in China in the late 16th century, they heard a language they could not readily reproduce in their own tongue. Unlike Latin and the Romance languages, Chinese is a tone language, in which the meaning of a word varies according to its relative pitch level. In order to Romanize Chinese, the Jesuits applied their knowledge of music theory and assigned solmization syllables to the Chinese tones. Although their manuscript musical dictionary remains lost, the essence of it is preserved in print in the most widely disseminated treatise on China of the time: China illustrata (1667), by the Jesuit polymath Athanasius Kircher. To date, sinologists have generally dismissed Kircher’s musical Chinese as unintelligible. Musicologists, meanwhile, having long poured over Kircher’s Musurgia universalis (1650), have yet to offer a detailed critique of China illustrata. In reapproaching this singular source in Sino-Western history, this article argues that the Jesuits’ musical representation of the Chinese language should not be rejected a priori. Kircher’s cryptic description of Chinese can, in fact, be clarified by a letter from Beijing in which a Jesuit spelled out the Chinese tones in musical staff notation. A musical analysis of the lead illustration in China illustrata—the Nestorian Stele of Xi’an—indicates that the Jesuits’ solmizations were closer approximations of Chinese than one might assume. Off-tone though it might at first appear, China illustrata is a valuable record of how the Jesuits Romanized Chinese.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135903263","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}
The run of morocco-bound manuscript scores of Handel’s oratorios and church music from the Royal Music Library, named the ‘Smith Collection’ by William Barclay Squire in 1927, was assembled as a set for King George III in the early years of his reign. Some of the volumes have year-dates for copying from the period 1766–70, but the sequence also incorporates earlier volumes that originated from the library of the king’s father (Frederick, Prince of Wales, d.1751), partially documented in a sale advertisement by a bookseller soon after Handel’s death. Squire believed that the series had been the property of John Christopher Smith and had been given to the king with the collection of Handel’s autograph scores in the 1770s. Newly identified documents from the Royal Library, now at Windsor, record payments for the copying of many of the scores and enable an alternative reconstruction of the history of the collection under the king’s influence, beginning in 1765–6. They also raise new questions about the identity of the music copyist ‘Mr Teede’. The completion of the series took place in the early 1770s, probably before the king received the autographs. For the shelves in George III’s library the oratorios were arranged in chronological order, but the diverse origins of the volumes had the result that, although the bindings were in similar styles, their sizes were not uniform.
1927年，威廉·巴克利·斯奎尔（William Barclay Squire）将英国皇家音乐图书馆（Royal music Library）收藏的亨德尔清唱剧和教堂音乐的摩洛哥手稿乐谱命名为“史密斯收藏”（Smith Collection），在国王乔治三世（King George III）执政初期为其收藏。其中一些卷的年份可以追溯到1766-70年，但该序列也包含了源自国王父亲（弗雷德里克，威尔士亲王，1751年）图书馆的早期卷，部分记录在亨德尔去世后不久一位书商的销售广告中。斯奎尔认为，该系列是约翰·克里斯托弗·史密斯的财产，并在17世纪70年代与亨德尔的亲笔签名集一起送给了国王。现在位于温莎的皇家图书馆新发现的文件记录了许多乐谱的复制费用，并使人们能够从1765年至1766年在国王的影响下重新构建藏品的历史。他们还对音乐文案“泰德先生”的身份提出了新的问题。该系列的完成发生在17世纪70年代初，可能在国王收到签名之前。在乔治三世图书馆的书架上，清唱剧是按时间顺序排列的，但这些卷的不同来源导致，尽管装订风格相似，但它们的大小并不一致。
{"title":"King George III and the ‘Smith Collection’ of Handel manuscripts","authors":"D. Burrows","doi":"10.1093/em/caad011","DOIUrl":"https://doi.org/10.1093/em/caad011","url":null,"abstract":"\u0000 The run of morocco-bound manuscript scores of Handel’s oratorios and church music from the Royal Music Library, named the ‘Smith Collection’ by William Barclay Squire in 1927, was assembled as a set for King George III in the early years of his reign. Some of the volumes have year-dates for copying from the period 1766–70, but the sequence also incorporates earlier volumes that originated from the library of the king’s father (Frederick, Prince of Wales, d.1751), partially documented in a sale advertisement by a bookseller soon after Handel’s death. Squire believed that the series had been the property of John Christopher Smith and had been given to the king with the collection of Handel’s autograph scores in the 1770s. Newly identified documents from the Royal Library, now at Windsor, record payments for the copying of many of the scores and enable an alternative reconstruction of the history of the collection under the king’s influence, beginning in 1765–6. They also raise new questions about the identity of the music copyist ‘Mr Teede’. The completion of the series took place in the early 1770s, probably before the king received the autographs. For the shelves in George III’s library the oratorios were arranged in chronological order, but the diverse origins of the volumes had the result that, although the bindings were in similar styles, their sizes were not uniform.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-08-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45334999","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}
