DOCSLIB.ORG

This Electronic Thesis Or Dissertation Has Been Downloaded from the King’S Research Portal At

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
This Electronic Thesis Or Dissertation Has Been Downloaded from the King’S Research Portal At This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ The life and works of Johann Christoph Pepusch (1667-1752), with special reference to his dramatic works and cantatas. Cook, Frederick Donald The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 24. Sep. 2021 THE LIFE AND WORKS OF JOHANN CHRISTOPH PEPUSCH (1667-1752), WITH SPECIAL REFERENCE TO HIS DRAMATIC WORKS AND CANTATAS (In Two Volumes) by Donald Frederick Cook VOLUME I Dissertation submitted for the degree of Doctor of Philosophy in the Faculty of Music University of London King's College October 1982 2 ABSTRACT Pepusch's career in London spanned over fifty years and embraced a wide range of musical interests: lie was a composer, performer, musical director, scholar, and teacher. Until recently, musical historians have relied heavily on the eighteenth-century accounts of both Hawkins and Burney, whose aopraisals of Pepusch's significant contribution to music in London are perfunctory and sometimes unfair. This dissertation attempts to correct and expand their accounts with up-to-date inform- ation, and, through an examination of selected musical works, to demon- strate that Pepusch may rightly be included among the important minor composers of his time. Because the phases of his activity as a com- poser are fairly hell-defined, discussion of bibliographical and stylistic matters are integrated with te chronological presentation of biographical information. While the need for biographical continuity and completeness dictates that each of the varied facets of his career must be looked at, the principal investigation concentrates on only one of them, Pepusch's work in the theatre from c1700 to c1732. This forms the body of this study (Chapters 2, 3, 5, and 6). The four Italianate masques, composed for the Theatre Royal in Drury Lane in 1714-16, are of special significance, and the rather lengthy tr2atrnent of them in Chapter 3 serves as the focal point for a critical examination of Pepusch as a dramatic composer. The Introduction (summarizing his life before coming to London), as well as the discussion of his instrumental compositions in Chapter 1, are not directly related to his work in the theatre, but are concerned with those events which prepared him for it. Chapter 4 reviews his work as musical director and composer for the Duke of Chandos at Cannons. The final chapter considers Pepusch as a bibliophile, scnolar, and teacher, and provides other information about the closing years of his life as organist of the Charterhouse. A thematic catalogue of complete works, containing over 1,450 incipits, may be found in Volume II (Appendix A). The volume also includes an inventory of sources (manuscript, Appendix B, and printed, Appendix C), an index of themes (Appendix D), and an alphabetical index of first lines for vocal works (Appendix E); all appropriately cross-referenced. * * * 3 TABLE OF CONTENTS Volume I page List of Abbreviations 6 Preface 9 Introduction 18 Chapter 1 Chamber Music and the Concert 26 Rooms to 1714 Chapter 2 Pepusch and the Theatres to 1714 69 Chapter 3 The Drury Lane Masques (1714-1716) 102 Chapter 4 Interlude: The 'Cannons Consort' 184 (ci 716-cl 732) Chapter 5 The Cantatas 21 8 Chapter 6 Lincoln's Inn Fields Theatre 272 (1 716-cl 733) Chapter 7 The Closing Years (1734-1752): 309 Pepusch the Teacher, Scholar, and Bibliophile Bibliography: (A) Printed Books 348 (B) Printed Libretti 362 (C) Manuscripts 363 Volume II Appendices: Thematic Catalogue and Index of Compi ete Works Explanatory Note 4 Appendix (A): Thematic Catalogue of 15 Original Works Appendix (B): Inventory of Manuscript Sources 217 Appendix (C): Inventory of Printed Sources 271 before 1850 Appendix (D): Index of Themes 301 Appendix (E): Index of First Lines, Titles, 357 and Sub-titles for Vocal Works Addendum 374 4 Supplementary Material: bound in following page 374 1) Off-print of article: D. F. Cook, 'FranSoise Marguerite de PEpine: The Italian LadyV, in Theatre Notebook, xxxv/2 (1981) 58-73; concluded in No. 3 (1981), 104-13 2) Off-print of article: D. F. Cook, 'Venus and Adonis: An English Masque "After the Italian Manner"', in Musical Times, cxxi/165l (September 1980), 553-57. 3) Printed Programme for the revival of Pepusch's Venus and Adonis, given by the Holme Pierrepont Opera Trust, Nottingham, on 17-20 September 1980. (Programme notes by D. F. Cook.) 4) Printed Programme for the revival of Pepusch's The Death of Dido, given by the Holme Pierrepont Opera Trust, Nottingham, on 14-19 September 1981. (Programme notes by D. F. Cook.) LIST OF PLATES Volume I page Plate 1 Reproduction of a portrait of the young 17 Pepusch by an unknown painter, c1690 Plate 2 Reproduction of the title page of 41 Brussels, Conservatoire MS 26477 Plate 3 Reproduction of the only known Pepusch 52 autograph score, signed and dated (New Bodleian Library, Tenbury MS 1175) Plate 4 Reproduction of a portrait of Doctor 98a Pepusch in academic robes, painted probably by Thomas Hudson, after July 1 71 3 Plate 5 The characters from the 1980 revival of 132 Venus and Adonis Plate 6 Scenes from the 1981 revival of The 155 Death of Dido 5 LIST OF TABLES Volume I page Table 1 Suniiiary of Theatre Managements, 1700-1717 71 Table 2 The Italianate Masques of 1714-18 -- 156 Breakdown of Formal Structures Table 3 Singers -- Distribution 0f Arias (1715-16) 170 Table 4 Compositions by Pepusch Included in 211 A Catalogue of Anthems, Cantatas, and Other Musick Belonging to his Grace, James, Duke of Chandos &c. Table 5 Solo Cantatas by Pepusch for which 22 3a Music Survives Table 6 Solo Cantatas by Pepusch for which 253 No Music is Known to Survive Table 7 Cantatas for Two Solo Voices by Pepusch 256 for which Music Survives Table 8 Genealogy of Pepusch and his Pupils 324 * * * 6 LIST OF ABBREVIATIONS The following abbreviations, adopted from the current sigla of the Rlpertoire International des Sources Musicales [RISM], are used to denote the location of sources. It should be noted that, since the majority of my sources are located in Great Britain, the prefix 'GB'- is dropped from the siglum in referring to them: in the case of foreign sources, however, the prefix indicating the country is retai ned. B- Belgium Bc: Bruxelles, Bibliotheque du Conservatoire Royal de Musique BRD- Bundesrepublik Deutschland (West Germany) Hvl: Hanover, Niedersâchsisches Hauptstaatsarchiv DDR- Deutsche Demokratische Republik (East Germany) Dl: Dresden, Schsische Landesbibi-fothek Pph: Potsdam, Pâdagogische Hochschule ROu: Rostock, Wi1helm-Pieck-Universjttsbjbliothek SW: Schwerin, Mecklenburgische Landesbibi iothek EIR- Eire (Republic of Ireland) Dtc: Dublin, Trinity College F- France Pc: Paris, Bibliothque nationale (fonds du Conservatoi re) 7 [GB] - Great Britain BENcoke: Bentley (Hampshire), Gerald Coke, private collection Bu: Birmingham, The Barber Institute of Fine Arts, University of Birmigham CDp: Cardiff, Central Library Cfw: Cambridge, The Fitzwilliam Museum Cjc: Cambridge, St. John's College Ckc: Cambridge, King's College Cpc: Cambridge, Pembroke College Cu: Cambridge, University of Cambridge Library DORjeans: Dorking (Surrey), Susi Jeans, private coil ection DRc: Durham, Cathedral