DOCSLIB.ORG

Musicians' Mobilities and Music Migrations in Early Modern Europe

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Musicians' Mobilities and Music Migrations in Early Modern Europe Gesa zur Nieden, Berthold Over (eds.) Musicians’ Mobilities and Music Migrations in Early Modern Europe Mainz Historical Cultural Sciences | Volume 33 Editorial The Mainzer Historische Kulturwissenschaften [Mainz Historical Cultural Sciences] series publishes the results of research that develops methods and theories of cultural sciences in connection with empirical research. The central approach is a historical perspective on cultural sciences, whereby both epochs and regions can differ widely and be treated in an all-embracing manner from time to time. Amongst other, the series brings together research approaches in archaeology, art history, visual studies, literary studies, philosophy, and history, and is open for contributions on the history of knowledge, political culture, the history of perceptions, experiences and life-worlds, as well as other fields of research with a historical cultural scientific orientation. The objective of the Mainzer Historische Kulturwissenschaften series is to be- come a platform for pioneering works and current discussions in the field of historical cultural sciences. The series is edited by the Co-ordinating Committee of the Research Unit His- torical Cultural Sciences (HKW) at the Johannes Gutenberg University Mainz. Gesa zur Nieden, Berthold Over (eds.) Musicians’ Mobilities and Music Migrations in Early Modern Europe Biographical Patterns and Cultural Exchanges The print was financed by the Research Unit Historical Cultural Sciences (HKW). Publication of the HERA-JRP »MusMig« financed by: An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative in- itiative designed to make high quality books Open Access for the public good. The Open Access ISBN for this book is 978-3-8394-3504-5. More information about the initiative and links to the Open Access version can be found at www.knowledgeunlatched.org. This work is licensed under the Creative Commons Attribution-NonCommercial-No- Derivs 4.0 (BY-NC-ND) which means that the text may be used for non-commercial purposes, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. To create an adaptation, translation, or derivative of the original work and for commer- cial use, further permission is required and can be obtained by contacting rights@ transcript-verlag.de © 2016 transcript Verlag, Bielefeld Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbiblio- grafie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de Cover layout: Kordula Röckenhaus, Bielefeld Type setting: Stephan Münch Printed by Majuskel Medienproduktion GmbH, Wetzlar Print-ISBN 978-3-8376-3504-1 PDF-ISBN 978-3-8394-3504-5 C Preface .................................................................. 9 G N, B O Roads “which are commonly wonderful for the musicians” – Early Modern Times Musicians’ Mobility and Migration ............................................ 11 G N B C Bay a Bay: Ca-Ha Aa Ma’ Ma Eay M A Migration and Biography. The Case of Agostino Steffani ................................ 35 C T “try it elsewhere […]” – Konrad Hagius and Musicians’ Mobility in Early Modern Times in Light of Local and Regional Profile ......................... 51 J K Competition at the Catholic Court of Munich. Italian Musicians and Family Networks ................... 73 B Kä ’ From Munich to Foreign’ Lands and Back Again. Relocation of the Munich Court and Migration of Musicians (c. 1690-1715) ................................... 91 B O Migratory and Traveling Musicians at the Polish Royal Courts in the 17th Century. The Case of Kaspar Förster the Younger ............................... 135 B P-Jń Foreign Musicians at the Polish Court in the Eighteenth Century. The Case of Pietro Mira .......... 151 A Żó-W Luka Sorgo – a Nobleman and Composer from Dubrovnik ...................................................... 171 V Kć MUSICI and MusMig. Continuities and Discontinuities ....................................................... 185 B O, T R S Ma’ Ma B C a Cy Musical Travels. Sources of Musicians’ Tours and Migrations in the Seventeenth and Eighteenth Century ................................................................. 207 N D “… und bißhero mein Glück in der Welt zu suchen…” – Notes on the Biography of Jonas Friederich Boenicke ............................................... 227 R-S. P The Russian Experience. The Example of Filippo Balatri ........................................................ 241 J K, M S Soloists of the Opera Productions in Brno, Holešov, Kroměříž and Vyškov. Italian Opera Singers in Moravian Sources c. 1720-1740 (Part I) ................. 255 J Sáčá Vienna Kärntnertortheater Singers in the Letters from Georg Adam Hoffmann to Count Johann Adam von Questenberg. Italian Opera Singers in Moravian Sources c. 1720-1740 (Part II) ................ 275 J Pá Da a Ta M a M Ty B C, Aaa a R Estienne Roger’s Foreign Composers .................... 295 R R From “Sonate a quattro” to “Concertos in Seven Parts”. The Acclimatization of Two Compositions by Francesco Scarlatti ..................... 311 M T Spread of Italian Libretti. Maria Clementina Sobieska Stuart – a Patron of Roman Operas ........ 323 A M Migration of Musical Repertoire. The Attems Music Collection from Around 1744 ........................ 341 M K The Case of Juraj Križanić (1619-1683?) – His Texts on Music. From Artefacts to Cultural Study (Croatian Writers on Music and Transfer of Ideas in Their New Environments) ....................................... 