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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 -
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. -
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. -
Ballad Opera in England: Its Songs, Contributors, and Influence
BALLAD OPERA IN ENGLAND: ITS SONGS, CONTRIBUTORS, AND INFLUENCE Julie Bumpus A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 7, 2010 Committee: Vincent Corrigan, Advisor Mary Natvig ii ABSTRACT Vincent Corrigan, Advisor The ballad opera was a popular genre of stage entertainment in England that flourished roughly from 1728 (beginning with John Gay's The Beggar's Opera) to 1760. Gay's original intention for the genre was to satirize not only the upper crust of British society, but also to mock the “excesses” of Italian opera, which had slowly been infiltrating the concert life of Britain. The Beggar's Opera and its successors were to be the answer to foreign opera on British soil: a truly nationalistic genre that essentially was a play (building on a long-standing tradition of English drama) with popular music interspersed throughout. My thesis explores the ways in which ballad operas were constructed, what meanings the songs may have held for playwrights and audiences, and what influence the genre had in England and abroad. The thesis begins with a general survey of the origins of ballad opera, covering theater music during the Commonwealth, Restoration theatre, the influence of Italian Opera in England, and The Beggar’s Opera. Next is a section on the playwrights and composers of ballad opera. The playwrights discussed are John Gay, Henry Fielding, and Colley Cibber. Purcell and Handel are used as examples of composers of source material and Mr. Seedo and Pepusch as composers and arrangers of ballad opera music. -
Composing After the Italian Manner: the English Cantata 1700-1710
University of Richmond UR Scholarship Repository Music Faculty Publications Music 2014 Composing after the Italian Manner: The nE glish Cantata 1700-1710 Jennifer Cable University of Richmond, [email protected] Follow this and additional works at: http://scholarship.richmond.edu/music-faculty-publications Part of the Composition Commons Recommended Citation Cable, Jennifer. "Composing after the Italian Manner: The nE glish Cantata 1700-1710." In The Lively Arts of the London Stage: 1675-1725, edited by Kathryn Lowerre, 63-83. Farnham: Ashgate, 2014. This Book Chapter is brought to you for free and open access by the Music at UR Scholarship Repository. It has been accepted for inclusion in Music Faculty Publications by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. Chapter 4 Composing after the Italian Manner: The English Cantata 1700-1710 Jennifer Cable Charles Gildon, in addressing the state of the arts in his 1710 publication The Life of Mr. Thomas Betterton, the Late Eminent Tragedian, offered the following observation concerning contemporary music and, in particular, the music of Henry Purcell: Music, as well as Verse, is subject to that Rule of Horace; He that would have Spectators share his Grief, Must write not only well, but movingly. 1 According to Gildon, the best judges of music were the 'Masters ofComposition', and he called on them to be the arbiters of whether the taste in music had been improved since Purcell's day.2 However, Gildon's English 'masters of composition' were otherwise occupied, as they were just beginning to come to terms with what was surely a concerning, if not outright frustrating, situation. -
Musical Fire: Literal and Figurative Moments of "Fire" As Expressed in Western Art Music from 1700 to 1750 Sean M
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2003 Musical Fire: Literal and Figurative Moments of "Fire" as Expressed in Western Art Music from 1700 to 1750 Sean M. Parr Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC MUSICAL FIRE: LITERAL AND FIGURATIVE MOMENTS OF “FIRE” AS EXPRESSED IN WESTERN ART MUSIC FROM 1700 TO 1750 by Sean M. Parr A Thesis submitted to the School of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Fall Semester, 2003 The members of the Committee approve the thesis of Sean M. Parr defended on August 20, 2003. ________________________ Charles E. Brewer Professor Directing Thesis ________________________ Jeffery Kite-Powell Committee Member ________________________ Roy Delp Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Musical Examples...................................................................................................iv Abstract................................................................................................................................v 1. MUSIC, AFFECT, AND FIRE.......................................................................................1 2. KINDLING FIRE: MONTEVERDI AND THE STILE CONCITATO........................19 3. THE FLAMES OF FRANCE AND GERMANY........................................................36 -
