DOCSLIB.ORG

Doctor of Philosophy June 2008 the Candidate Confirms That the Work Submitted Is His Own and That Appropriate Credit Has Been Gi

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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. My thanks also go to my sister, You Jung, who continued to support me in her prayers. I gratefully acknowledge the support of Dr Bryan White, my second supervisor, whose advice helped to improve the work, but my deepest thanks and appreciation must go to my supervisor over the entire period, Prof Peter Holman. It has been a great privilege working with him, and, without his unfailing wisdom and help, this dissertation would be much the poorer. ABSTRACT Min Jung Kang THE TRIO SONATA IN RESTORATION ENGLAND (1660-1714) Submitted in June 2008 for the degree of Doctor of Philosophy After the Restoration, English musical life underwent a considerable change. Although a great deal of early seventeenth-century music, such as fantasia suites, remained in circulation both inside and outside the court, a new instrumental genre from Italy gained immense popularity. The Italian trio sonata eventually came to occupy a prominent position in English musical life and, when at the turn of the century the prints of Corelli's music arrived, it almost swept away any kind of English instrumental music. However, when and how the sonata was introduced into England is still not fully understood. The main aim of this dissertation is to understand how the sonata was introduced and received in England and to understand its influence on English sonata composers during the latter part of the seventeenth century. Thus, this dissertation first considers the background to the introduction of trio sonatas and the seventeenth- English century music collections containing them in an attempt to assesstheir currency dissemination and in English musical circles. The remainder of this dissertation deals primarily with English trio sonatas written either abroad or in England. Musical examples are given to illustrate their musical style and to demonstrate how they are influenced by the Italian sonata. Physical evidence of manuscripts is cited to offer a chronology of English trio sonatas.The last part of the study focuses on Corelli's music influence and his on English music, which continued throughout the eighteenth century, in order to understand the importance of its contribution to music-making in England. 11 Contents Acknowledgements 1 Abstract ü Contents iv List of Tables List of Music Examples v Abbretiationsand Library Sigla vi Introduction Part I. The Trio Sonata in England from 1660-1714 1. Context 1 2. Sonatas from abroad circulating in Seventeenth-Century England 37 3. Trio Sonatas Written in Seventeenth-Century England 82 4. The dissemination of Corelli's Sonatas 121 Conclusion 150 Part 11 Catalogues of Manuscripts and Printed Editions of Trio Sonatas in Seventeenth-and Early Eighteenth Century English Sources List of Manuscripts i 1 Manuscripts 152 2. Printed Editions in Contemporary Collections 225 3. Trio Sonatas Indexed by Composer 233 Bibliography 281 iii List of Tables between Italian 1.1 Comparison of Title of Works by Colista and Stradella and British Sources 2.1 Trio Sonatas