DOCSLIB.ORG

Handel EU 572245Bk Handel EU 22/07/2011 10:17 Page 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Handel EU 572245Bk Handel EU 22/07/2011 10:17 Page 1 572245bk Handel EU_572245bk Handel EU 22/07/2011 10:17 Page 1 these are less stringent, less consistent in their writing; the impression will be subjective. If you hear no Ensemble Vintage Köln they are more repetitive and more unusual in a difference, that too is fine, and a compliment to the sometimes awkward way. We do not condemn these composer (whoever it was) and the interpreters. We HANDEL Ensemble Vintage Köln was founded in 2009 by Ariadne Daskalakis, Ursula Schmidt-Laukamp (recorder/traverse works; the problem is simply that they have “clouded enjoyed flexible use of the violoncello and viola da flute), Rainer Zipperling and Gerald Hambitzer, colleagues at the Hochschule für Musik Köln who share a wealth the waters”. Having been sold as Handel and included gamba in the basso continuo. Our choice to play this of experience in historical performance practice. Ensemble Vintage Köln ranges in size from trio sonata to a larger as such in respected publications, for a good two repertoire on baroque instruments is based on the ensemble with strings. Recent projects include performances for the German radio companies HR in Frankfurt and Complete Violin Sonatas centuries they deterred our ability to delve into and conviction that the original instruments still best do SWR in Baden-Baden, and a collaboration with Ensemble eX at the Festival for Early Music in Regensburg. grasp the essence of Handel. justice to the music that was written for them. Handel’s We have chosen to keep the authentic and non- wide range of colours and expression are Ariadne Daskalakis Ensemble Vintage Köln authentic sonatas separate in the programme order so complemented by subtlety and fragility, nuances for Ariadne Daskalakis has appeared with many leading orchestras, including the Akademie für Alte Musik Berlin, the that the listener might be able to notice the subtle which baroque instruments remain particularly Prague Chamber Orchestra, the Bavarian Radio Orchestra Munich and the English Chamber Orchestra. Prizewinner Ariadne Daskalakis differences. A practised ear may or may not discern a appropriate. of the 1998 International ARD Munich Competition, she is equally at home performing as recitalist as she is with Rainer Zipperling • Gerald Hambitzer slight shift in the musical language after the first five Ensemble Vintage Köln, the Manon Quartet Berlin or the Emanuel Piano Trio. Born in Boston, Ariadne Daskalakis sonatas and the two fragment movements; admittedly, Ariadne Daskalakis, 2010 holds degrees from Harvard University and the Hochschule der Künste Berlin. She is Professor of Violin at the Cologne Conservatory of Music and Dance. Rainer Zipperling Ensemble Vintage Köln Rainer Zipperling studied viola da gamba and cello at the Royal Conservatory of The Hague. Finishing his studies in 1980 he joined groups such as the Orchestra of the 18th century, La Petite Bande, the Ricercar Consort and Camerata Köln. He regularly performs with John Eliot Gardiner and the English Baroque Soloists as principal cellist and gambist and has performed the Brandenburg Concertos with Claudio Abbado and his Mozart Orchestra. Today he is highly regarded as a teacher at the Cologne Conservatory of Music and Dance and the Lemmensinstitut in Leuven, Belgium. His recent recording of Bach’s Cello Suites received excellent press reviews. Gerald Hambitzer Gerald Hambitzer studied harpsichord at the Cologne Conservatory of Music and Dance and while still a student was engaged as harpsichordist with the Concerto Köln. He is a regular guest on various radio stations and has been involved in more than sixty CD productions. His recordings as a soloist in harpsichord concertos by J.S. Bach, C. Ph. E. Bach and F. Durante have earned him international recognition. In 1999 Gerald Hambitzer was appointed Professor and Head of the Institute of Early Music at the Cologne University of Music. Ariadne Daskalakis, Baroque Violin Photo: Frank Niemetz Gerard Hambitzer, Rainer Zipperling, Harpsichord Viola da Gamba / Baroque Cello 8.572245 5 6 8.572245 572245bk Handel EU_572245bk Handel EU 22/07/2011 10:17 Page 2 George Frideric Handel (1685–1759) George Frideric Handel (1685–1759) These in turn bear the note “Not Mr. Handel’s Solo” short and questioning, and the fourth movement has an (in different handwriting) in the British Library copies. homogenous texture which rolls effortlessly and brings Complete Violin Sonatas Complete Violin Sonatas The combined Roger/Walsh editions were adapted by the work to a satisfying close. The Violin Sonatas by George Frideric Handel, nonetheless began with a twelve month leave of absence the great nineteenth-century publisher Chrysander and The Sonata in G major, HWV 358, (ca. 