Bulletin 62, January 2007
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Tenth Anniversary Issue Celebrating the Founding of the BHS
ISSUE No. 7. Published by The British Harpsichord Society SUMMER 2013 Tenth Anniversary Issue celebrating the founding of the BHS INTRODUCTIONS Our Guest Editor JANE CHAPMAN and our Founder WILLIAM VINE p1 NEWS ICHKM The 2nd International Conference in Edinburgh, Dartington p6 International Summer School, The BHS Composition Competition Prize Winners Concert, & ‘Roots of Revival’ Horniman Museum Conference. FEATURES The 10th Anniversary Composition Competition‐ PAMELA NASH p9 The Harpsichord music of Sister Caecile‐ ANDREW WOOLLEY p15 Painting Music‐ CATHERINE PECK p17 An Introduction to the ‘Oriental Miscellany’‐ JANE CHAPMAN p25 Lateral thinking for Harpsichordists- JANE CLARK p32 The Museum of Instruments at the RCM- JENNY NEX p37 Learning the harpsichord in France, part 2- HÉLÈNE DIOT p50 Michael Thomas & the Bate Collection- DAVID MILLARD p55 REPORT A BHS visit to Cambridge- NICHOLAS NEWTON p13 REVIEWS Sound and Visionary- Louis Bertrand Castel.- DEREK CONNON p34 Celebrating the 85th birthday of Zuzana Růžičková- PAMELA NASH p47 YOUR LETTERS Anthony Fox, Colin Booth p63 OBITUARIES MARY MOBBS, STEPHEN DODGSON and RAFAEL PUYANA p65 Please send your comments & your contributions to [email protected] 1 INTRODUCTION Greetings! This issue marks the 10th anniversary of the British Harpsichord Society, so has something of a celebratory feel. Regular readers already know the score – but for those new to us, the magazine has for each issue a different Guest Editor who selects, searches out and often writes the main features. This time around it has been a pleasure to have harpsichordist Jane Chapman, who has done more to raise the profile of the contemporary instrument than anyone else in the UK; indeed The Independent dubs her ‘the hippest harpsichordist in the UK’. -
Wooden Musical Instruments - Different Forms of Knowledge Marco Pérez, Emanuele Marconi
Wooden Musical Instruments - Different Forms of Knowledge Marco Pérez, Emanuele Marconi To cite this version: Marco Pérez, Emanuele Marconi. Wooden Musical Instruments - Different Forms of Knowledge: Book of End of WoodMusICK COST Action FP1302. Marco A. Pérez; Emanuele Marconi. 2018, 979-10-94642-35-1. hal-02086598 HAL Id: hal-02086598 https://hal.archives-ouvertes.fr/hal-02086598 Submitted on 1 Apr 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Musical instrument are fundamental tools of human expression of Knowledge Forms — Diferent Instruments Musical Wooden that reveal and reflect historical, technological, social and cultural aspects of times and people. These three-dimensional, polyma- teric objects—at times considered artworks, other times technical objects—are the most powerful way to communicate emotions and to connect people and communities with the surrounding world. The participants in WoodMusICK (WOODen MUSical Instrument Conservation and Knowledge) COST Action FP1302 have aimed to combine forces and to foster research on wooden musical instruments in order to preserve, develop and disseminate knowledge on musical instruments in Europe through inter- and transdisciplinary research. This four-year program, supported by COST (European Cooperation in Science and Technology), has involved a multidisciplinary and multi-national research group composed of curators, conservators/restorers, wood, material and mechanical scientists, chemists, acousticians, organologists and instrument makers. -
Consulted Collections Appendices Bibliography
