DOCSLIB.ORG

The Volta: a Galant Gesture of Culmination Nathaniel Mitchell

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Volta: a Galant Gesture of Culmination Nathaniel Mitchell The Volta: A Galant Gesture of Culmination nathaniel mitchell This article presents an overview of a new pre-cadential schema in the galant style: the Volta. The Volta is a two-part schema featuring a prominent chromatic reversal: stage one charges up the dom- b b b b inant with a ]4–5 melodic string, while stage two releases to the tonic using a \4–3 string. The schema sheds light on many aspects of galant music-making: its variants illustrate how central fea- tures of a schematic prototype motivate or constrain plausible manipulations, its pre-cadential func- tion reveals the intimate communion between surface schemas and the harmonic patterns inscribed within the style’s formal scripts, and, finally, its use as a climactic gesture in opera seria calls attention Downloaded from https://academic.oup.com/mts/article/42/2/280/5908009 by guest on 15 November 2020 to the semantic possibilities of schemas beyond their role in defining musical topics. These and other aspects of the Volta are illustrated using representative excerpts from eighteenth-century mas- ters like Leonardo Vinci, Giovanni Battista Pergolesi, Johann Adolf Hasse, Baldassare Galuppi, Joseph Haydn, and Wolfgang Amadeus Mozart. Keywords: galant, schema, Cleofide, Hasse, Vinci, Pergolesi, abnegation, Koch, chromaticism, clausula, opera seria. ancta mater, istud agas,” the ninth movement of gesture likewise appears in a ritornello from the next duet— Giovanni Battista Pergolesi’s Stabat Mater (1736), “Inflammatus et accensus”; see Example 2—where it is con- punctuates its predominantly tranquil affect with densed into a bare-octave presentation of the scale-degree “S b b b b pockets of highly charged expressivity. The ritornello of this string ]4–5–\4–3 accompanied in the upper voices by the b b duet—shown in Example 1—begins with a light Romanesca, same “high 1” and “high 2” melodic prefixes seen in the full of nimble triadic and scalar passagework, followed at m. 4 “Sancta mater” duet. From these examples, we might abstract by a Prinner riposte embedded with the gently pulsating a conceptual prototype like the one shown in Example 3, fol- pedal-point sonorities and flatwise tonal inflections of the lowing the example of Robert Gjerdingen in his 2007 mono- Quiescenza.1 The sixth measure then initiates a poignant ex- graph Music in the Galant Style. Gjerdingen posits that a core pressive turn: the violins leap a tritone down from E[ to a set of such formulaic prototypes—or schemas—underpins the sumptuous A\ enwrapped in a fully diminished-seventh chord, compositional craft of eighteenth-century musicians, some of which discharges to the dominant B[ in m. 7. A rhyming ges- which (Romanesca, Prinner, and Quiescenza) have been men- ture that accentuates A[ follows, highlighting a cross-relation tioned already. The preceding examples suggest the existence between these two measures. The rhetorical energy of these of an additional item in the galant “schematicon”;3 a striking measures—swelling sharpwise toward the dominant and then chromatic construction deployed as a powerful burst of energy exhaling flatwise to the tonic—sets in motion the cadential preceding moments of cadential punctuation. progression that follows, after which the entirety of mm. 6– I call this schema by the Italian word for turn—volta— b b 8 is repeated to round off the opening ritornello. highlighting its opposition of a rising ]4–5 melodic string b b 4 Pergolesi treats this chromatic gesture as the movement’s against a falling \4–3 string. This article presents an overview signature utterance; it is the only element from the opening ri- of the Volta as a core schema in the galant style, with tornello to recur in every vocal period, acting in each instance special emphasis on its