in GB-Lbl, Add. MS 31423 2.2 Trio Sonatas in GB-Lbl, Add. MS 31435 2.3 Trio Sonatas in GB-Lbl, Add. MS 31436 2.4 Trio Sonatas in GB-Lbl, Add. MS 31431 2.5 Trio Sonatas in GB-Lbl, R.M. 20. h.9 2.6 Sonatas in Britton's Catalogue 2.7 Sonatas of Pepusch and Torch in GB-Lbl, Add. MS 64965 2.8 Sonatas in Finger's Catalogue 2.9 List of Finger's Sonatasplayed at York Buildings 2.10 Sonatas in `The Order of the Instrumental Music for the Feast of St. Cecilia, 22d November 1695' [1710] 2.11 Trio Sonatas Purchased by Claver Morris 3.1 Trio Sonatas Purchased by Claver Morris 3.2 William Young's Sonatasin Durham Cathedral University Library 3.3 Sources of Gerhard Diesineer's sonatas 3.4 Sources for King and Keller's Sonatas 3.5 Sources for Blow's Sonata 3.6 Sources for Anthony Poole's Sonatas 4.1 Sonatas in the 1690 Playford Catalogue 4.2 Sonatas in the 1697 Playford Catalogue 4.3 Manuscript Copies of Corelli in Britton's Catalogue iv List of Music Examples 2.1 Solo sections of sonata II for two violins, violon o Fagott e be (GB-Ob, MS Mus. Sch. C.79) 2.2 Opening of Torch 's sonata in A major bars 1-4 (GB-Ob, MS Mus. Sch. C. 44) 2.3 Carl Rosier's sonata in F major bars 1-4 (GB- GB-Ckc, MS 228) 2.4 Carl Rosier's sonata in A major bars1-4 (GB-Ckc, MS 229) 3.1 Butler's Sonata in G major 3.2 William Young's Sonata Prima a3 (1653) bars 1-5 3.3 `Dragon' bars 21-23 (GB-Lbl, R.M. 20. h. 9) 3.4 Last movement of Draghi's sonata in G minor bars 19-24 (GB-Lbl, Add. MS 33236) 3.5 Opening of Blackwell's Sonata in A flat major bars 1-5 (GB-Lbl, Add. MS 31431) 3.6 Opening of Diesineer's sonata in G minor bars 1-4 (GB-Lbl, Add. MS 31437) 3.7 King's Sonata in A major bars 21-24 (GB-Lbl, Add. MSS 443-6) 3.8 King's Sonatain A major bars21-24 (GB-Lbl, Add. MSS 443-6) 3.9 TheLord is myShepherd (1682) by John Blow bars 13-16 3.10 Blow's sonata in A major bars 21-25 3.11 Exchange of three parts in Matteis's A major sonata 24-32 (GB-Ob, Mus. Sch. MSS 400-3) V Frequently cited books and journals List of Abbreviations Allsop (1989) P. Allsop, `Problems of Ascription in the Roman Simphoniaof the late Seventeenth Century: Colista and Lonati', MR, 50 (1989), 34-44. Ashbee (2008) The Viola da GambaSociety Index of Manuscripts ContainingConsort Music, vol. ii, ed. A. Ashbee, R. Thompson and J. Wainwright (Aldershot, 2008). Catalogue (Oxford) Oxford Music School Catalogue Caudle (1975-6) M. Caudle, `The English Repertory for Violin, Bass Viol and Continuo', Chelys,6 (1975-6),69-75. Crosby (1986) B. Crosby, A Catalogueof Durham CathedralMusic Manuscripts(Oxford, 1986). Crum (1967) M. Crum, `Early List of the Oxford Music School Collection',ML, 48 (1967),23-34. Crum (Unpublished) M. Crum, `JamesSherard and the Oxford Music Collection' (Unpublished Conference Paper). Gianturco and McCrickard (1991) C. Gianturco and E. McCrickard (compiled), AlessandroStradella (1639-1682), a ThematicCatalogue of his Compositions(New York, 1991). Giegling (1949) F. Giegling, GiuseppeTorelli: Ein BeitragZur Entuvicklungeschichtedesitalienisehcn Konzerts (Kassel, 1949). Hughes-Hughes (1909) A. Hughes-Hughes (ed.), Catalogueof Manuscript Music in theBritish Museum,i, ii, and iii (London, 1909). MB Murica Britannica Marshall(1970) A. Marshall,`The ChamberMusic of