379 S T People and Places in a (Music) Source. A Case Study of Giuseppe Michele Stratico and His Theoretical Treatises (Croatian Writers on Music and Transfer of Ideas in Their New Environments) ... 389 L K List of Contributors ................................................ 403 Index of Persons ................................................... 409 Index of Places ..................................................... 425 Preface In Early Modern Times, musical migrations have contributed consid- erably to the dynamics and synergy of the European cultural scene at large. By stimulating innovation, changes of style and patterns of mu- sical and social behavior, musical migrations have contributed toward cohesion within a common European cultural identity. These migrations and movements are the focus of the international HERA project “Music Migrations in the Early Modern Age: the Meeting of the European East, West and South (MusMig)” that unites researchers from Croatia, Germa- ny, Poland and Slovenia and is directed by Vjera Katalinić (Zagreb). This project, running from September 2013 until August 2016, is inanced by the European Union and co-funded by the respective government depart- ments of the countries involved. In the project, the term “musician” is understood in a wide sense, including not only singers, instrumentalists and composers but also, for instance, dancers, librettists and music theorists. Moreover, the circula- tion of musical scores and ideas and the activities of instrument makers lie within the project’s ambit. This results in a multi-stranded approach to the topic and a multi-faceted investigation that takes into full account the diversity of motivational factors underlying mobility and migration. The project’s results are published in three anthologies and also in a database where the data collected on migratory musicians can be explored by the public. The present volume is the outcome of a workshop, “Music Migra- tions: from Source Research to Cultural Studies”, held at the Johannes Gutenberg-Universität in Mainz from 24 to 25 April 2014. In order to broaden the perspective, scholars from other parts of Europe were in- vited in addition to members of the project group. The reason was to ensure the contextualization of the project within current discussions on, 9 Preface and studies of, migratory musicians in Europe. In this spirit, the vol- ume assembles present-day research on methods, sources and individual cases within the project’s spatial (European East, West and South) and temporal (17th-18th centuries) frames, as well as initial results from the individual sub-projects. Some remarks on the formal aspect of the volume: In older docu- ments cited in the articles, the often interchangeable letters “u” and “v” are standardized according to modern usage. Libraries and archives are identiied by the library sigla created by RISM (Répertoire International des Sources Musicales/International Directory of Musical Sources), a catalog of which is easily accessible on the RISM website: http://www. rism.info/en/sigla.html. Our acknowledgements begin with persons “inside” the book: name- ly, the contributors, who have done their utmost towards successful pub- lication of the volume. With regard to persons “outside” the book, we wish irst of all to thank Jörg Rogge, oicial spokesman (Sprecher) of the core research area Mainzer Historische Kulturwissenschaften (Mainz Historical Cultural Sciences), who kindly accepted our volume into the homonymous series, as well as Davina Brückner and Kristina Müller- Bongard in the oice of the core area. We ofer many thanks to Klaus Pietschmann, head of the IKM, Institut für Kunstgeschichte und Musik- wissenschaft, Abteilung Musikwissenschaft (Institute for Art History and Musicology, Department of Musicology), for his unwavering support
Load more

Recommended publications
  • Congressional Record-House. January 11
    886 CONGRESSIONAL RECORD-HOUSE. JANUARY 11, CONFIRMATIONS. the Union Calendar, be referred back to that committee. Is there Executive nomination con.firmed by the Senate Decembe1· 20, 1.900. objection? [After a pause.] The Chair hears none. APPOINTMENT IN THE MARINE-HOSPITAL SERVICE. ACCOUNTS OF MARSHALS AND CLERKS OF DISTRICT COURTS IN THE TERRITORY OF UTAH. Benjamin S. Warren, of Alabama, to be an assis.tant surgeon in the Marine-Hospital Service of the United States. Mr. KING. Mr. Speaker, I ask unanimous consent for the present consideration of the bill (S. 5231) relating to the accounts Executive nominations con.firmed by the Senate Janua1'y 11, 1901. of United States marshals and clerks of the district courts of the UNITED STA.TES ATTORNEY. Territory of Utah. William G. Wheeler, of Wisconsin, to be attorney of the United _The SPEAKER. The gentleman from Utah asks unanimous States for the western district of Wisconsin. consent for the present consideration of the bill S. 5231, which is on the Speaker's table. POSTMASTER, The Clerk read as follows: David B. Rigdon, to be postmaster at Statesboro, Bu11och Be it enacted, etc., That the United States marshals and the clerks of the County, Ga. district courtg of the Territory of Utah prior to its admission to the Union as a State shall be held accountable only for fees earned in United States cases, in accordance with a decision of the Attorney-General dated Decem· · ber 2, 1891, and all unclosed accounts of such officers shall be settled and HOUSE OF REPRESENTATIVES. closed accordingly.