Handel's German Arias
Handel's German Arias Das zitternde Glänzen HWV 203 Süßer Blumen Ambraflocken HWV 204 Johann Christoph Pepusch (1667-1752): Trio Sonata in C major for flute, violin and continuo Largo – Allegro – Adagio – Presto Singe, Seele, Gott zum Preise HWV 206 Trio Sonata Op. 5 No. 6 in F major HWV 401 for flute, violin and continuo Largo-Adagio – Allegro-Adagio – Adagio – Allegro – Minuet: Allegro Moderato Künf’ger Zeiten eitler Kummer HWV 202 Meine Seele hört im Sehen HWV 207 Johann Christoph Pepusch (1667-1752) was organist at the Charterhouse from 1737 until his death in 1752. As a teenager, Pepusch worked at the Prussian court, but seems to have found Prussia rather too militaristic, and came, via the Netherlands, to London, settling there in about 1704. He was long involved with Drury Lane, playing the viola there and supplying some of the music for the Beggar's Opera; he also married one of the Drury Lane sopranos, Marguerite de l'Epine. As director of music at Cannons during the 1710s and 1720s, Pepusch worked closely with Handel. A keen musicologist, with a DMus from Oxford, Pepusch co- founded the Academy of Ancient Music, and was elected to Royal Society in 1746; he seems largely to have stopped composing afer 1729 in order to devote himself more to his musicological studies. This charming trio sonata follows the baroque sonata da chiesa format (slow-fast-slow-fast), and opens with a Largo full of imitation between the melody lines. The following Allegro is also imitative, with the instruments throwing and catching quaver and semiquaver phrases. -
Music and the Arts in England, C. 1670–1750
This chapter is part of: Music and the Arts in England, c. 1670–1750 Edited by Ina Knoth Published by musiconn.publish, Dresden 2020 DOI: https://doi.org/10.25366/2020.112 musiconn.publish has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. The digital reproduction rights for all illustrations were either obtained by the authors or granted by public domain licences. However, in case of suspected copy- right infringement, please contact the editor or the publisher. This chapter is available under a Creative Commons Attribution-NonCommercial- ShareAlike 4.0 International (CC BY-NC-SA 4.0) licence. Tim Eggington Raising the Status of Music and the Musician at the Academy of Ancient Music in Eighteenth-Century London It is widely recognised that eighteenth-century London’s fast changing com- mercial and cultural environment provided multiple contexts for artistic legitimisation and advancement which took the art of music in new direc- tions.1 This paper identifies an important, yet little known approach taken by a gathering of musicians who in 1726 met at the Crown and Anchor Tavern on the Strand to form a club that became known as the Academy of An- cient Music.2 Although this organisation is well known to those interested in eighteenth-century English music, not least for having hosted one of the earliest public performances of a George Frideric Handel oratorio,3 the wid- 1 Recent additions to this literature can be found in Matthew Gardner and Alison DeSi- mone (eds.), Music and the Benefit Performance in Eighteenth-Century Britain, Cambridge 2019, especially Amanda Eubanks Winkler’s chapter in that volume, “English Music in Benefit Concerts. -
CONCERTI CURIOSI Johann Wilhelm Hertel (1727–1789) Concerto No