Godfrey Finger', TheConsort, 23 (1970),423-432. Marx (1980) H J. Marx, ArcangeloCorelli: (Cologne, . catalogueraisonne 1980). Rawson (2000) `From Olomouc to London: Performance, Transmission and Reception of the Music of Gottfried Finger (c.1656-1730)', PhD thesis (London University, 2000). Eddy (1989) M. A. Eddy, The RostManuscript of Seventeenth-Century ChamberMusic:a ThematicCatalog (Warren, Michigan, vi 1989). Searle (1985) `Julian Marshall and the British Museum: Music Collecting in the later Nineteenth Century', British Library Journal, 11 (1985). Shay and Thompson (2000) R. Shay and R. Thompson, Purcell Manuscripts (Cambridge, 2000). Thompson (1988) R. Thompson, `English Music Manuscripts and the Fine Paper Trade, 1648-1688, PhD thesis (London University, 1988). `Some Late Jenkins Sources' JohnJenkins and his Time (Oxford, 1996), ed. A. Ashbee and P. Holman. Wessely-Kropik (1961) H. Wessely-Kropik, Lelio Colista:Ein RömischerMeister vor Corelli,Leben und Umwelt(Vienna, 1961). Willetts (1967) P.J. Willetts, `Autograph Music by John Jenkins', ML, 48 (1967), 124-26. Zimmerman (1963) F. Zimmerman, Henry Purcell 1659-1695: an Analytical Catalogueof hisMusic (London, 1963). Periodicals EM Early Music JAMS Journalof theAmerican Musicological Society JAM Journalof theRq, yal MusicalAssociation JVdGSA Journalof the Viola da GambaSociety of America ML Music and Letters M, TheMusicalQuarterly MR TheMusic Review MT TheMusical Times PRMA Proceedingsof the Roj yal MusicalAssociation SAC Royal MusicalAssociation Research Chronicle , General abbreviations f.(ff. )/p. (pp) folis(s)/pages mvt. movement b bass be basso continuo tpt trumpet vn violin vii RISM Library Sigla
Load more

Recommended publications
  • Daniel Purcell the Judgment of Paris
    Daniel Purcell The Judgment of Paris Anna Dennis • Amy Freston • Ciara Hendrick • Samuel Boden • Ashley Riches Rodolfus Choir • Spiritato! • Julian Perkins RES10128 Daniel Purcell (c.1664-1717) 1. Symphony [5:40] The Judgment of Paris 2. Mercury: From High Olympus and the Realms Above [4:26] 3. Paris: Symphony for Hoboys to Paris [2:31] 4. Paris: Wherefore dost thou seek [1:26] Venus – Goddess of Love Anna Dennis 5. Mercury: Symphony for Violins (This Radiant fruit behold) [2:12] Amy Freston Pallas – Goddess of War 6. Symphony for Paris [1:46] Ciara Hendricks Juno – Goddess of Marriage Samuel Boden Paris – a shepherd 7. Paris: O Ravishing Delight – Help me Hermes [5:33] Ashley Riches Mercury – Messenger of the Gods 8. Mercury: Symphony for Violins (Fear not Mortal) [2:39] Rodolfus Choir 9. Mercury, Paris & Chorus: Happy thou of Human Race [1:36] Spiritato! 10. Symphony for Juno – Saturnia, Wife of Thundering Jove [2:14] Julian Perkins director 11. Trumpet Sonata for Pallas [2:45] 12. Pallas: This way Mortal, bend thy Eyes [1:49] 13. Venus: Symphony of Fluts for Venus [4:12] 14. Venus, Pallas & Juno: Hither turn thee gentle Swain [1:09] 15. Symphony of all [1:38] 16. Paris: Distracted I turn [1:51] 17. Juno: Symphony for Violins for Juno [1:40] (Let Ambition fire thy Mind) 18. Juno: Let not Toyls of Empire fright [2:17] 19. Chorus: Let Ambition fire thy Mind [0:49] 20. Pallas: Awake, awake! [1:51] 21. Trumpet Flourish – Hark! Hark! The Glorious Voice of War [2:32] 22.