    [Show full text]
  • (Alias Walter Lam Or Lam San Ping). A-5366278, Yokoya, Yoshi Or Sei Cho Or Shiqu Ono Or Yoshi Mori Or Toshi Toyoshima
    B44 CONCURRENT RESOLUTIONS—MAY 23, 1951 [65 STAT. A-3726892, Yau, Lam Chai or Walter Lum or Lum Chai You (alias Walter Lam or Lam San Ping). A-5366278, Yokoya, Yoshi or Sei Cho or Shiqu Ono or Yoshi Mori or Toshi Toyoshima. A-7203890, Young, Choy Shie or Choy Sie Young or Choy Yong. A-96:87179, Yuen, Wong or Wong Yun. A-1344004, Yunger, Anna Steibel or Anna Kirch (inaiden name). A-2383005, Zainudin, Yousuf or Esouf Jainodin or Eusoof Jainoo. A-5819992, Zamparo, Frank or Francesco Zamparo. A-5292396, Zanicos, Kyriakos. A-2795128, Zolas, Astghik formerly Boyadjian (nee Hatabian). A-7011519, Zolas, Edward. A-7011518, Zolas, Astghik Fimi. A-4043587, Zorrilla, Jesus Aparicio or Jesus Ziorilla or Zorrilla. A-7598245, Mora y Gonzales, Isidoro Felipe de. Agreed to May 23, 1951. May 23, 1951 [S. Con. Res. 10] DEPORTATION SUSPENSIONS Resolved hy the Senate (the House of Representatives concurrmgr), That the Congress favors the suspension of deportation in the case of each alien hereinafter named, in which case the Attorney General has suspended deportation for more than six months: A-2045097, Abalo, Gelestino or George Abalo or Celestine Aballe. A-5706398, Ackerman, 2Jelda (nee Schneider). A-4158878, Agaccio, Edmondo Giuseppe or Edmondo Joseph Agaccio or Joe Agaccio or Edmondo Ogaccio. A-5310181, Akiyama, Sumiyuki or Stanley Akiyama. A-7112346, Allen, Arthur Albert (alias Albert Allen). A-6719955, Almaz, Paul Salin. A-3311107, Alves, Jose Lino. A-4736061, Anagnostidis, Constantin Emanuel or Gustav or Con- stantin Emannel or Constantin Emanuel Efstratiadis or Lorenz Melerand or Milerand. A-744135, Angelaras, Dimetrios.
    [Show full text]
  • Handel's Oratorios and the Culture of Sentiment By
    Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera.