Library Ge: Glasgow, Euing Music Library Lam: London, The Royal Academy of Music Lbl: London, The British Library, Department of Manuscripts Lcm: London, The Royal College of Music Lco: London, The Royal College of Organists Ldc: London, Duiwich College IF: Lichfield, Cathedral Library Lkc: London, King's College (Faculty of Music), University of London Lpo: London, Public Record Office Lwa: London, Westminster Abbey Mp: Manchester, Central Library Ob: Oxford, The Bodleian Library Ob(n): Oxford, The New Bodleian Library Och: Oxford, Christ Church College WO: Worcester, Cathedral Library I- Italy Bc: Bologna, Civico Museo Bibliografico-Musicale J-. Japan TnT: Tokyo, Nanki Music Library (The Ohki Collection) 8 S- Sweden Uu: Uppsala, Universitetsbiblioteket US - United States of America CAh: Cambridge, Massachusetts, Harvard University (Houghton Library) NYp: New York, Public Library R: Rochester, New York, Eastman School of Music, University of Rochester (Sibley Music Library) SM: San Marino, California, The Henry E. Huntington Library and Art Gallery Wcm: Washington, D. C., The Library of Congress, Music Division Wfs: Washington, 0. C., The Folger Shakespeare Library The following abbreviations are used to indicate scoring: Vocal (a) Chorus (in lower-case) (b) Solo Vofce (in upper-case) s soprano (or treblel S soprano (or treble) a alto (or counter-tenor) A alto (or counter-tenor) t tenor T tenor b bass/baritone B bass Instrumental fi flute (i.e. recorder) yin violin fl(G) transverse or German flute via viola ob oboe vlc violoncello (or gamba) bsn bassoon db double bass tpt trumpet org organ hp harp bc basso continuo NOTE: When listing the instrumentation, violoncello, double bass, and organ are included only when they are so labelled in the source, otherwise basso continuo (bc) is indicated.
Load more

Recommended publications
  • Fabulously Tidal — Issue 117, 1 January 2018
    Fabulously Tidal — Issue 117, 1 January 2018 SPONSORED FEATURE — PHILIP SAWYERS' THIRD SYMPHONY Alice McVeigh: 'This is a fabulously tidal symphony, with wild expanses of differing moods, but it begins with a ripple of unease. We in the cello section were told to play the opening with as much stillness as possible, allowing the first theme to grow as it weaves into violins and violas, into threads of flute and oboe, and — from there — into a tempestuous section of interweaving themes. The argument descends into a woodwind quarrel, resolved by flute and oboe, decorated by horns — while the strings continue to niggle and churn away at any sense of calm. 'Then solo bassoon ignites a new, still tenser, section. The violins take over, lightly but resolutely, answered by middle strings conveying a sense of tenderness — but with a bitter aftertaste. (This is incidentally one of Sawyers' most characteristic strengths: a tenderness, never saccharine, often undermined by subtle discontent.) From the brass comes the first glimpse of escape: the powerful broken octave theme over which the other themes furiously contend. 'The cellos at the recapitulation, now deepened and enriched, are twisted by Sawyers into something passionate and grounded in lower brass, reinforced by timpani. The movement ends with the heavy brass seemingly triumphant over the strings' stubborn reiteration of the theme. Still, the lower strings' pessimism prevails. 'Tutti violins kick-start the second movement with a dramatic leap from their richest register, only yielding to keening solo oboe. 'The sobered strings leave the solo winds to mourn, yet, with characteristic Sawyers intensity, something is brewing at subterranean depths: eventually, the violas' chuntering is answered by full insistent brass, in a stormily ecstatic tantrum.