1707), an Violin Sonata in D major, HWV 371 11:05 ) Andante in A minor, HWV 412 2:14 masterful works by this truly European baroque genius, in London, where he eventually settled permanently. He handed down as authentic. Twentieth-century scholars earlier work written on Italian paper, differs from the 1 Affettuoso 3:01 have been shrouded in mystery. Until quite recently the was instrumental in bringing the Italian opera seria to such as Terence Best have brought us much closer to others in form. The first of only three movements is a 2 Allegro 2:29 ¡ Allegro in C minor, HWV 408 3:07 most respected publications listed Six Handel Sonatas London, an undertaking which led to the founding of the knowing the truth. cleverly crafted Preludio or perpetuo mobile, the 3 Larghetto 2:15 for Violin and Basso continuo, pieces known and loved Royal Academy and cemented London’s standing as a We begin with the great Sonata in D major, HWV second movement a declamatory recitativo with bold 4 Allegro 3:20 Violin Sonata in F major, HWV 370 10:48 by generations. As it turned out, however, four of those cultural capital. His operas were prolific and famous, 371, one of Handel’s best-known works and certainly modulations. The extremely high notes at the end of ™ Adagio 3:29 six are of questionable origin. Meanwhile, another three but not all successful at the time. The ensuing immense one of his strongest sonatas. A mature work, it is the the Gigue-like third movement are quite a surprise, and Violin Sonata in A major, HWV 361 7:24 £ Allegro 1:43 authentic violin sonatas were practically ignored for popularity of his oratorios was an unexpected by- latest of the violin sonatas: the paper of the surviving it is uncertain how seriously they were actually 5 Andante 2:25 ¢ Largo 3:19 centuries. product of circumstances. Supported by the court and autograph has been dated to around 1750. The slow intended. This sonata had no instrument indication and 6 Allegro 1:41 ∞ Allegro 2:17 Handel was born in Halle, Germany, in 1685. revered by the public throughout most of his movements stand out in their richness and expressivity. the writing might otherwise suggest a flute; but these 7 Adagio 0:48 Although his father originally forbade music and professional life, Handel survived two strokes and was The fugato and the counterpoint of the second highest notes, assuming they were truly intended, are 8 Allegro 2:30 Violin Sonata in G minor, HWV 368 8:45 intended him to study law, young Handel practised able to remain rather active and vigorous until relatively movement are masterful and ebullient, virtuosic and the main proof of argument that it was in fact written § Andante 2:13 secretly and finally received music lessons from old age. He died in London in 1759. never heavy-handed. The dance-like material of the for the violin. Violin Sonata in D minor, HWV 359a 7:12 ¶ Allegro 2:24 Friedrich Wilhelm Zachow, learning organ, harpsichord, The instrumental sonatas which survived offer but a final movement was also used in the oratorio Jephtha. The lilting Andante in A minor, HWV 412, (ca. 9 Grave 2:00 • Adagio 1:57 violin, harmony, counterpoint and composition. He soon sliver of material compared with the scope of his The Sonata in A major, HWV 361, (ca. 1726) 1724/25), of unknown origin or intention, gives a 0 Allegro 1:36 ª Gigue 2:11 became known for his superb keyboard playing and complete works. The first publication of twelve which follows is also a true masterpiece. The unique masterful example of the Italian operatic influence. ! Adagio 1:00 promising compositional talents. He went to work at the instrumental sonatas around 1730 was for various lyricism of the first movement precedes another The Allegro in C minor, HWV 408, (ca. 1724/25) is @ Allegro 2:36 Violin Sonata in A major, HWV 372 7:42 opera in Hamburg in 1703, first as a violinist, then as melodic instruments: flute, recorder, oboe and violin. brilliant fugato movement. The short, plaintive third practically the same material as that which Handel º Adagio 1:31 harpsichordist and budding opera composer. After three (These did not include the great Sonata in D major, movement leads into an exceptionally elegant and used in his Recorder Sonata in A minor, HWV 362; this Violin Sonata in G minor, HWV 364a 6:17 ⁄ Allegro 2:26 years there he travelled at the suggestion of Prince HWV 371, which had yet to be written, or the Sonata in sprightly finale. illustrates how the composer could share material # Andante larghetto 2:00 ¤ Largo 1:16 Ferdinand de’ Medici to Italy, where he spent time in G major, HWV 358.) It seems the publisher, John Walsh The Sonata in D minor, HWV 359a, (ca. 1724) was among different melodic instruments and extrapolate $ Allegro 1:35 ‹ Allegro 2:29 Florence, Rome and Venice, frequenting noble and acting under the name Jeanne Roger of Amsterdam, published by Walsh as a flute sonata.