    [Show full text]
  • The Sophies of Hanover and Royal Prussian Music Abstract
    Kulturgeschichte Preuûens - Colloquien 6 (2018) Ellen Exner The Sophies of Hanover and Royal Prussian Music Abstract: The history of royal Prussian music was shaped not only by its kings, but also by its queens. Although there were famously patterns of crisis and prosperity in the kingdom©s eighteenth-century history, strands of continuity provided by Prussia©s early Hanoverian queens often go unobserved and therefore undescribed. The first Prussian queen, Sophie Charlotte of Hanover, set a precedent for sophisticated music cultivation, which is apparent in Corelli©s dedication to her of the Op. 5 violin sonatasÐa collection of chamber pieces. Her legacyÐand that of her homeland, HanoverÐlived on through the private efforts of her daughter-in-law and successor, Sophie Dorothea, whose own legacy is evident in the musical activities of her children. <1> Kings are unquestionably important in the histories of kingdoms but queens also had roles to play in creating a reign©s culture. Early in Prussia©s royal history, two of its queens were the real forces behind music cultivation within the ruling family. Queens Sophie Charlotte (r. 1701 to 1705) and Sophie Dorothea (r. 1713 to 1740) both came originally to Prussia from Hanover and shared more than just their bloodline with the Prussian royal family: they also infused it with a discerning passion for music. Prussia©s first queen, Sophie Charlotte, achieved a very high standard of elite music making, setting an impressive precedent for the royal family. Memory of her musicianship remained alive in her descendants, female as well as male. When Sophie Charlotte©s own son, King Friedrich Wilhelm I (r.
    [Show full text]
  • The Meditations of Marcus Aurelius Antoninus
    The meditations of Marcus Aurelius Antoninus Originally translated by Meric Casaubon About this edition Marcus Aurelius Antoninus Augustus was Emperor of Rome from 161 to his death, the last of the “Five Good Emperors.” He was nephew, son-in-law, and adoptive son of Antonius Pius. Marcus Aurelius was one of the most important Stoic philosophers, cited by H.P. Blavatsky amongst famous classic sages and writers such as Plato, Eu- ripides, Socrates, Aristophanes, Pindar, Plutarch, Isocrates, Diodorus, Cicero, and Epictetus.1 This edition was originally translated out of the Greek by Meric Casaubon in 1634 as “The Golden Book of Marcus Aurelius,” with an Introduction by W.H.D. Rouse. It was subsequently edited by Ernest Rhys. London: J.M. Dent & Co; New York: E.P. Dutton & Co, 1906; Everyman’s Library. 1 Cf. Blavatsky Collected Writings, (THE ORIGIN OF THE MYSTERIES) XIV p. 257 Marcus Aurelius' Meditations - tr. Casaubon v. 8.16, uploaded to www.philaletheians.co.uk, 14 July 2013 Page 1 of 128 LIVING THE LIFE SERIES MEDITATIONS OF MARCUS AURELIUS Chief English translations of Marcus Aurelius Meric Casaubon, 1634; Jeremy Collier, 1701; James Thomson, 1747; R. Graves, 1792; H. McCormac, 1844; George Long, 1862; G.H. Rendall, 1898; and J. Jackson, 1906. Renan’s “Marc-Aurèle” — in his “History of the Origins of Christianity,” which ap- peared in 1882 — is the most vital and original book to be had relating to the time of Marcus Aurelius. Pater’s “Marius the Epicurean” forms another outside commentary, which is of service in the imaginative attempt to create again the period.2 Contents Introduction 3 THE FIRST BOOK 12 THE SECOND BOOK 19 THE THIRD BOOK 23 THE FOURTH BOOK 29 THE FIFTH BOOK 38 THE SIXTH BOOK 47 THE SEVENTH BOOK 57 THE EIGHTH BOOK 67 THE NINTH BOOK 77 THE TENTH BOOK 86 THE ELEVENTH BOOK 96 THE TWELFTH BOOK 104 Appendix 110 Notes 122 Glossary 123 A parting thought 128 2 [Brought forward from p.
