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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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}
In this article I explore the occurrence and use of novelty musical instruments in concert in the second half of the 18th century, arguing that these instruments were used as a means of self-promotion for the performer, and in some cases were intrinsically linked with their identity as immigrant musicians in Britain. I start by examining music marketing in the 18th century, then consider what novelty means in the context of musical performance. I consider, firstly, imported musical instruments which existed in reasonable numbers in Britain, focusing on the mandolin, English guittar and viola d’amore. I then move to observe the more fleeting inventions to grace British concert rooms and theatres, including the inventions of Charles Clagget, and I draw attention to the sociocultural forces which may have encouraged their development. I conclude by surmising that even with the best marketing and inventions, the majority of novelty instruments were only ever destined for public performance as promotional tools, and not to be brought into the home for domestic music-making.
{"title":"‘Magnificence of promises’: novelty instruments in concert in Britain, c.1750–1800","authors":"Rachael Durkin","doi":"10.1093/em/caad012","DOIUrl":"https://doi.org/10.1093/em/caad012","url":null,"abstract":"\u0000 In this article I explore the occurrence and use of novelty musical instruments in concert in the second half of the 18th century, arguing that these instruments were used as a means of self-promotion for the performer, and in some cases were intrinsically linked with their identity as immigrant musicians in Britain. I start by examining music marketing in the 18th century, then consider what novelty means in the context of musical performance. I consider, firstly, imported musical instruments which existed in reasonable numbers in Britain, focusing on the mandolin, English guittar and viola d’amore. I then move to observe the more fleeting inventions to grace British concert rooms and theatres, including the inventions of Charles Clagget, and I draw attention to the sociocultural forces which may have encouraged their development. I conclude by surmising that even with the best marketing and inventions, the majority of novelty instruments were only ever destined for public performance as promotional tools, and not to be brought into the home for domestic music-making.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49481958","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}
A remarkable feature of the Birgittine monastic Order is its daily use of tropes for the embellishment of an exclusively monophonic liturgy. Ferial tropes were sung in both Mass and Office and their purpose was to highlight the Marian devotion that was central to the Order’s spirituality. In the Birgittine sisters’ ferial Office liturgy, the so-called Cantus sororum, the Benedicamus Domino was a notable location for the provision of tropes, which were performed daily at Lauds and Vespers. These Benedicamus tropes are a complex mix of unica, as well as musical and textual patchworks of pre-existing and new and/or remodelled musical and textual material. This article explains the place and importance of Benedicamus Domino tropes in Birgittine liturgy and spirituality, illustrated by new transcriptions of the Benedicamus tropes that were consistently assigned to embellish each particular day of the week.
{"title":"Benedicamus Domino tropes in the Birgittine Order: embellishing everyday liturgy","authors":"Karin Lagergren","doi":"10.1093/em/caac051","DOIUrl":"https://doi.org/10.1093/em/caac051","url":null,"abstract":"\u0000 A remarkable feature of the Birgittine monastic Order is its daily use of tropes for the embellishment of an exclusively monophonic liturgy. Ferial tropes were sung in both Mass and Office and their purpose was to highlight the Marian devotion that was central to the Order’s spirituality. In the Birgittine sisters’ ferial Office liturgy, the so-called Cantus sororum, the Benedicamus Domino was a notable location for the provision of tropes, which were performed daily at Lauds and Vespers. These Benedicamus tropes are a complex mix of unica, as well as musical and textual patchworks of pre-existing and new and/or remodelled musical and textual material. This article explains the place and importance of Benedicamus Domino tropes in Birgittine liturgy and spirituality, illustrated by new transcriptions of the Benedicamus tropes that were consistently assigned to embellish each particular day of the week.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42609897","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}
Journal Article Recataloguing Bach Get access Thematisch-systematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bach, ed. Christine Blanken, Christoph Wolff and Peter Wollny; third enlarged and new edition (BWV3) (Wiesbaden: Breitkopf & Härtel, 2022), €459 Yo Tomita Yo Tomita y.tomita@qub.ac.uk https://orcid.org/0000-0002-6321-9910 Search for other works by this author on: Oxford Academic Google Scholar Early Music, caad021, https://doi.org/10.1093/em/caad021 Published: 26 March 2023
期刊文章重新编目巴赫获取Thematisch-systematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bach，编辑:Christine Blanken, Christoph Wolff和Peter Wollny;第三个扩大版和新版(BWV3)(威斯巴登:Breitkopf & Härtel, 2022)，€459 Yo Tomita Yo Tomita y.tomita@qub.ac.uk https://orcid.org/0000-0002-6321-9910搜索作者的其他作品:牛津学术谷歌学者早期音乐，caad021, https://doi.org/10.1093/em/caad021出版:2023年3月26日
{"title":"Recataloguing Bach","authors":"Yo Tomita","doi":"10.1093/em/caad021","DOIUrl":"https://doi.org/10.1093/em/caad021","url":null,"abstract":"Journal Article Recataloguing Bach Get access Thematisch-systematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bach, ed. Christine Blanken, Christoph Wolff and Peter Wollny; third enlarged and new edition (BWV3) (Wiesbaden: Breitkopf & Härtel, 2022), €459 Yo Tomita Yo Tomita y.tomita@qub.ac.uk https://orcid.org/0000-0002-6321-9910 Search for other works by this author on: Oxford Academic Google Scholar Early Music, caad021, https://doi.org/10.1093/em/caad021 Published: 26 March 2023","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135951336","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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