use in opera. I begin by refining the as the phrase’s penultimate, pre-cadential musical action.2 The schematic representation offered above with an enriched pool of exemplars, probing the common range of contrapuntal and I owe a great debt to my many colleagues at Indiana University and rhythmic variations that composers deployed when using this Princeton University who have heard and commented upon numerous versions of this article. Special thanks to Scott Burnham, Kofi Agawu, 3 Rice (2015a). Paul Sherrill, Hans Aerts, Poundie Burstein, Dmitri Tymoczko, and my 4 I intend the name Volta to call up incidental semantic associations as well. two anonymous reviewers for their more extensive comments, critiques, For instance, one might connect the Volta’s pre-cadential function to the and email discussions. poetic volta of the Shakespearean sonnet, a turn toward the sonnet’s con- 1 The Romanesca, Prinner, and Quiescenza schemas are discussed in cluding idea often ushered in through clauses like “and yet” or “but” that Chapters 2, 3, and 13, respectively of Gjerdingen (2007). Unless other- signal a pointed discursive shift. For a discussion of the poetic volta as an wise indicated, all schemas discussed in this article are defined in essential feature of sonnet rhetoric, see Bermann (1988, especially pp. Gjerdingen (2007). 45ff. and 84). One might also associate the term with the SI unit for elec- 2 Subsequent presentations occur in mm. 18–23, 33–38, 51–54, 62–64, and tromagnetic force—the volt, named after the eighteenth-century physicist 76–81. Alessandro Volta—to highlight the schema’s high energy, its “electricity.” 280 the volta 281 Downloaded from https://academic.oup.com/mts/article/42/2/280/5908009 by guest on 15 November 2020 example 1. Giovanni Battista Pergolesi, Stabat Mater (1736), IX. “Sancta mater istud agas,” mm. 1–11 example 2. Pergolesi, Stabat Mater, XI. “Inflammatus et accensus,” mm. 26–29 schema. A primary concern of this section will be to connect the schema’s variants to the prototypical features that motivate them, thereby tracing paths from the schema’s inner core to ambiguous boundary areas where musical phenomena share features with multiple prototypes.5 Once the structural features of the Volta have been secured, I then explore the schema’s syntactical and expressive associations. Its pre-cadential func- tion opens a window onto the cross-pollination of foreground contrapuntal constructions with scripted event sequences at broader scales of musical time. Its rhetorical role as a marker of example 3. The Volta, conceptual prototype musical climax, on the other hand, encourages sensitive engagement with the narrative potential of musical schemas, 5 As George Lakoff (1987) uses the term, motivation pertains to cognitive especially in operatic contexts. Thus, this article not only con- phenomena that are neither fully predictable nor wholly arbitrary. tributes an item to the growing schematicon of eighteenth- Motivation provides an account for why certain category applications, instances of polysemy, extensions of metaphors or idioms, etc. make sense century music, but also uses that schema to reflect on issues of while others do not, an explanation that works by describing how the ele- schematic definition, manipulation, and combination, as well ments of a conceptual system fit together to facilitate sense-making. as temporal and expressive signification in the galant style. 