    [Show full text]
  • Iphigénie En Tauride
    Christoph Willibald Gluck Iphigénie en Tauride CONDUCTOR Tragedy in four acts Patrick Summers Libretto by Nicolas-François Guillard, after a work by Guymond de la Touche, itself based PRODUCTION Stephen Wadsworth on Euripides SET DESIGNER Saturday, February 26, 2011, 1:00–3:25 pm Thomas Lynch COSTUME DESIGNER Martin Pakledinaz LIGHTING DESIGNER Neil Peter Jampolis CHOREOGRAPHER The production of Iphigénie en Tauride was Daniel Pelzig made possible by a generous gift from Mr. and Mrs. Howard Solomon. Additional funding for this production was provided by Bertita and Guillermo L. Martinez and Barbara Augusta Teichert. The revival of this production was made possible by a GENERAL MANAGER gift from Barbara Augusta Teichert. Peter Gelb MUSIC DIRECTOR James Levine Iphigénie en Tauride is a co-production with Seattle Opera. 2010–11 Season The 17th Metropolitan Opera performance of Christoph Willibald Gluck’s Iphigénie en This performance is being broadcast Tauride live over The Toll Brothers– Metropolitan Conductor Opera Patrick Summers International Radio Network, in order of vocal appearance sponsored by Toll Brothers, Iphigénie America’s luxury Susan Graham homebuilder®, with generous First Priestess long-term Lei Xu* support from Second Priestess The Annenberg Cecelia Hall Foundation, the Vincent A. Stabile Thoas Endowment for Gordon Hawkins Broadcast Media, A Scythian Minister and contributions David Won** from listeners worldwide. Oreste Plácido Domingo This performance is Pylade also being broadcast Clytemnestre Paul Groves** Jacqueline Antaramian live on Metropolitan Opera Radio on Diane Agamemnon SIRIUS channel 78 Julie Boulianne Rob Besserer and XM channel 79. Saturday, February 26, 2011, 1:00–3:25 pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide.
    [Show full text]
  • Raffaele Pe, Countertenor La Lira Di Orfeo
    p h o t o © N i c o l a D a l M Raffaele Pe, countertenor a s o ( R Raffaella Lupinacci, mezzo-soprano [track 6] i b a l t a L u c e La Lira di Orfeo S t u d i o Luca Giardini, concertmaster ) ba Recorded in Lodi (Teatro alle Vigne), Italy, in November 2017 Engineered by Paolo Guerini Produced by Diego Cantalupi Music editor: Valentina Anzani Executive producer & editorial director: Carlos Céster Editorial assistance: Mark Wiggins, María Díaz Cover photos of Raffaele Pe: © Nicola Dal Maso (RibaltaLuce Studio) Design: Rosa Tendero © 2018 note 1 music gmbh Warm thanks to Paolo Monacchi (Allegorica) for his invaluable contribution to this project. giulio cesare, a baroque hero giulio cesare, a baroque hero giulio cesare, a baroque hero 5 Carlo Francesco Pollarolo (c165 3- 1723) Sdegnoso turbine 3:02 Opera arias (from Giulio Cesare in Egitto , Rome, 1713, I.2; libretto by Antonio Ottoboni) role: Giulio Cesare ba 6 George Frideric Handel Son nata a lagrimar 7:59 (from Giulio Cesare in Egitto , London, 1724, I.12; libretto by Nicola Francesco Haym) roles: Sesto and Cornelia 1 George Frideric Handel (168 5- 1759) Va tacito e nascosto 6:34 7 Niccolò Piccinni (from Giulio Cesare in Egitto , London, 1724, I.9; libretto by Nicola Francesco Haym) Tergi le belle lagrime 6:36 role: Giulio Cesare (sung in London by Francesco Bernardi, also known as Senesino ) (from Cesare in Egitto , Milan, 1770, I.1; libretto after Giacomo Francesco Bussani) role: Giulio Cesare (sung in Milan by Giuseppe Aprile, also known as Sciroletto ) 2 Francesco Bianchi (175 2-
    [Show full text]
  • Kent County Naturalization Name Index, Aalbers, A
    Kent County Naturalization Name Index Last name First name Middle name Volume Page Fir Sec Aalbers Aalbers V62 4 Aalbers Aalbert V24 141 Aalddriks Antonie V16 75 Aalderink John K. V16 355 Aaldrick Matthew V16 308 Aardem Arie V16 304 Aardema Klaas V17 27 Aarnouds Pieter V6 8 Aarnoudse Marenus V15 503 Abagis Chas V30 130 Abbas Sain Allez V49 265 Abbelma Joseph B1 F5 Abbelma Joseph V2 564 Abbott Frank V27 92 Abbott John V45 36 Abbott John V68 33 Abdella Salik V46 117 Abdo Ahamad V29 1 Abdoo Mike V41 168 Abeaf Moses V17 391 Abeaf Moses V17 394 Abel Frederick FW B1 F1 Abel Gustav B1 F4 Abel Gustav V2 540 Abel John W. V5 70 Abel Ludwig V8 134 Friday, January 19, 2001 Page 1 of 1325 Last name First name Middle name Volume Page Fir Sec Abella Salih V68 85 Abezi Albert V25 76 Aboabsee Theab V74 40 Aboasee Theab V18 150 Abood N. B1 F5 Abood Nemy V3 90 Abraham John V17 381 Abrahamson Charles Y. B7 200 Abram John B1 F1 Abramson Morris B1 F3 Abraursz Abram Peter V27 159 Abromaitis Louis V27 381 Abromaitis Louis V67 90 Absmaier Carl V77 4 Accardi Guiseppe V50 79 Acheson John V16 616 Achille Minciotti V51 142 Achtenhof Jakob V15 145 Achter Jan V17 200 Achterhof Henri B1 F1 Achterhof Johannes V15 500 Achterhof Matheus B1 F1 Achtjes John B7 107 Ackermann Joseph V15 282 Acton John C. B7 222 Adair David G. V15 335 Adair Joseph V15 335 Adalphson Emil V18 197 Friday, January 19, 2001 Page 2 of 1325 Last name First name Middle name Volume Page Fir Sec Adam Frickartz Heinrich V41 279 Adama Jelle V22 176 Adamawiczus Baltris V37 155 Adamczak Peter V38 245 Adamczyk Wladyslaw V35 291 Adams Edward John V24 70 Adams Frank B1 F2 Adams George W.