    [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]
  • Romans Inspiration the Source of Classic Improvisation Supervisor
    UPPSALA UNIVERSITY The Department of Musicology Pär Sandmark Östa Byväg 45 740 45 Tärnsjö Romans Inspiration The Source of Classic improvisation Supervisor: Professor Sten Dahlstedt The Department of musicology Table of contents Chapter 1: Sid. 1.1. Issues 3 1.1.2. The conceptual explanations 3 1.2 Previous research 4 1.3 Method 5 1.4 Demarcation 6 1.5 Order 7 Chapter 2: Background 7 2.1 18th century Sweden 7 2.1.1 Romance living history 7 2.2 Environment description of Romans surroundings 8 2.2.2. The working environment in the country 8 2.2.3 Church environment in the 18th century 9 2.3 Music as a science 10 Chapter 3: Investigation 11 3.1 Introduction 11 3.2 Carolina handwriting library 11 3. The examination of individual autograph manuscripts 15 3.3.1. The concepts of improvisation and composition 15 3.3.2. Källkritisk study in harmonik 18 3.3.3 Rhythmic study 23 3.4 Romans Improvisations material – Corelli's music 27 3.4.1. Contemporary recording of Corelli's music 28 .3.4.2 Comparison of Corelli and Roman 29 3.5 Method of composition analysis 30 Chapter 4: Discussion 35 Chapter 5: Summary 40 Chapter 6: Conclusions 41 The source and bibliography 42 Annexes 1-5 45 1. Introduction 1.1. Issues Bach, Mozart and Beethoven improvised. If today's technology with recording had been invented in their time we would have had lots of interesting music to listen to which documents and fraya of how the old masters of improvisation.
    [Show full text]
  • Handel Arias
    ALICE COOTE THE ENGLISH CONCERT HARRY BICKET HANDEL ARIAS HERCULES·ARIODANTE·ALCINA RADAMISTO·GIULIO CESARE IN EGITTO GEORGE FRIDERIC HANDEL A portrait attributed to Balthasar Denner (1685–1749) 2 CONTENTS TRACK LISTING page 4 ENGLISH page 5 Sung texts and translation page 10 FRANÇAIS page 16 DEUTSCH Seite 20 3 GEORGE FRIDERIC HANDEL (1685–1759) Radamisto HWV12a (1720) 1 Quando mai, spietata sorte Act 2 Scene 1 .................. [3'08] Alcina HWV34 (1735) 2 Mi lusinga il dolce affetto Act 2 Scene 3 .................... [7'45] 3 Verdi prati Act 2 Scene 12 ................................. [4'50] 4 Stà nell’Ircana Act 3 Scene 3 .............................. [6'00] Hercules HWV60 (1745) 5 There in myrtle shades reclined Act 1 Scene 2 ............. [3'55] 6 Cease, ruler of the day, to rise Act 2 Scene 6 ............... [5'35] 7 Where shall I fly? Act 3 Scene 3 ............................ [6'45] Giulio Cesare in Egitto HWV17 (1724) 8 Cara speme, questo core Act 1 Scene 8 .................... [5'55] Ariodante HWV33 (1735) 9 Con l’ali di costanza Act 1 Scene 8 ......................... [5'42] bl Scherza infida! Act 2 Scene 3 ............................. [11'41] bm Dopo notte Act 3 Scene 9 .................................. [7'15] ALICE COOTE mezzo-soprano THE ENGLISH CONCERT HARRY BICKET conductor 4 Radamisto Handel diplomatically dedicated to King George) is an ‘Since the introduction of Italian operas here our men are adaptation, probably by the Royal Academy’s cellist/house grown insensibly more and more effeminate, and whereas poet Nicola Francesco Haym, of Domenico Lalli’s L’amor they used to go from a good comedy warmed by the fire of tirannico, o Zenobia, based in turn on the play L’amour love and a good tragedy fired with the spirit of glory, they sit tyrannique by Georges de Scudéry.