282 MUSIC THEORY SPECTRUM 42 (2020) double-clausula prototype and basic extensions within this largely diatonic palette, perhaps employing the schema’s chromatic rise and fall to evoke the inhalation and On 13 September 1731, the Dresden court of August the exhalation of an expressive sigh. The Volta’s special affective Strong inaugurated a new era of musical prosperity with the status is already evident in the passage from the opening ritor- premiere of Johann Adolf Hasse’s heroic opera Cleofide.6 Hasse, nello shown in Example 4(a), where, following a series of as the Elector of Saxony’s newly hired maestro di cappella,was sparse unisono cadences, the fully voiced chromatic schema the evening’s star attraction, it being the first public occasion for crackles to life in a climactic moment of amorous expression. the court to witness the artistic fruit procured by their invest- This orchestral skeleton is further enriched when the Volta ment in the young composer. With Cleofide,then,Hassehadto returns in the vocal period. In the passage shown in demonstrate his supreme mastery of the most fashionable and Example 4(b), Gandarte plugs his upbeat-oriented vocal ges- dramatically evocative musical devices of the day in service of a tures into the orchestra’s rhythmic gaps and further adds an as- magnificent performance that could testify to the state’s renewed cending grace note into the downbeat of m. 67, thereby Downloaded from https://academic.oup.com/mts/article/42/2/280/5908009 by guest on 15 November 2020 artistic prowess. His unparalleled success in this regard amplifying the schema’s affective poignancy with a twinge of cemented his lucrative position and launched a golden age of accented dissonance. The result is a delicately constructed pas operatic production for Dresden that would last, with Hasse at de deux between singer and orchestra that masterfully coordi- the helm, until Frederick the Great invaded Saxony in 1756, ig- nates audience attention: the schema’s accented chromaticism niting the cataclysmic events of the Seven Years’ War. leaps out of its diatonic surroundings to draw focus to the Hasse was especially renowned for his delectably sweet mel- stage, after which the orchestra recedes to give Gandarte’s ex- odies and for his ability to spotlight vocal expression with im- pressive semitonal sighs full, unencumbered sway over
Load more

Recommended publications
  • Christoph Graupner
    QUANTZ COLLEGIUM ~ CHRISTOPH GRAUPNER · VIOLA CONCERTO IN D MAJOR, GWV 314 CHRISTOPH GRAUPNER (1683-1760) CONCERTO IN D-DUR, GWV 314 FÜR VIOLA, ZWEI VIOLINEN, VIOLA UND BASSO CONTINUO SOLISTIN: AGATA ZIEBA (VIOLA) I. VIVACE ~ II. ADAGIO ~ III. VIVACE Das Schloss Favorite bei Rastatt ist das älteste und einzige nahezu unverändert erhalten gebliebene „Porzel- lanschloss“ Deutschlands. Seine Ausstattung und seine reichhaltigen Sammlungen machen es zu einem Ge- samtkunstwerk von europäischer Bedeutung. Vor über 300 Jahren erbaut unter Markgräfin Sibylla Augusta von Baden-Baden (1675-1733) nach Plänen des Hofbaumeisters Michael Ludwig Rohrer, beherbergen die prächtig ausgestatteten Räume wie einst zu Zeiten der Markgräfin deren kostbare Porzellan-, Fayence- und Glassamm- lung. Das Schloss mit seinem idyllischen Landschaftsgarten war ein Ort der Feste und der Jagd. Markgräfin Sibylla Augusta und ihr Sohn Ludwig Georg fanden hier Erholung abseits des strengeren höfischen Zeremoni- ells in der Rastatter Residenz. Die Ausstattung birgt eine verschwenderische Fülle spätbarocker Dekorationen und viele ungewöhnliche Details. Zentrum des „Lustschlosses“ ist, wie in fast jedem barocken Schloss, die „Sala Terrena“, der Gartensaal, der für Feierlichkeiten diente und in dem auch dieses Konzert stattfand. In Schloss Favorite Rastatt fand man da- für eine ungewöhnliche Form. Der achteckige Saal im Erdgeschoss mit seinen vier Wasserbecken und Brun- nenfiguren, die die vier Jahreszeiten darstellen, öffnet sich nach oben bis zur Kuppel. Seine Wände sind mit blau-weißen Fayence-Fliesen belegt, die sich im ganzen Gebäude wiederfinden. Das Schloss und sein Garten sind eines von 60 historischen Monumenten im deutschen Südwesten. Die Staatli- chen Schlösser und Gärten Baden-Württemberg öffnen, vermitteln, entwickeln und bewahren diese landeseige- nen historischen Monumente mit dem Anspruch, das kulturelle Erbe in seiner Authentizität zu bewahren, es mit Leben zu fül- len und es für zukünftige Generationen zu erhalten.