    [Show full text]
  • NEWSLETTER of the American Handel Society
    NEWSLETTER of The American Handel Society Volume XVIII, Number 1 April 2003 A PILGRIMAGE TO IOWA As I sat in the United Airways terminal of O’Hare International Airport, waiting for the recently bankrupt carrier to locate and then install an electric starter for the no. 2 engine, my mind kept returning to David Lodge’s description of the modern academic conference. In Small World (required airport reading for any twenty-first century academic), Lodge writes: “The modern conference resembles the pilgrimage of medieval Christendom in that it allows the participants to indulge themselves in all the pleasures and diversions of travel while appearing to be austerely bent on self-improvement.” He continues by listing the “penitential exercises” which normally accompany the enterprise, though, oddly enough, he omits airport delays. To be sure, the companionship in the terminal (which included nearly a dozen conferees) was anything but penitential, still, I could not help wondering if the delay was prophecy or merely a glitch. The Maryland Handel Festival was a tough act to follow and I, and perhaps others, were apprehensive about whether Handel in Iowa would live up to the high standards set by its august predecessor. In one way the comparison is inappropriate. By the time I started attending the Maryland conference (in the early ‘90’s), it was a first-rate operation, a Cadillac among festivals. Comparing a one-year event with a two-decade institution is unfair, though I am sure in the minds of many it was inevitable. Fortunately, I feel that the experience in Iowa compared very favorably with what many of us had grown accustomed Frontispiece from William Coxe, Anecdotes fo George Frederick Handel and John Christopher Smith to in Maryland.
    [Show full text]
  • Howard Mayer Brown Microfilm Collection Guide
    HOWARD MAYER BROWN MICROFILM COLLECTION GUIDE Page individual reels from general collections using the call number: Howard Mayer Brown microfilm # ___ Scope and Content Howard Mayer Brown (1930 1993), leading medieval and renaissance musicologist, most recently ofthe University ofChicago, directed considerable resources to the microfilming ofearly music sources. This collection ofmanuscripts and printed works in 1700 microfilms covers the thirteenth through nineteenth centuries, with the bulk treating the Medieval, Renaissance, and early Baroque period (before 1700). It includes medieval chants, renaissance lute tablature, Venetian madrigals, medieval French chansons, French Renaissance songs, sixteenth to seventeenth century Italian madrigals, eighteenth century opera libretti, copies ofopera manuscripts, fifteenth century missals, books ofhours, graduals, and selected theatrical works. I Organization The collection is organized according to the microfilm listing Brown compiled, and is not formally cataloged. Entries vary in detail; some include RISM numbers which can be used to find a complete description ofthe work, other works are identified only by the library and shelf mark, and still others will require going to the microfilm reel for proper identification. There are a few microfilm reel numbers which are not included in this listing. Brown's microfilm collection guide can be divided roughly into the following categories CONTENT MICROFILM # GUIDE Works by RISM number Reels 1- 281 pp. 1 - 38 Copies ofmanuscripts arranged Reels 282-455 pp. 39 - 49 alphabetically by institution I Copies of manuscript collections and Reels 456 - 1103 pp. 49 - 84 . miscellaneous compositions I Operas alphabetical by composer Reels 11 03 - 1126 pp. 85 - 154 I IAnonymous Operas i Reels 1126a - 1126b pp.155-158 I I ILibretti by institution Reels 1127 - 1259 pp.