    [Show full text]
  • Vocal Music 1650-1750
    Chapter 9 Vocal Music 1650-1750 Sunday, October 21, 12 Opera • beyond Italy, opera was slow to develop • France, Spain, and England enjoyed their own forms of dramatic entertainment with music Sunday, October 21, 12 Opera France: Comédie-ballet and Tragédie en musique • Jean-Baptiste Lully (1632-1687), established sung drama that was part opera and part ballet • wrote a series of comédie-ballet for dancing talents of his master, Loius XIV • mixed spoken drama and dance Sunday, October 21, 12 Opera France: Comédie-ballet and Tragédie en musique • in 1672, Lully created new operatic genre: tragédie en musique (also know as tragédie lyrique) • drew on classical mythology and chivalric romances with plots being veiled favorable commentaries on recent court events Sunday, October 21, 12 Opera France: Comédie-ballet and Tragédie en musique • Tragédie en musique consisted of: • an overture • an allegorical prologue • five acts of entirely sung drama, each divided into several scenes • many divertissements (interludes) Sunday, October 21, 12 Opera France: Comédie-ballet and Tragédie en musique • Lully Armide - tragédie en musique (also called tragédie lyrique) - French Overture (section with slow dotted rhythms followed by faster imitative section) - the aria uses figured bass and moves freely between meters to accommodate the French language Sunday, October 21, 12 Opera Italy: Opera seria • Opera seria (serious opera) • usually tragic content • the most important type of opera cultivated from 1670-1770 • developed in Italy and sung almost exclusively
    [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]
  • The Solo Violin in London 1650-1705
    ‘Florish in the Key’ – the solo violin in London 1650-1705 Played on: Anon – ‘Charles II’ Violin 1664 (tracks 1-34); Girolamo Amati – Violin 1629 (tracks 35-44) (A=416Hz) by Peter Sheppard Skærved Works from ‘Preludes or Voluntarys’ (1705) 1 Arcangelo Corelli D major Prelude 1:10 26 Marc ’Antonio Ziani F minor Prelude 2:21 2 Giuseppe Torelli E minor Prelude 2:53 27 Gottfried Finger E major Prelude 1:25 3 Nicola Cosimi A major Prelude 1:37 28 ‘Mr Hills’ A major Prelude 1:40 4 Heinrich Ignaz Franz von Biber D major Prelude 0:48 29 Johann Christoph Pepusch B flat major Prelude 1:16 5 Giovanni Bononcini D minor Prelude 1:08 30 Giuseppe Torelli C minor Prelude 1:01 6 Nicola Matteis A major Prelude 1:16 31 Nicola Francesco Haym D minor Prelude 1:14 7 Francesco Gasparini D major Prelude 1:31 32 Tomaso Giovanni Albinoni C major Prelude 1:19 8 Nicola Francesco Haym F major Prelude 0:50 33 Francesco Gasparini C major Prelude 1:33 9 Johann Gottfried Keller D major Prelude 1:44 34 Nicola Matteis C minor Prelude 2:09 10 ‘Mr Dean’ A major Prelude 2:10 11 Tomaso Giovanni Albinoni D major Prelude 1:34 Works from ‘A Set of Tunings by Mr Baltzar’) 12 William Corbett A major Prelude 1:42 35 Thomas Baltzar A major Allemande 1 1:48 13 Henry Eccles A minor Prelude 1:57 36 Thomas Baltzar A major Allemande 2 2:06 14 Arcangelo Corelli A major Prelude 1:23 37 Thomas Baltzar A major ‘Corant.’ 1:21 15 Nicola Cosimi A major Prelude 1:26 38 Thomas Baltzar A major ‘Sarabrand.’ 1:30 16 Tomaso Vitali D minor Prelude 1:31 17 John Banister B flat major Prelude 1:12 Other
    [Show full text]
  • Vorwort Preface