    [Show full text]
  • The Howard Mayer Brown Libretto Collection
    • The Howard Mayer Brown Libretto Collection N.B.: The Newberry Library does not own all the libretti listed here. The Library received the collection as it existed at the time of Howard Brown's death in 1993, with some gaps due to the late professor's generosity In loaning books from his personal library to other scholars. Preceding the master inventory of libretti are three lists: List # 1: Libretti that are missing, sorted by catalog number assigned them in the inventory; List #2: Same list of missing libretti as List # 1, but sorted by Brown Libretto Collection (BLC) number; and • List #3: List of libretti in the inventory that have been recataloged by the Newberry Library, and their new catalog numbers. -Alison Hinderliter, Manuscripts and Archives Librarian Feb. 2007 • List #1: • Howard Mayer Brown Libretti NOT found at the Newberry Library Sorted by catalog number 100 BLC 892 L'Angelo di Fuoco [modern program book, 1963-64] 177 BLC 877c Balleto delli Sette Pianeti Celesti rfacsimile 1 226 BLC 869 Camila [facsimile] 248 BLC 900 Carmen [modern program book and libretto 1 25~~ Caterina Cornaro [modern program book] 343 a Creso. Drama per musica [facsimile1 I 447 BLC 888 L 'Erismena [modern program book1 467 BLC 891 Euridice [modern program book, 19651 469 BLC 859 I' Euridice [modern libretto and program book, 1980] 507 BLC 877b ITa Feste di Giunone [facsimile] 516 BLC 870 Les Fetes d'Hebe [modern program book] 576 BLC 864 La Gioconda [Chicago Opera program, 1915] 618 BLC 875 Ifigenia in Tauride [facsimile 1 650 BLC 879 Intermezzi Comici-Musicali
    [Show full text]
  • Vol34-1997-1.Pdf
    - ---~ - - - - -- - -- -- JOURNAL OF THE VIOLA DA GAMBA SOCIETY OF AMERICA Volume 34 1997 EDITOR: Caroline Cunningham SENIOR EDITOR: Jean Seiler CONSULTING EDITOR: F. Cunningham, Jr. REVIEW EDITOR: Stuart G. Cheney EDITORIAL BOARD Richard Cbarteris Gordon Sandford MaryCyr Richard Taruskin Roland Hutchinson Frank Traficante Thomas G. MacCracken Ian Woodfield CONTENTS Viola cia Gamba Society of America ................. 3 Editorial Note . 4 Interview with Sydney Beck .................. Alison Fowle 5 Gender, Class, and Eighteenth-Centwy French Music: Barthelemy de Caix's Six Sonatas for Two Unaccompanied Pardessus de Viole, Part II ..... Tina Chancey 16 Ornamentation in English Lyra Viol Music, Part I: Slurs, Juts, Thumps, and Other "Graces" for the Bow ................................. Mary Cyr 48 The Archetype of Johann Sebastian Bach's Chorale Setting "Nun Komm, der Heiden Heiland" (BWV 660): A Composition with Viola cia Gamba? - R. Bruggaier ..... trans. Roland Hutchinson 67 Recent Research on the Viol ................. Ian Woodfield 75 Reviews Jeffery Kite-Powell, ed., A Performer's Guide to Renaissance Music . .......... Russell E. Murray, Jr. 77 Sterling Scott Jones, The Lira da Braccio ....... Herbert Myers 84 Grace Feldman, The Golden Viol: Method VIOLA DA GAMBA SOCIETY OF AMERICA for the Bass Viola da Gamba, vols. 3 and 4 ...... Alice Robbins 89 253 East Delaware, Apt. 12F Andreas Lidl, Three Sonatas for viola da Chicago, IL 60611 gamba and violoncello, ed. Donald Beecher ..... Brent Wissick 93 [email protected] John Ward, The Italian Madrigal Fantasies " http://www.enteract.com/-vdgsa ofFive Parts, ed. George Hunter ............ Patrice Connelly 98 Contributor Profiles. .. 103 The Viola da Gamba Society of America is a not-for-profit national I organization dedicated to the support of activities relating to the viola •••••• da gamba in the United States and abroad.