Load more

Recommended publications
  • 559288 Bk Wuorinen US
    INNER CHAMBERS Royal Court Music of Louis XIV Couperin • Hotteterre • Lully • Marais • Montéclair Les Ordinaires Leela Breithaupt, Traverso Erica Rubis, Viola da gamba David Walker, Theorbo Inner Chambers Inner Chambers Royal Court Music of Louis XIV Royal Court Music of Louis XIV Introduction préluder sur la flûte traversière (‘The Art of Preluding on Jacques-Martin Hotteterre (1674–1763): Michel Pignolet de Montéclair the Flute’). In the manual, Hotteterre teaches his pupils L’Art de préluder sur la (1667–1737): Musical life at the court of Louis XIV was highly ritualised step by step how to improvise or write a prelude in various flûte traversière (1719) Brunetes anciènes et modernes (1725) and filled with dazzling formal public displays. However, keys, and ends with two preludes composed by the 1 Prelude in D major 4:20 $ Je sens naître en mon coeur 1:56 the Sun King also enjoyed music in his more private author. As one of the king’s employed chamber spheres. This debut album reveals the intimate sound musicians, Hotteterre was well respected both as a flautist François Couperin (1668–1733): Deuxième Concert – Suite (1720) 14:59 world that Louis XIV embraced in his inner chambers at and composer. the Palaces of Versailles and Fontainebleau. The music The French Suite was a very popular musical form Premier Concert (1722) 11:03 % Prélude 1:41 reflects the court’s aesthetic preferences: lavish display of which was typically comprised of several dance 2 Prélude 2:18 ^ Allemande 1:49 ornaments and affluence paired with strict hierarchies, movements including Allemande, Courante, Sarabande, 3 Allemande 1:59 & Courante à l’italienne 1:18 love of allegory, and an affected nostalgia for pastoral life Gavotte, Gigue and Menuet, among others.
    [Show full text]
  • The Organ Ricercars of Hans Leo Hassler and Christian Erbach
    INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material subm itted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame 3. When a map, dravdng or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again-beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy.
    [Show full text]
  • The Baroque Cello and Its Performance Marc Vanscheeuwijck
    Performance Practice Review Volume 9 Article 7 Number 1 Spring The aB roque Cello and Its Performance Marc Vanscheeuwijck Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Vanscheeuwijck, Marc (1996) "The aB roque Cello and Its Performance," Performance Practice Review: Vol. 9: No. 1, Article 7. DOI: 10.5642/perfpr.199609.01.07 Available at: http://scholarship.claremont.edu/ppr/vol9/iss1/7 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Baroque Instruments The Baroque Cello and Its Performance Marc Vanscheeuwijck The instrument we now call a cello (or violoncello) apparently deve- loped during the first decades of the 16th century from a combina- tion of various string instruments of popular European origin (espe- cially the rebecs) and the vielle. Although nothing precludes our hypothesizing that the bass of the violins appeared at the same time as the other members of that family, the earliest evidence of its existence is to be found in the treatises of Agricola,1 Gerle,2 Lanfranco,3 and Jambe de Fer.4 Also significant is a fresco (1540- 42) attributed to Giulio Cesare Luini in Varallo Sesia in northern Italy, in which an early cello is represented (see Fig. 1). 1 Martin Agricola, Musica instrumentalis deudsch (Wittenberg, 1529; enlarged 5th ed., 1545), f. XLVIr., f. XLVIIIr., and f.
