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4 Classical Music's Coarse Caress
The End of Early Music This page intentionally left blank The End of Early Music A Period Performer’s History of Music for the Twenty-First Century Bruce Haynes 1 2007 3 Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2007 by Bruce Haynes Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Haynes, Bruce, 1942– The end of early music: a period performer’s history of music for the 21st century / Bruce Haynes. p. cm. Includes bibliographical references and index. ISBN 978-0-19-518987-2 1. Performance practice (Music)—History. 2. Music—Interpretation (Phrasing, dynamics, etc.)—Philosophy and aesthetics. I. Title. ML457.H38 2007 781.4′309—dc22 2006023594 135798642 Printed in the United States of America on acid-free paper This book is dedicated to Erato, muse of lyric and love poetry, Euterpe, muse of music, and Joni M., Honored and Honorary Doctor of broken-hearted harmony, whom I humbly invite to be its patronesses We’re captive on the carousel of time, We can’t return, we can only look behind from where we came. -
Colista Or Corelli? a «Waiting Room» for the Trio Sonata Ahn. 16*
Philomusica on-line 16 (2017) Colista or Corelli? A «waiting room» for the trio sonata Ahn. 16* Antonella D’Ovidio Università di Firenze [email protected] § Studi recenti sulle fonti, manoscritte e § Recent research on manuscript and a stampa, dei lavori corelliani hanno printed sources of Corelli’s output riaperto la discussione attorno alle have re-opened discussion on doubt- opere dubbie e a quelle ‘senza numero ful works and have led to a new d’opera’ del compositore, portando così revision of Marx’s classification of ad una parziale revisione dei criteri Corelli’s catalogue. utilizzati da Marx nel suo catalogo While the solo sonatas of doubtful corelliano. attribution have already been re- Mentre la trasmissione manoscritta examined, there is still much to be delle sonate per violino è stata profon- done on doubtful trio sonatas. In this damente riesaminata, molto ancora respect, this essay focuses on a spe- resta da fare nel caso delle sonate a tre cific case: the conflicting attribution non attribuibili con certezza a Corelli. A of trio sonata Ahn. 16 classified by tale proposito, l’articolo si focalizza su Marx among Corelli’s doubtful works un caso specifico, ovvero la sonata a tre and attested in a group of English Ahn. 16. Essa è oggi attestata da un sources, only rarely examined by gruppo di testimoni di provenienza Corelli scholars. In some sources inglese, solo raramente esaminati dagli Ahn. 16 is attributed to Corelli, in studiosi corelliani. La sonata presenta others to the Roman lutenist and un’attri-buzione conflittuale: in alcuni composer Lelio Colista, in others no manoscritti è assegnata a Corelli, in ascription is reported. -
THE VIOLA DA GAMBA SOCIETY JOURNAL General Editor: Andrew Ashbee
The Viola da Gamba Society Journal Volume One (2007) The Viola da Gamba Society of Great Britain 2006-7 PRESIDENT Alison Crum CHAIRMAN Michael Fleming COMMITTEE Elected Members: Michael Fleming, Robin Adams, Alison Kinder Ex Officio Members: Caroline Wood, Stephen Pegler, Mary Iden Co-opted Members: Alison Crum, Nigel Stanton. Jacqui Robertson-Wade ADMINISTRATOR Caroline Wood 56 Hunters Way, Dringhouses, York YO24 1JJ tel/fax: 01904 706959 [email protected] THE VIOLA DA GAMBA SOCIETY JOURNAL General Editor: Andrew Ashbee Editor of Volume 1 (2007): Andrew Ashbee: 214 Malling Road, Snodland, Kent ME6 5EQ [email protected] Editor of Volume 2 (2008): Professor Peter Holman: School of Music, University of Leeds, Leeds LS2 9JT [email protected] Full details of the Society’s officers and activities, and information about membership, can be obtained from the Administrator. Contributions for The Viola da Gamba Society Journal, which may be about any topic related to early bowed string instruments and their music, are always welcome, though potential authors are asked to contact the editor at an early stage in the preparation of their articles. Finished material should preferably be submitted on IBM format 3.5 inch floppy disc (or by e-mail) as well as in hard copy. A style guide will be prepared. In the meantime current examples should suffice, together with instructions from the general editor. ii CONTENTS Editorial iv Manuscripts of Consort Music in London, c.1600-1625: some Observations—ANDREW ASHBEE 1 Continuity and Change in English Bass Viol Music: the Case of Fitzwilliam Mu. -
Doctor of Philosophy June 2008 the Candidate Confirms That the Work Submitted Is His Own and That Appropriate Credit Has Been Gi
THE TRIO SONATA IN RESTORATION ENGLAND (1660-1714) MIN-JUNG RANG Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Music June 2008 The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from this thesis may be published without proper acknowledgement. Acknowledgements benefited from During the writing of this dissertation, I have the advice and Dr Andrew Ashbee encouragement of many people. I am grateful particularly to and information Dr Nicholas Bell of the British Library who generously supplied me with like Dr Robert on the manuscripts on which I have been working. I would also to thank Thompson who allowed me to photograph his microfilms which saved much time and effort. I have I would also like to thank staff of the various libraries I visited, where been met with unfailing help and courtesy: the British Library, London; Bodleian Library, Oxford; Christ Church Library, Oxford; the Cathedral Library, Durham; and Leeds University Library. During the course of this project I have been fortunate in receiving great from support and encouragement from my family and friends. I met warm hospitality Prof Richard Rastall's family during my staying in Leeds, especially at Christmas time. I was extremely fortunate to receive much support from my parents. Without their financial support and faithful assistance, it would have been impossible for me to finish the work. -