    [Show full text]
  • 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.
    [Show full text]
  • Baroque and Classical Style in Selected Organ Works of The
    BAROQUE AND CLASSICAL STYLE IN SELECTED ORGAN WORKS OF THE BACHSCHULE by DEAN B. McINTYRE, 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 Approved Chairperson of the Committee Accepted Dearri of the Graduate jSchool December, 1998 © Copyright 1998 Dean B. Mclntyre ACKNOWLEDGMENTS I am grateful for the general guidance and specific suggestions offered by members of my dissertation advisory committee: Dr. Paul Cutter and Dr. Thomas Hughes (Music), Dr. John Stinespring (Art), and Dr. Daniel Nathan (Philosophy). Each offered assistance and insight from his own specific area as well as the general field of Fine Arts. I offer special thanks and appreciation to my committee chairperson Dr. Wayne Hobbs (Music), whose oversight and direction were invaluable. I must also acknowledge those individuals and publishers who have granted permission to include copyrighted musical materials in whole or in part: Concordia Publishing House, Lorenz Corporation, C. F. Peters Corporation, Oliver Ditson/Theodore Presser Company, Oxford University Press, Breitkopf & Hartel, and Dr. David Mulbury of the University of Cincinnati. A final offering of thanks goes to my wife, Karen, and our daughter, Noelle. Their unfailing patience and understanding were equalled by their continual spirit of encouragement. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT ix LIST OF TABLES xi LIST OF FIGURES xii LIST OF MUSICAL EXAMPLES xiii LIST OF ABBREVIATIONS xvi CHAPTER I. INTRODUCTION 1 11. BAROQUE STYLE 12 Greneral Style Characteristics of the Late Baroque 13 Melody 15 Harmony 15 Rhythm 16 Form 17 Texture 18 Dynamics 19 J.
    [Show full text]
  • MUSIC in the EIGHTEENTH CENTURY Western Music in Context: a Norton History Walter Frisch Series Editor
    MUSIC IN THE EIGHTEENTH CENTURY Western Music in Context: A Norton History Walter Frisch series editor Music in the Medieval West, by Margot Fassler Music in the Renaissance, by Richard Freedman Music in the Baroque, by Wendy Heller Music in the Eighteenth Century, by John Rice Music in the Nineteenth Century, by Walter Frisch Music in the Twentieth and Twenty-First Centuries, by Joseph Auner MUSIC IN THE EIGHTEENTH CENTURY John Rice n W. W. NORTON AND COMPANY NEW YORK ē LONDON W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By midcentury, the two major pillars of Norton’s publishing program— trade books and college texts—were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees. Copyright © 2013 by W. W. Norton & Company, Inc. All rights reserved Printed in the United States of America Editor: Maribeth Payne Associate Editor: Justin Hoffman Assistant Editor: Ariella Foss Developmental Editor: Harry Haskell Manuscript Editor: JoAnn Simony Project Editor: Jack Borrebach Electronic Media Editor: Steve Hoge Marketing Manager, Music: Amy Parkin Production Manager: Ashley Horna Photo Editor: Stephanie Romeo Permissions Manager: Megan Jackson Text Design: Jillian Burr Composition: CM Preparé Manufacturing: Quad/Graphics—Fairfield, PA Library of Congress Cataloging-in-Publication Data Rice, John A.