    [Show full text]
  • Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
    Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands.
    [Show full text]
  • Problematic Differences Between the Ricercar and Fantasia
    I. Introduction The fantasia was an instrumental genre first cultivated in Italy and Spain in the early 1530’s and was quite popular among composers because it imposed no set rules or form, thus allowing experimentation with numerous styles and compositional techniques. Composers used the fantasia as a way to write with complete freedom, not restrained by any preexisting structure; this often resulted in improvisatory treatment of musical material. First developed by Italian lutenists such as Francesco Canova da Milano and Spanish vihuelists such as Luis Milán, the fantasia eventually became known all over Europe. Throughout the history of this genre, the fantasia is often connected to an earlier form called the ricercare. Composers and writers of the sixteenth century either made loose distinctions between these genres, or could not agree on how to explain them, which resulted in some confusion about the terms. II. Purpose In this paper, I will supply a historical background and draw a distinction between the genres of the ricercare and fantasia, with references to influential composers such as Francesco Canova da Milano and Luis Milán. In addition, I will select a fantasia from Luis Milán’s El Maestro (1536) to be transcribed for modern guitar. I will supply a brief historical overview of Milán’s works, as well as an outline of the transcription process, a style analysis of the selected work, and solutions to some performance issues. My adaptation will attempt to make a clearer realization of Milán’s contrapuntal writing in ways that are idiomatic to the guitar. 1 III. Problematic differences between ricercare and fantasia There is much information on the connection between the genres of ricercare and fantasia.
    [Show full text]
  • Bärenreiter Organ Music
    >|NAJNAEPAN KNC=JIQOE? .,-.+.,-/ 1 CONTENTS Organ Music Solo Voice and Organ ...............30 Index by Collections and Series ...........4–13 Books............................................... 31 Edition Numbers ....................... 34 Composers ....................................14 Contemporary Music Index by Jazz .............................................. 29 A Selection ..............................32 Composers / Collections .........35 Transcriptions for Organ .........29 Photo: Edition Paavo Blåfi eld ABBREVIATIONS AND KEY TO FIGURES Ed. Editor Contents Ger German text Review Eng English text Content valid as of May 2012. Bärenreiter-Verlag Fr French text Errors excepted and delivery terms Karl Vötterle GmbH & Co. KG Lat Latin text subject to change without notice. International Department BA Bärenreiter Edition P.O. Box 10 03 29 H Bärenreiter Praha Cover design with a photograph D-34003 Kassel · Germany SM Süddeutscher Musikverlag by Edition Paavo Blåfi eld. Series E-Mail: paavo@blofi eld.de www.baerenreiter.com a.o. and others www.blofi eld.de E-Mail: [email protected] Printed in Germany 3/1206/10 · SPA 238 2 Discover Bärenreiter … www.baerenreiter.com Improved Functionality Simple navigation enables quick orientation Clear presentation Improved Search Facility Comprehensive product information User-friendly searches by means of keywords Product recommendations Focus A new area where current themes are presented in detail … the new website3 ORGAN Collections and Series Enjoy the Organ Ave Maria, gratia plena Ave-Maria settings The new series of easily playable pieces for solo voice and organ (Lat) BA 8250 page 30 Enjoy the Organ I contains a collection of stylistically varied Bärenreiter Organ Albums pieces for amateur organists Collections of organ pieces which are equally suitable for page 6-7 use in church services and in concerts.
    [Show full text]
  • The Baroque Period
    Developing wider KS4/5 listening: the Baroque period Simon Rushby is a freelance Simon Rushby musician, writer and education consultant, and was a director of music and senior leader in Introduction secondary schools for more than This is the first in a series of resources to help students develop their understanding and experience of 25 years. He is author of a number music from the Baroque, Classical and Romantic periods, and from the 20th and 21st centuries. of books and resources, including Starting with this one on the Baroque period, each resource will examine the style and characteristics the ABRSM’s new Discovering of the music of its time through listening and practical activities. As students prepare for and navigate Music Theory series and GCSE through their GCSE or A level courses, it’s essential that they gain a broad overview of the context and books for Rhinegold. He is an style of their set works so that they can approach wider listening questions – which expect them to ABRSM examiner, and a songwriter, have experienced a broader range of music – with confidence and understanding. composer and performer. Additionally, I hope that students will enjoy developing their ‘stylistic ear’ through listening to a range of music that they might not otherwise encounter. A general understanding of what makes Baroque music different to Classical, or Classical different to Romantic, will take them a long way, not only in their GCSE or A level studies, but also in their general cultural knowledge. This resource could be equally valuable to Year 8 or 9 students thinking of doing music for GCSE, and those learning instruments or singing who would like to develop a better understanding of the music they’re performing and, perhaps, prepare for those ‘style and period’ questions in practical exam aural tests.