    HN_368_Vorwort_Hofmann-Druck.fm Seite IV Dienstag, 1. April 2014 1:24 13 IV Vorwort 1768), der vorwiegend in Paris wirkte, 1. Es gibt fast keine barocken Stücke, nahm die Tradition der französischen in denen sämtliche Artikulationen no- Violinsonate in seine Flötenmusik auf. tiert sind; dem Ausführenden obliegt es, Auch verfolgte Blavet musikpädagogi- das Fehlende zu ergänzen. In der Flötenmusik der Barockzeit sind sche Ziele in diesen Werken. Der Oboist 2. Ermangelt ein Stück jeglicher An- die Werke von Bach und Händel an mu- und Komponist GIUSEPPE SAMMARTINI gabe zur Artikulation, so ist dies nicht sikalischem Rang sowie an Bekanntheit (1695 bis 1750) wird auch der „Londo- als Befehl zu durchgängigem Détaché- und Beliebtheit unübertroffen. Es sollte ner“ Sammartini genannt, im Gegensatz spiel aufzufassen, sondern eher als Auf- aber nicht vergessen werden, dass zahl- zu seinem Bruder Giovanni Battista, forderung, eigene Artikulationen anzu- reiche andere Komponisten in ganz Eu- dem so genannten „Mailänder“ Sam- bringen. ropa zur selben Zeit im Anspruch zwar martini. JOHANN PHILIPP EISEL (1698 3. Im Falle vereinzelt notierter Arti- bescheidenere, aber doch reizvolle Mu- bis nach 1756) lebte als Jurist in Erfurt. kulationen sind diese als verbindlich sik für Flöte geschrieben haben. Der Er war Musikliebhaber, der gelegentlich und vorbildlich zu betrachten, d. h. das vorliegende Band berücksichtigt des- auch komponierte. Um 1700 wurde GIO- ganze Stück muss in entsprechender halb deren Schaffen und verzichtet auf VANNI CHINZER geboren. Im Erstdruck Weise artikuliert werden. die in modernen Ausgaben leicht er- seines in unserer Ausgabe berücksich- Die Generalbass-Ziffern werden reichbaren großen Komponisten der tigten Opus 5 steht da Firenze, Compo- durchweg gemäß der Schreibweise der Epoche.
    [Show full text]
  • Introduction This Introduction Covers Three Sonatas with Viola Da Gamba by J
    5 Introduction This introduction covers three sonatas with viola da gamba by J. C. Pepusch which are available in three separate editions: G229 Sonata in D minor Cook 2:023 for flute, recorder or violin, viola or viola da gam- ba, continuo G232 Sonata in B minor Cook 2:029 for violin, viola da gamba, continuo G230 Quartet in G minor Cook 2:040 for two violins, viola da gamba, continuo. Johann Christoph (or John Christopher) Pepusch was born in 1667 in Berlin and worked at the Prussian court before coming to London in the late 1690s, perhaps in the entourage of William III following the Peace of Ryswick in 1697. Little is known about his activities during his first years in England. Charles Burney wrote that he was a viola player in the orchestra at the Drury Lane theatre, and he is occasionally mentioned in advertisements for London concerts from 1707. He also played the harpsichord in the Italian opera company at the Haymarket Theatre from its inception in 1706– 7, arranging the music for the pasticcio Thomyris (1707). He was active in the London’s concert halls and theatres for much of his career, writing Italianate masques for Drury Lane in 1715–16 and working at Lincoln’s Inn Fields theatre in the 1720s; he is most famous today for arranging the mu- sic for The Beggar’s Opera (1728). He devoted most of his later life to teaching and to his antiquar- ian interests, becoming a leading light in the Academy of Ancient Music. He died in London on 20 July 1752.