    [Show full text]
  • Vocal & Instrumental Music
    Legrenzi Canto & Basso Vocal & Instrumental Music Ensemble Zenit Canto & Basso Vocal & Instrumental Music Giovanni Legrenzi 1626-1690 Giovanni Legrenzi Carlo Francesco Pollarolo 1653-1723 Giovanni Legrenzi 1. Sonata ‘La Foscari’ à 2 3’06 6. Sonata ‘La Colloreta’ à 2 2’56 11. Sonata No.2 del Pollaroli 12. Albescite flores à 4 6’14 from Sonate a due, e tre Op.2, from Sonate a due, e tre Op.2, di Venezia 2’54 from Harmonia d’affetti devoti, Venice 1655 Venice 1655 from Sonate da organo di varii Venice 1655 autori, Bologna 1697 Tarquinio Merula 1595-1665 7. Ave Regina coelorum à 2 4’39 2. Canzon di Tarquinio Merula 5’01 from Sentimenti devoti, Venice 1660 from Libro di Fra’ Gioseffo da Ravenna, Ravenna Classense Giovanni Paolo Colonna 1637-1695 Ensemble Zenit MS.545 8. Sonata No.7 del Colonna di Pietro Modesti cornetto · Fabio De Cataldo baroque trombone Bologna 4’31 Gilberto Scordari organ Giovanni Legrenzi from Sonate da organo di varii 3. Plaudite vocibus 5’55 autori, Bologna 1697 Isabella Di Pietro alto · Roberto Rilievi tenor from Acclamationi divote a voce sola, Bologna 1670 Giovanni Legrenzi 9. Suspiro Domine 7’46 4. Hodie collentatur Coeli à 2 6’09 from Acclamationi divote a voce from Harmonia d’affetti devoti, sola, Bologna 1670 Venice 1655 10 Sonata ‘La Donata’ à 2 4’05 Luigi Battiferri 1600-1682 from Sonate a due, e tre Op.2, 5. Ricercare Sesto. Venice 1655 Con due sogetti. 3’58 from Ricercari a quattro, a cinque, e a sei Op.3, Bologna 1699 This recording was made possible with the support of Recording: September 2018, Monastero
    [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]
  • LCSH Section L
    L (The sound) Formal languages La Boderie family (Not Subd Geog) [P235.5] Machine theory UF Boderie family BT Consonants L1 algebras La Bonte Creek (Wyo.) Phonetics UF Algebras, L1 UF LaBonte Creek (Wyo.) L.17 (Transport plane) BT Harmonic analysis BT Rivers—Wyoming USE Scylla (Transport plane) Locally compact groups La Bonte Station (Wyo.) L-29 (Training plane) L2TP (Computer network protocol) UF Camp Marshall (Wyo.) USE Delfin (Training plane) [TK5105.572] Labonte Station (Wyo.) L-98 (Whale) UF Layer 2 Tunneling Protocol (Computer network BT Pony express stations—Wyoming USE Luna (Whale) protocol) Stagecoach stations—Wyoming L. A. Franco (Fictitious character) BT Computer network protocols La Borde Site (France) USE Franco, L. A. (Fictitious character) L98 (Whale) USE Borde Site (France) L.A.K. Reservoir (Wyo.) USE Luna (Whale) La Bourdonnaye family (Not Subd Geog) USE LAK Reservoir (Wyo.) LA 1 (La.) La Braña Region (Spain) L.A. Noire (Game) USE Louisiana Highway 1 (La.) USE Braña Region (Spain) UF Los Angeles Noire (Game) La-5 (Fighter plane) La Branche, Bayou (La.) BT Video games USE Lavochkin La-5 (Fighter plane) UF Bayou La Branche (La.) L.C.C. (Life cycle costing) La-7 (Fighter plane) Bayou Labranche (La.) USE Life cycle costing USE Lavochkin La-7 (Fighter plane) Labranche, Bayou (La.) L.C. Smith shotgun (Not Subd Geog) La Albarrada, Battle of, Chile, 1631 BT Bayous—Louisiana UF Smith shotgun USE Albarrada, Battle of, Chile, 1631 La Brea Avenue (Los Angeles, Calif.) BT Shotguns La Albufereta de Alicante Site (Spain) This heading is not valid for use as a geographic L Class (Destroyers : 1939-1948) (Not Subd Geog) USE Albufereta de Alicante Site (Spain) subdivision.