Eighteenth-century writings about the oboe in London tend to focus primarily on two performers: Giuseppe Sammartini (1695–1750) and Johann Christian Fischer (1733–1800). As Sammartini died in 1750 and Fischer arrived in London only in 1768, this leaves much uncertain about the period of time which separated them. One of the leading oboists in the years following Sammartini’s death was Thomas Vincent Jr. (c.1723–98), a student of Sammartini’s. Vincent was later mentioned by both William Thomas Parke (1761–1847) and Charles Burney (1726–1814) as a prominent performer who was popular until the arrival of Fischer. Was Vincent a skilled performer who was eclipsed by Fischer’s more brilliant style or a performer of lesser abilities and outdated style? Or were writers such as Parke and Burney simply biased in Fischer’s favour? A study of Vincent’s performance activities, his abilities as evidenced by his compositions, and a consideration of the differing musical styles of Vincent and Fischer’s works will demonstrate that Vincent was a venerable performer-composer in his own right and that the preference for Fischer expressed by later writers was less a dismissal of Vincent than a reflection of changing musical tastes.
{"title":"Performer, composer and impresario: Thomas Vincent Jr. (c.1723–1798) and the oboe in London, 1748–1768","authors":"Blake Johnson","doi":"10.1093/em/caad001","DOIUrl":"https://doi.org/10.1093/em/caad001","url":null,"abstract":"\u0000 Eighteenth-century writings about the oboe in London tend to focus primarily on two performers: Giuseppe Sammartini (1695–1750) and Johann Christian Fischer (1733–1800). As Sammartini died in 1750 and Fischer arrived in London only in 1768, this leaves much uncertain about the period of time which separated them. One of the leading oboists in the years following Sammartini’s death was Thomas Vincent Jr. (c.1723–98), a student of Sammartini’s. Vincent was later mentioned by both William Thomas Parke (1761–1847) and Charles Burney (1726–1814) as a prominent performer who was popular until the arrival of Fischer. Was Vincent a skilled performer who was eclipsed by Fischer’s more brilliant style or a performer of lesser abilities and outdated style? Or were writers such as Parke and Burney simply biased in Fischer’s favour? A study of Vincent’s performance activities, his abilities as evidenced by his compositions, and a consideration of the differing musical styles of Vincent and Fischer’s works will demonstrate that Vincent was a venerable performer-composer in his own right and that the preference for Fischer expressed by later writers was less a dismissal of Vincent than a reflection of changing musical tastes.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-08-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44775089","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}
Abstract The Willmott and Braikenridge manuscripts, once owned by the Norwich merchant John Sadler (d.1592), are all that is known to survive from his second partbook set, dated 1591. This article explores the custodial history of those volumes, tracing their various later owners and the marks they left. It finds that the two surviving volumes may have been apart since 1709—a separation that persisted until they were reunited in 2022—and also that the set’s three missing partbooks may have been lost only since 1885, raising hopes that they may one day be found.
{"title":"On the trail of the Willmott and Braikenridge manuscripts","authors":"James Burke","doi":"10.1093/em/caad037","DOIUrl":"https://doi.org/10.1093/em/caad037","url":null,"abstract":"Abstract The Willmott and Braikenridge manuscripts, once owned by the Norwich merchant John Sadler (d.1592), are all that is known to survive from his second partbook set, dated 1591. This article explores the custodial history of those volumes, tracing their various later owners and the marks they left. It finds that the two surviving volumes may have been apart since 1709—a separation that persisted until they were reunited in 2022—and also that the set’s three missing partbooks may have been lost only since 1885, raising hopes that they may one day be found.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136145875","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}
Abstract Arnaud du Sarrat is known primarily as a bookseller and publisher based in Berlin, where he worked as Estienne Roger’s official agent from 1706 at the latest. This article, however, focuses on his activity in Halle between 1694/5 and 1702, when he was bookseller and bookbinder to the university. An analysis of four catalogues presents insights into the printed music available in his stores in Halle and Leipzig at the turn of the 18th century. A study is made of du Sarrat’s relationship with the Dutch book market, especially with booksellers from Amsterdam; and du Sarrat’s correspondence with Theophilus Dorrington suggests how Pietist networks also allowed for the transmission of books.