    [Show full text]
  • SSCM - AHS Joint Meeting April 23-26, 2015 Iowa City
    SSCM - AHS Joint Meeting April 23-26, 2015 Iowa City Abstracts Thursday Afternoon I. Plenary Session: Baroque Lives Roger Freitas (Eastman School of Music), Chair Supereminet omnes: New Light on the Life and Career of Vittoria Tarquini Beth Glixon (University of Kentucky) Vittoria Tarquini is known especially among Handel enthusiasts as the composer’s would-be paramour during his time in Florence in 1708; indeed, her relationship with Handel has taken on even greater significance over the last few decades as questions regarding the composer’s sexuality have been raised. The singer also occupies a niche in a particular corner of Florentine history as the supposed mistress of Grand Prince Ferdinando de’ Medici. Using newly discovered archival and visual material as well as a wide range of secondary sources, my paper traces Tarquini’s life and operatic career in Italy and Germany before looking at her years of retirement in Venice, where she died in 1746. Tarquini’s performance at Venice’s famed Teatro S. Giovanni Grisostomo in 1688 put her under the influence of the powerful Grimani family, and through Vincenzo Grimani she made the acquaintance of Prince Ferdinando, who would become her patron and employer ten years later. Rather than continuing her career in Venice, she moved to Hanover later in 1688, and soon married the French concertmaster Jean-Baptiste Farinel. She subsequently spent a number of years singing in Naples, where she was a favorite of the Viceroy, the Duke of Medinaceli. While there she sang in various works of Alessandro Scarlatti, and premiered the title role in Il trionfo di Camilla, which became one of the most popular operas of the eighteenth century.
    [Show full text]
  • Giulio Cesare Music by George Frideric Handel
    Six Hundred Forty-Third Program of the 2008-09 Season ____________________ Indiana University Opera Theater presents as its 404th production Giulio Cesare Music by George Frideric Handel Libretto by Nicola Francesco Haym (adapted from G. F. Bussani) Gary Thor Wedow,Conductor Tom Diamond, Stage Director Robert O’Hearn,Costumes and Set Designer Michael Schwandt, Lighting Designer Eiddwen Harrhy, Guest Coach Wendy Gillespie, Elisabeth Wright, Master Classes Paul Elliott, Additional Coachings Michael McGraw, Director, Early Music Institute Chris Faesi, Choreographer Adam Noble, Fight Choreographer Marcello Cormio, Italian Diction Coach Giulio Cesare was first performed in the King’s Theatre of London on Feb. 20, 1724. ____________________ Musical Arts Center Friday Evening, February Twenty-Seventh Saturday Evening, February Twenty-Eighth Friday Evening, March Sixth Saturday Evening, March Seventh Eight O’Clock music.indiana.edu Cast (in order of appearance) Giulio Cesare (Julius Caesar) . Daniel Bubeck, Andrew Rader Curio, a Roman tribune . Daniel Lentz, Antonio Santos Cornelia, widow of Pompeo . Lindsay Ammann, Julia Pefanis Sesto, son to Cornelia and Pompeo . Ann Sauder Archilla, general and counselor to Tolomeo . Adonis Abuyen, Cody Medina Cleopatra, Queen of Egypt . Jacqueline Brecheen, Meghan Dewald Nireno, Cleopatra’s confidant . Lydia Dahling, Clara Nieman Tolomeo, King of Egypt . Dominic Lim, Peter Thoresen Onstage Violinist . Romuald Grimbert-Barre Continuo Group: Harpsichord . Yonit Kosovske Theorbeo, Archlute, and Baroque Guitar . Adam Wead Cello . Alan Ohkubo Supernumeraries . Suna Avci, Joseph Beutel, Curtis Crafton, Serena Eduljee, Jason Jacobs, Christopher Johnson, Kenneth Marks, Alyssa Martin, Meg Musick, Kimberly Redick, Christiaan Smith-Kotlarek, Beverly Thompson 2008-2009 IU OPERA theater SEASON Dedicates this evening’s performance of by George Frideric Handel Giulioto Georgina Joshi andCesare Louise Addicott Synopsis Place: Egypt Time: 48 B.C.
    [Show full text]