    [Show full text]
  • B.A.Western Music School of Music and Fine Arts
    B.A.Western Music Curriculum and Syllabus (Based on Choice based Credit System) Effective from the Academic Year 2018-2019 School of Music and Fine Arts PROGRAM EDUCATIONAL OBJECTIVES (PEO) PEO1: Learn the fundamentals of the performance aspect of Western Classical Karnatic Music from the basics to an advanced level in a gradual manner. PEO2: Learn the theoretical concepts of Western Classical music simultaneously along with honing practical skill PEO3: Understand the historical evolution of Western Classical music through the various eras. PEO4: Develop an inquisitive mind to pursue further higher study and research in the field of Classical Art and publish research findings and innovations in seminars and journals. PEO5: Develop analytical, critical and innovative thinking skills, leadership qualities, and good attitude well prepared for lifelong learning and service to World Culture and Heritage. PROGRAM OUTCOME (PO) PO1: Understanding essentials of a performing art: Learning the rudiments of a Classical art and the various elements that go into the presentation of such an art. PO2: Developing theoretical knowledge: Learning the theory that goes behind the practice of a performing art supplements the learner to become a holistic practioner. PO3: Learning History and Culture: The contribution and patronage of various establishments, the background and evolution of Art. PO4: Allied Art forms: An overview of allied fields of art and exposure to World Music. PO5: Modern trends: Understanding the modern trends in Classical Arts and the contribution of revolutionaries of this century. PO6: Contribution to society: Applying knowledge learnt to teach students of future generations . PO7: Research and Further study: Encouraging further study and research into the field of Classical Art with focus on interdisciplinary study impacting society at large.
    [Show full text]
  • La Serva Padrona Set by Pergolesi
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
    [Show full text]
  • What Is Galant Counterpoint?: Examining The
    WHAT IS GALANT COUNTERPOINT?: EXAMINING THE STRICT TREATMENT OF FOLK MELODY IN EIGHTEENTH-CENTURY MUSIC by DANIEL PECOS SINGER A THESIS Presented to the Department of Music and the Robert D. Clark Honors College in partial fulfillment of the requirements for the degree of Bachelor of Music June, 2014 An Abstract of the Thesis of Daniel Pecos Singer for the degree of Bachelor of Music in the Department of Music to be taken June, 2014 Title: What Is Galant Counterpoint?: Examining the Strict Treatment of Folk Melody in Eighteenth-century Music Throughout the eighteenth century, folk melody found itself constricted within the confines of the Classical art music tradition. The clearest evidence of this relationship appears in the fugal treatment of folk melody. Through this lens we see the courtly styles and tastes of Western Europe manipulating the expression of folk elements. Within the ruling aesthetic, the representation of the folk functions as a reference to the primitive or simple. When the "simple" melodies of the folk conform to the rigid counterpoint inherited from the sixteenth century, we see conflicting gestures of musical expression, what Elaine Sisman calls ''galant counterpoint." What are we to make of these contradictions of affect and style? This thesis explores the political ramifications of these gestures along with the evolution of the role of folk melody in the Western art music tradition. ii Acknowledgements I would like to thank Professors Grant, Pologe and Sandler for agreeing to serve on my committee. Professor Grant in particular proved instrumental in helping me to fully examine the specific topic and consider the various perspectives and contexts related to this thesis.
    [Show full text]
  • NEWSLETTER of the American Handel Society
    NEWSLETTER of The American Handel Society Volume XXXI, Number 2 Summer 2016 HANDEL’S GREATEST HITS: REPORT FROM HALLE THE COMPOSER’S MUSIC IN EIGHTEENTH-CENTURY BENEFIT CONCERTS Buried in The London Stage are advertisements for concerts including or devoted to Handel’s music. Starting in the 1710s and continuing through the eighteenth century, musicians of all types used Handel’s music on their concert programs, most especially during their benefit evenings.1 These special events were dedicated to promoting a sole performer (or other members of the theatrical staff at a particular playhouse or concert hall). As was tradition, performers would have organized these events from beginning to end by hiring the other performers, renting the theater, creating advertisements, soliciting patrons, and The Handel Festival in Halle took place this year from programming the concert. Advertisements suggest that singers Friday, May 27 to Sunday, June 12, 2016 with the theme “History – and instrumentalists employed Handel’s music in benefit concerts Myth – Enlightenment.” Following the pattern established last year, for their own professional gain. They strategically programmed the Festival extended over three weekends. The Opening Concert, particular pieces that would convey specific narratives about their which had been a feature of recent Festivals, was not given. Instead, own talents, as well as their relationship to the popular composer. the first major musical event was the premiere of the new staging Benefit concerts were prime opportunities for performers of Sosarme, Re di Media at the Opera House, using performing to construct a narrative, or a story, through their chosen program. materials prepared by Michael Pacholke for the Hallische Händel- On the one hand, concert programs allowed performers to Ausgabe (HHA).