    [Show full text]
  • Considerations for Choosing and Combining Instruments
    CONSIDERATIONS FOR CHOOSING AND COMBINING INSTRUMENTS IN BASSO CONTINUO GROUP AND OBBLIGATO INSTRUMENTAL FORCES FOR PERFORMANCE OF SELECTED SACRED CANTATAS OF JOHANN SEBASTIAN BACH Item Type text; Electronic Dissertation Authors Park, Chungwon Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 04:28:57 Link to Item http://hdl.handle.net/10150/194278 CONSIDERATIONS FOR CHOOSING AND COMBINING INSTRUMENTS IN BASSO CONTINUO GROUP AND OBBLIGATO INSTRUMENTAL FORCES FOR PERFORMANCE OF SELECTED SACRED CANTATAS OF JOHANN SEBASTIAN BACH by Chungwon Park ___________________________ Copyright © Chungwon Park 2010 A Document Submitted to the Faculty of the School of Music In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College The UNIVERSITY OF ARIZONA 2010 2 UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Chungwon Park entitled Considerations for Choosing and Combining Instruments in Basso Continuo Group and Obbligato Instrumental Forces for Performance of Selected Sacred Cantatas of Johann Sebastian Bach and recommended that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts _______________________________________________________Date: 5/15/2010 Bruce Chamberlain _______________________________________________________Date: 5/15/2010 Elizabeth Schauer _______________________________________________________Date: 5/15/2010 Thomas Cockrell Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College.
    [Show full text]
  • Download Booklet
    95779 The viola da gamba (or ‘leg-viol’) is so named because it is held between the legs. All the members of the 17th century, that the capabilities of the gamba as a solo instrument were most fully realised, of the viol family were similarly played in an upright position. The viola da gamba seems to especially in the works of Marin Marais and Antoine Forqueray (see below, CD7–13). have descended more directly from the medieval fiddle (known during the Middle Ages and early Born in London, John Dowland (1563–1626) became one of the most celebrated English Renaissance by such names as ffythele, ffidil, fiele or fithele) than the violin, but it is clear that composers of his day. His Lachrimæ, or Seaven Teares figured in Seaven Passionate Pavans were both violin and gamba families became established at about the same time, in the 16th century. published in London in 1604 when he was employed as lutenist at the court of the Danish King The differences in the gamba’s proportions, when compared with the violin family, may be Christian IV. These seven pavans are variations on a theme, the Lachrimae pavan, derived from summarised thus – a shorter sound box in relation to the length of the strings, wider ribs and a flat Dowland’s song Flow my tears. In his dedication Dowland observes that ‘The teares which Musicke back. Other ways in which the gamba differs from the violin include its six strings (later a seventh weeps [are not] always in sorrow but sometime in joy and gladnesse’.
    [Show full text]
  • University Microfilms
    INFORMATION TO USERS This dissertation was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This lay have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
    [Show full text]
  • Rethinking J.S. Bach's Musical Offering
    Rethinking J.S. Bach’s Musical Offering Rethinking J.S. Bach’s Musical Offering By Anatoly Milka Translated from Russian by Marina Ritzarev Rethinking J.S. Bach’s Musical Offering By Anatoly Milka Translated from Russian by Marina Ritzarev This book first published 2019 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2019 by Anatoly Milka All rights for this book reserved. No part of this book 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 the copyright owner. ISBN (10): 1-5275-3706-4 ISBN (13): 978-1-5275-3706-4 TABLE OF CONTENTS List of Figures........................................................................................... vii List of Schemes ....................................................................................... viii List of Music Examples .............................................................................. x List of Tables ............................................................................................ xii List of Abbreviations ............................................................................... xiii Preface ...................................................................................................... xv Introduction ...............................................................................................
    [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]