    [Show full text]
  • 4373 MUSICAL-PT/Jr
    C M Y K musical musicalVISITORS TO BRITAIN VISITORS musicalVISITORS Over the centuries Britain has attracted many musical visitors. This book tells the stories of the many composers who visited – a varied and often eccentric collection of individuals. lisztThe earliest were invited by royalty with musical tastes; some were refugees from religious TO and political oppressions; others came as spies, a few to escape from debt and even murder chopincharges. However, the main motive was a possibility of financial reward. BRITAIN The rise in the nineteenth century of the celebrity composer, who was often also a conductor, is also traced. With the development of new forms of transport, composers TO DAVID GORDON • PETER GORDON were able to travel more extensively, both from the Continent and from the USA. New BRITAIN wagneropportunities were also presented by the opening of public halls, where concerts could be held, as well as the growth of music festivals. In the twentieth and twenty-first centuries the aeroplane has enabled a regular influx of composers, and the book ends with a liszt consideration of the universalising of music as well as the impact of new forms, such as mozartjazz. chopin Musical Visitors to Britain is a fascinating book which should appeal to both the general handelreader and those with a special interest in music history. David Gordon is one of the leading harpsichordists in the UK, and performs with violinists wagner DAVID GORDON DAVID haydnAndrew Manze, Nigel Kennedy and the baroque orchestra English Concert, specialising in PETER GORDON improvisation. He is also a jazz pianist, and has given many workshops on aspects of Renaissance, baroque and jazz improvisation.
    [Show full text]
  • Westminster Abbey (Concluded) Author(S): Dotted Crotchet Source: the Musical Times, Vol
    Westminster Abbey (Concluded) Author(s): Dotted Crotchet Source: The Musical Times, Vol. 48, No. 773 (Jul. 1, 1907), pp. 447-449 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/904993 . Accessed: 23/12/2014 17:16 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times. http://www.jstor.org This content downloaded from 128.235.251.160 on Tue, 23 Dec 2014 17:16:02 PM All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-JuLY I, 1907. 447 WESTMINSTER ABBEY. dwell upon the fame of this master-musician,nor (Concluded from Page 378.) to recountthe details of his all too-shortlife.* We THE ORGANISTS. may pass on to the Restoration,merely mentioning that John Day, Richard Portman and Thomas John Howe, Master Whitt, and John Taylor Warwick had in the meantime and are the threefirst recorded of (or Warrock) organists Westminsterin succession held the of In 166o held officebetween the post organist. Abbey; theysuccessively Dr. son of Orlando Gibbons, and If are unknown to ChristopherGibbons, years 1549 I570.
    [Show full text]
  • Swedish Monuments of Music and Questions of National Profiling
    Lars Berglund Swedish Monuments of Music and Questions of National Profiling Symposion »Analyse und Aufklärung, ›Public History‹ und Vermarktung. Methodologie, Ideologie und gesellschaftliche Orientierung der Musikwissenschaft in (und zu) Nordeuropa nach 1945« Beitragsarchiv des Internationalen Kongresses der Gesellschaft für Musikforschung, Mainz 2016 – »Wege der Musikwissenschaft«, hg. von Gabriele Buschmeier und Klaus Pietschmann, Mainz 2018 Veröffentlicht unter der Creative-Commons-Lizenz CC BY-NC-ND 4.0 im Katalog der Deutschen Nationalbibliothek (https://portal.dnb.de) und auf schott-campus.com © 2018 | Schott Music GmbH & Co. KG Lars Berglund Swedish Monuments of Music and Questions of National Profiling In an article published in 1942, the Swedish musicologist Stig Walin proposed a strategy for Swedish historical musicology. It was published in Svensk tidskrift för musikforskning (The Swedish Journal of Musicology) and titled »Methodological problems in Swedish Musicology«.1 Walin had recently earned a doctoral degree in Uppsala with a dissertation on Swedish symphonies in the eighteenth and early nineteenth century. This was the first doctoral dissertation in musicology from Uppsala and awarded him the title of Docent. In the 1942 article, Walin outlines an approach to historiography and the writing of music history, strongly influenced by neo-Kantianism, but also by cultural history in the spirit of Johan Huizinga.2 Walin presents a number of methodological considerations, related to the particular conditions of the historical cultivation of music in Sweden. He suggests a scholarly focus, not only on the production of music, but also on what he designates the reproduction of music – a notion closely affiliated with what we would today call reception history.
    [Show full text]