    [Show full text]
  • Prinner” 17 William E
    WHAT IS A CADENCE? Theoretical and Analytical Perspectives on Cadences in the Classical Repertoire Markus Neuwirth Pieter Bergé (eds) Reprint from What is a Cadence? - ISBN 978 94 6270 015 4 - © Leuven University Press, 2015 WHAT IS A CADENCE? THEORETICAL AND ANALYTICAL PERSPECTIVES ON CADENCES IN THE CLASSICAL REPERTOIRE Reprint from What is a Cadence? - ISBN 978 94 6270 015 4 - © Leuven University Press, 2015 Reprint from What is a Cadence? - ISBN 978 94 6270 015 4 - © Leuven University Press, 2015 What Is a Cadence? Theoretical and Analytical Perspectives on Cadences in the Classical Repertoire Markus Neuwirth and Pieter Bergé (eds) Leuven University Press Reprint from What is a Cadence? - ISBN 978 94 6270 015 4 - © Leuven University Press, 2015 © 2015 by Leuven University Press / Presses Universitaires de Louvain / Universitaire Pers Leuven. Minderbroedersstraat 4, B-3000 Leuven (Belgium) All rights reserved. Except in those cases expressly determined by law, no part of this publication may be multiplied, saved in an automated datafile or made public in any way whatsoever without the express prior written consent of the publishers. ISBN 9789462700154 D / 2015 / 1869 / 19 NUR: 664 Cover and layout: Jurgen Leemans Cover illustration: ‘Cadence #1 (a short span of time), Robert Owen, 2003’, CC-BY- NC-ND Matthew Perkins 2009. Reprint from What is a Cadence? - ISBN 978 94 6270 015 4 - © Leuven University Press, 2015 Contents 5 CONTENTS Introduction: What is a Cadence? 7 Nine Perspectives Markus Neuwirth and Pieter Bergé Harmony and Cadence
    [Show full text]
  • The Partimento Tradition in the Shadow of Enlightenment Thought
    Channels: Where Disciplines Meet Volume 1 Number 2 Spring 2017 Article 3 May 2017 The Partimento Tradition in the Shadow of Enlightenment Thought Deborah Longenecker Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/channels Part of the Musicology Commons, Music Pedagogy Commons, and the Music Theory Commons DigitalCommons@Cedarville provides a publication platform for fully open access journals, which means that all articles are available on the Internet to all users immediately upon publication. However, the opinions and sentiments expressed by the authors of articles published in our journals do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The authors are solely responsible for the content of their work. Please address questions to [email protected]. Recommended Citation Longenecker, Deborah (2017) "The Partimento Tradition in the Shadow of Enlightenment Thought," Channels: Where Disciplines Meet: Vol. 1 : No. 2 , Article 3. DOI: 10.15385/jch.2017.1.2.3 Available at: https://digitalcommons.cedarville.edu/channels/vol1/iss2/3 The Partimento Tradition in the Shadow of Enlightenment Thought Abstract How did Enlightenment ideals influence seventeenth-century music theory and composition pedagogy? This article investigates the relationship between partimento pedagogy and Rameau’s music theories as influenced by Enlightenment thought. Current research on partimento has revealed its importance in Neapolitan music schools of the eighteenth and nineteenth centuries. Along with counterpoint, partimento was a core subject in the study of composition in the Neapolitan schools; however, as pedagogy and theory began to be influenced by Enlightenment ideals such as the scientific method or a preference for clear systemization, the partimento tradition began to wane.
    [Show full text]