Sonatas for Violin and Basso Continuo Written by British Composers in the First Half of the Eighteenth Century Ma
SONATAS FOR VIOLIN AND BASSO CONTINUO WRITTEN BY BRITISH COMPOSERS IN THE FIRST HALF OF THE EIGHTEENTH CENTURY MAGDALENA KOSTKA Dissertation submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Cardiff University School of Music June 2014 ii Abstract The sonata for violin and basso continuo was one of the most popular instrumental genres in early eighteenth-century Europe, as is clearly evident from the numerous works by Italian, German and French composers of the period, whose contributions are widely known and documented. Violin sonatas by British-born composers of the period, on the other hand, have largely been neglected by scholars and performers and no systematic examination of this repertoire has thus far been conducted. The present thesis attempts to contextualise this rich and fascinating repertoire and view it holistically. It aims to contribute substantially to knowledge about the British violin sonata during the period and enhance our understanding of its function, content, dissemination and performance. Fifteen collections of sonatas for violin and continuo written by British-born composers in the first half of the eighteenth century have been selected for detailed analysis. These works have been examined from two different perspectives: as social phenomena and as aesthetic objects. Following relevant introductory materials contextualising the research, the first part of this thesis presents biographical accounts of the selected composers, their careers and musical environment, and the circumstances surrounding the publication and distribution of their sonatas. In Part II the sonatas under scrutiny are analysed in terms of their external designs and internal forms, tonal scope, and harmonic and melodic vocabulary, as well as their technical demands. -
Handel's Use of Plucked Instruments
Handel's use of plucked instruments Orlando Fraga (EMBAP) Abstract: Three central features of Baroque music encompass a large portion of questions about the performance of this particular repertory: its improvisatory aspect, the use of basso continuo, and the instrumental color and variety. Teorbo and lute solos, aside of playing a role as a continuo, filled in the intermissions of oratorios in Italy since late 17th century, while organ concertos provided the same function for English oratorios in the early 18th century. It is from Handel's early period ‒ his first trip to Italy in 1707 ‒ that teorbo and archiliuto start to appear in his vocal music. Handel employed either the teorbo or archiliuto (or simply liuto) in twelve vocal works and in one instrumental Ouverture. A complete examination of the circumstances that involve this particular aspect of Handel's music is the subject this paper. Keywords: Handel; Baroque opera; lute; theorbo; continuo. Resumo: Um substancial número de questionamentos acerca da performance de música barroca se concentra em três aspectos particulares deste repertório: o seu aspecto improvisatório, o uso do baixo contínuo e a variedade e colorido da instrumentação. Solos de teorba e alaúde, além do seu papel como contínuo, preenchiam os intermezzos dos oratórios italianos desde o final do século 17, ao mesmo tempo em que concertos de órgão poderiam ter função equivalente nos oratórios ingleses no início do século 18. É no primeiro período composicional de Handel – aquele que coincide com sua primeira viajem à Itália em 1707 – que a teorba e o arquialaúde começam a aparecer em sua música vocal. -
Basso Continuo in Italian Baroque Music.^ a Work As Rich in Practical Reality About Continuo As It Is in Scholarly Insight
CONTINUO FOR LUTENISTS AND GUITARISTS: A TUTOR AND MUSIC THEORY SUPPLEMENT by ROLAND HB STEARNS, B.A., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Appro^ August, 1992 gel ^' /\^,5'? ACKNOWLEDGMENTS This tutor represents the inspirational ideas and support given by my good friends, Stefan Lundgren of Munich, Germany, and Dr. James Bogle, my major professor at Texas Tech University. Of course, without the many past opportunities I have had to participate in various kinds of continuo here and in Europe (for which I am happily indebted), there would be little sense to such a project. Special thanks go also to the students of Mr. Lundgren's May, 1988, Kurse fiir Laure (Courses for Lute) in Zillertal, Austria, who participated with great success in a trial run of the ideas developed in this tutor. In a single week of intensive studies, we were able to cover continuo basics in the six introductory pieces contained in this tutor's Part Two, including excursions into more advanced topics, and finally, perform these works with good success at a small "in house" gathering at the course completion.^ Additional thanks go to those friends and colleagues whose names may appear in footnotes or, through my unfortunate oversight, have been left out. Finally, I would like also to acknowledge with thanks the assistance of my brother, Frank, for his knowledge of acoustics and for helping me to establish the computer skiUs which have contributed so much to the appearance of this work, to the Dell Computer corporation for its superb hardware and support, to NISCA Corporation, whose products and "hands on" assistance have contributed so significantly to the graphics resources which appear in this tutor.