阿诺·杜·萨拉特(Arnaud du Sarrat)是柏林的一名书商和出版商，最迟从1706年起，他在那里担任Estienne Roger的官方代理人。然而，这篇文章的重点是他在1694/5年至1702年期间在哈雷的活动，当时他是大学的书商和装订工。通过对四份目录的分析，我们可以深入了解18世纪之交，他在哈雷和莱比锡的商店里出售的印刷音乐。本文研究了杜萨拉特与荷兰图书市场的关系，尤其是与阿姆斯特丹书商的关系;杜萨拉特与西奥菲勒斯·多灵顿的通信表明，虔诚派的网络也允许书籍的传播。
{"title":"Arnaud du Sarrat and the international music trade in Halle and Leipzig <i>c.</i>1700","authors":"Tomasz Górny","doi":"10.1093/em/caad035","DOIUrl":"https://doi.org/10.1093/em/caad035","url":null,"abstract":"Abstract Arnaud du Sarrat is known primarily as a bookseller and publisher based in Berlin, where he worked as Estienne Roger’s official agent from 1706 at the latest. This article, however, focuses on his activity in Halle between 1694/5 and 1702, when he was bookseller and bookbinder to the university. An analysis of four catalogues presents insights into the printed music available in his stores in Halle and Leipzig at the turn of the 18th century. A study is made of du Sarrat’s relationship with the Dutch book market, especially with booksellers from Amsterdam; and du Sarrat’s correspondence with Theophilus Dorrington suggests how Pietist networks also allowed for the transmission of books.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135755914","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}
{"title":"The Spanish Golden Age and beyond","authors":"T. Knighton","doi":"10.1093/em/caad017","DOIUrl":"https://doi.org/10.1093/em/caad017","url":null,"abstract":"","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44950835","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}
{"title":"Correction to: Bach returns to Cambridge","authors":"","doi":"10.1093/em/caad002","DOIUrl":"https://doi.org/10.1093/em/caad002","url":null,"abstract":"","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44879224","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}
The expression and interpretation of music in the North German Enlightenment was a primary concern of amateur musicians. Around the mid 18th century, influenced by the nascent discipline of aesthetics, literature on the arts and music exhibited a shift towards a psychological approach to expression rather than a rhetorical one. This article examines the notion of ‘character’ as used in aesthetics, music theory and compositions of the period, showing how it was closely linked to the moral function of art. Moving away from a rhetorical or semiotic approach that identifies a fixed character in specific genres or musical features, I argue that musical performance involved an interaction between the music’s implied character and the moral character of the musician. Case studies of two representative keyboard works by C. P. E. Bach, the Rondo I in C major (Wq.56.1/h.260) and the Fantasia in F♯ minor (Wq.67/h.300), explore ways to recover the psychological experience of character as delineated in these compositions, and discuss how an approach to expressing character could be employed by present-day performers.
{"title":"Aesthetic expression an das Clavier: performing character in the keyboard music of C. P. E. Bach","authors":"Kimary Fick","doi":"10.1093/em/caad026","DOIUrl":"https://doi.org/10.1093/em/caad026","url":null,"abstract":"\u0000 The expression and interpretation of music in the North German Enlightenment was a primary concern of amateur musicians. Around the mid 18th century, influenced by the nascent discipline of aesthetics, literature on the arts and music exhibited a shift towards a psychological approach to expression rather than a rhetorical one. This article examines the notion of ‘character’ as used in aesthetics, music theory and compositions of the period, showing how it was closely linked to the moral function of art. Moving away from a rhetorical or semiotic approach that identifies a fixed character in specific genres or musical features, I argue that musical performance involved an interaction between the music’s implied character and the moral character of the musician. Case studies of two representative keyboard works by C. P. E. Bach, the Rondo I in C major (Wq.56.1/h.260) and the Fantasia in F♯ minor (Wq.67/h.300), explore ways to recover the psychological experience of character as delineated in these compositions, and discuss how an approach to expressing character could be employed by present-day performers.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43775410","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}
{"title":"Hidalgo’s golden age in sound: Hispanic songs on recordings since 1966","authors":"L. Stein","doi":"10.1093/em/caad025","DOIUrl":"https://doi.org/10.1093/em/caad025","url":null,"abstract":"","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48086957","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}
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