Cover Page The handle http://hdl.handle.net/1887/33729 holds various files of this Leiden University dissertation. Author: Avena Braga, I. de Title: Dolce Napoli : approaches for performance - Recorders for the Neapolitan Baroque repertoire, 1695-1759 Issue Date: 2015-07-02 Inês de Avena Braga – List of Consulted Collections List of Consulted Collections Instruments _ Belluno, Velluti (private collection) _ Berlin, Klemisch (private collection) _ Celle, Moeck (private collection) _ Fontanelle, Gilardone (private collection) _ Genova, Vagge (private collection) _ Milan, Raccolta Museale del Conservatorio "G. Verdi" di Milano _ Parma, ? (private collection) A.G.lj: Graz, Universalmuseum Joanneum A.W.gm: Vienna, Gesellschaft der Musikfreunde A.W.km: Vienna, Kunsthistorisches Museum D.B.im: Berlin, Musikinstrumenten Museum - Staatliches Institut für Musikforschung D.LE.u: Leipzig, Musikinstrumenten-Museum der Universität Leipzig (Grassi Museum) DK.K.m: National Museum of Denmark (Musikmuseet - Musikhistorisk Museum & Carl Claudius Samling) EC.Q.t: Quito, Museo Pedro Pablo Traversari F.NI.pl: Nice, Musée du Palais Lascaris GB.E.u, Edinburgh, Edinburgh University Collection of Historic Musical Instruments GB.L.hm: London, Horniman Museum GB.L.v: London, Victoria & Albert Museum I.M.ts: Milan, Archivio del Museo Teatrale alla Scala I.PA.mc: Parma, Museo Storico del Conservatorio Arrigo Boito I.R.an: Rome, Museo degli Strumenti Musicali Accademia Nazionale di Santa Cecilia I.R.ms: Rome, Museo degli Strumenti Musicali di Roma US.W.c: Washington, D. C., Library of Congress Music A-Wn: Vienna, Österreichische Nationalbibliothek, Musiksammlung 259 B-Avh: Antwerp, Van Heyghen (private collection) B-Br: Brussels, Bibliothèque Royale Albert 1er/Koninlijke Bibliotheek Albert I, Section de la Musique D-B (or D-Bsb): Berlin, Staatsbibliothek zu Berlin Preussischer Kulturbesitz, Musikabteilung D-Hhg: Hamburg, Hasse-Gesellschaft Bergedorf e. -
Erard Harp 13 1.1 the Early Years, 1794-1808 14 1.2 the Transition Period, 1808-1810 18 1.3 the Development of the Double Action Harp 21 1.4 Summary 25
Erard, Bochsa and their impact on harp music-making in Australia (1830-1866): An early history from documents ` Rosemary Margaret Hallo Thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Elder Conservatorium of Music Faculty of Humanities and Social Sciences The University of Adelaide 20 June 2014 Contents List of Tables iii List of Figures iv Abstract v Declaration vi Acknowledgements vii Note on the text viii INTRODUCTION 1 Chapter One: The Erard Harp 13 1.1 The early years, 1794-1808 14 1.2 The transition period, 1808-1810 18 1.3 The development of the double action harp 21 1.4 Summary 25 Chapter Two: Nicolas-Charles Bochsa (1789-1856) 26 2.1 Bochsa in Paris 26 2.2 Bochsa in London 29 2.3 Bochsa on tour 34 2.4 Summary 35 Chapter Three: The arrival of the Erard harp in Australia: 1830-1855 37 3.1 The social impact of the Erard harps’ arrival in Australia 37 3.2 Documentation of Erard harp arrival 41 3.3 The second period, 1842-1855 47 3.4 Summary 57 Chapter Four: Harp suppliers, music and accessories: 1830-1855 59 4.1 Harp accessories 59 4.2 Commercial sales of new music 69 4.3 Summary 71 Chapter Five: Harp education in colonial Australia: 1830-1855 72 5.1 Erard Harp and education in colonial Australia 73 5.2 Summary 85 i Chapter Six: Bochsa’s music and the Erard harp in Australian concert performances: 1830-1855 86 6.1 First Australian concert venues 87 6.2 The years 1834-1839 89 6.3 The years 1839-1849 91 6.4 The years 1853-1855 102 6.5 Harp in light entertainments 108 6.6 Summary 110 Chapter