CONCERTI CURIOSI Johann Wilhelm Hertel (1727–1789) Concerto no. 3 for trumpet e Allegro ma non troppo [3.23] Pietro Domenico Paradies (1707–1791) r Largo [4.19] A favourite concerto for the organ or harpsichord t Vivace [2.54] 1 Vivace e staccato—Allegretto [7.33] William Croft (1678–1727) 2 Adagio [2.00] Sonata for four violins and continuo [PG, BS, OS, HH, IA] 3 Allegretto [3.04] y Allegro [1.11] Anton Reichenauer (1694–1730) u Adagio [1.19] Concerto à 5 for oboe i Allegro [1.47] 4 Allegro [3.50] Pietro Baldassari (c.1683–after 1768) 5 Adagio [3.14] Sonata for cornett and strings 6 Allegro [3.16] o Allegro [2.20] Johan Daniel Berlin (1714–1787) p Grave [2.35] Sinfonia à 5 for cornett a Allegro [2.05] 7 Allegro [3.32] Total timings: [62.23] 8 Largo [3.32] 9 Allegro [2.07] CHARIVARI AGRÉABLE directed by Kah-Ming Ng Johann Christoph Pepusch (1667–1752) Concerto for four violins Violin: Persephone Gibbs (leader; PG), Oliver Sändig (OS), Doublebass: Elizabeth Harré Holly Harman (HH), Benjamin Sansom (BS), Oboe: Geoffrey Coates 0 Allegro [2.48] Colin Coleman, Richard Wade Bassoon: Michael Brain Viola: Rachel Stott, Joanne Miller Cornett: Jamie Savan q Largo [1.46] Viola da gamba: Ibi Aziz (IA) Natural trumpet: Simon Desbruslais w Vivace [3.45] Violoncello: Jennifer Bullock Harpsichord & chamber organ: Kah-Ming Ng www.signumrecords.com This curious conglomeration of concertos is a charitable institutions (ospedali) and academies, arena of subscription concerts. Their success is Happily none of the concertos in this disc fits celebration of contrasts. -
SELECTED CRITICAL EDITIONS and MONOGRAPHS by Alfred Mann
ALFRED MANN: A SELECTIVE BIBLIOGRAPHY Alfred Mann's activity as author and editor extended over nearly seventy years, encompassing monographs, critical editions, scholarly articles, editorials, reviews, concert and recording notes, translations of the works of other scholars, performance editions of music, and, in recent years, memoirs. These include his contributions to the Hallische Händel-Ausgabe and Neue Schubert-Ausgabe in a format that departed from that generally adopted in sets of critical editions: the volumes were planned as books in which the musical text and commentary were interspersed rather than presented separately. A comparable plan was followed in his The Study of Fugue and Theory and Practice, where monograph and critical edition are merged. The writings listed here reflect only those most related to seventeenth- century music, which was not his principal focus as an author. Also omitted are reviews in American and German periodicals; notes for recordings; numerous translations of the writings of other scholars, and, notably, recordings on American and European labels of works by Schütz, Buxtehude, and other Baroque masters on which he appeared variously as recorder soloist, contrabassist, or conductor. A version of a more complete bibliography was published in Eighteenth- Century Music in Theory and Practice: Essays in Honor of Alfred Mann, ed. Mary Ann Parker (Stuyvesant, N.Y.: Pendragon Press, 1994), pp. 329–37. —Michael Dodds SELECTED CRITICAL EDITIONS AND MONOGRAPHS by Alfred Mann Die Lehre vom Kontrapunkt: Johann Joseph Fux, Gradus ad Parnassum, 2. Buch, 1.- 3. Übung, Celle: Moeck, 1938; 2nd ed. 1951, annotated German translation. English editions as: Johann Joseph Fux: Steps to Parnassus. -
(14Th Century-19Th Century) (Add MS 31384-31823) Table of Contents
British Library: Western Manuscripts The following collection of MS. Music, Nos. 31,384-31,823, was formed by Mr. Julian Marshall. (14th century-19th century) (Add MS 31384-31823) Table of Contents The following collection of MS. Music, Nos. 31,384–31,823, was formed by Mr. Julian Marshall. (14th century–19th century) Key Details........................................................................................................................................ 1 Provenance........................................................................................................................................ 1 Add MS 31396–31397 MOTETS and madrigals for five voices, in score; by Palestrina. Two volumes; the first an Italian transcript................................................................................................. 9 Add MS 31444–31445 SERVICES and anthems, principally in organ–score, by M. Wise, Pelham Humfrey, Dr. H. Aldrich, Dr. Blow, Dr.................................................................................................. 40 Add MS 31487–31489 CANTATAS, and a few duets and terzets, with occasional instrumental accompaniment, chiefly by Giovanni.................................................................................................... 65 Add MS 31493–31494 DUETS, by Agostino Steffani; a printed life of whom, attributed to Sir John Hawkins, is prefixed to the first................................................................................................... 69 Add MS 31507–31508 CANTATAS by A. -
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.