    [Show full text]
  • Jouer Bach À La Harpe Moderne Proposition D’Une Méthode De Transcription De La Musique Pour Luth De Johann Sebastian Bach
    JOUER BACH À LA HARPE MODERNE PROPOSITION D’UNE MÉTHODE DE TRANSCRIPTION DE LA MUSIQUE POUR LUTH DE JOHANN SEBASTIAN BACH MARIE CHABBEY MARA GALASSI LETIZIA BELMONDO 2020 https://doi.org/10.26039/XA8B-YJ76. 1. PRÉAMBULE ............................................................................................. 3 2. INTRODUCTION ......................................................................................... 5 3. TRANSCRIRE BACH À LA HARPE MODERNE, UN DÉFI DE TAILLE ................ 9 3.1 TRANSCRIRE OU ARRANGER ? PRÉCISIONS TERMINOLOGIQUES ....................................... 9 3.2 BACH TRANSCRIPTEUR ................................................................................................... 11 3.3 LA TRANSCRIPTION À LA HARPE ; UNE PRATIQUE SÉCULAIRE ......................................... 13 3.4 REPÈRES HISTORIQUES SUR LA TRANSCRIPTION ET LA RÉCEPTION DES ŒUVRES DE BACH AU FIL DES SIÈCLES ....................................................................................................... 15 3.4.1 Différences d’attitudes vis-à-vis de l’original ............................................................. 15 3.4.2 La musique de J.S. Bach à la harpe ............................................................................ 19 3.5 LES HARPES AU TEMPS DE J.S. BACH ............................................................................. 21 3.5.1 Panorama des harpes présentes en Allemagne. ......................................................... 21 4. CHOIX DE LA PIECE EN VUE D’UNE TRANSCRIPTION ...............................
    [Show full text]
  • HOWARD COLLEGE MUSIC FALL 2018 RECITAL Monday November 5, 2018 Hall Center for the Arts Linda Lindell, Accompanist
    HOWARD COLLEGE MUSIC FALL 2018 RECITAL Monday November 5, 2018 Hall Center for the Arts Linda Lindell, Accompanist Makinsey Grant . Bb Clarinet Fantasy Piece No. 1 by Robert Schumann Fantasy Piece No. 1 by Robert Schumann (1810 – 1856) was written in 1849. It is the first movement of three pieces written to promote the creative notion of the performer. It allows the performer to be unrestricted with their imagination. Fantasy Piece No. 1 is written to be “Zart und mit Ausdruck” which translates to tenderly and expressively. It begins in the key of A minor to give the audience the sense of melancholy then ends in the key of A major to give resolution and leave the audience looking forward to the next movements. (M. Grant) Tony Lozano . Guitar Tu Lo Sai by Giuseppe Torelli (1650 – 1703) Tu lo sai (You Know It) This musical piece is emotionally fueled. Told from the perspective of someone who has confessed their love for someone only to find that they no longer feel the same way. The piece also ends on a sad note, when they find that they don’t feel the same way. “How much I do love you. Ah, cruel heart how well you know.” (T. Lozano) Ruth Sorenson . Mezzo Soprano Sure on this Shining Night by Samuel Barber Samuel Barber (1910 – 1981) was an American composer known for his choral, orchestral, and opera works. He was also well known for his adaptation of poetry into choral and vocal music. Considered to be one of the composers most famous pieces, “Sure on this shining night,” became one of the most frequently programmed songs in both the United States and Europe.
    [Show full text]
  • 1 Francesco Geminiani
    Francesco Geminiani: Opera Omnia Volume 5. 6 Sonatas Op. 5 (versions for cello and basso continuo H. 103-108; for violin and basso continuo H. 109-114). Christopher Hogwood, editor. Ut Orpheus Edizioni, 2010 (112 pp. clothbound). “Although Geminiani (1687‐1762) was held to be the equal of Corelli in his own day—and indeed thought by some to be superior to his contemporary Handel in instrumental composition—his considerable output of music and didactic writings has only been available in piecemeal fashion, much of it never reissued since his lifetime except in facsimile, and thus largely inaccessible to modern performers. This lack of material designed for practical performance has concealed the enormous originality he showed both in writing and re‐writing his own music, and that of Corelli. Francesco Geminiani Opera Omnia rectifies this omission with the first uniform and accurate scholarly edition of all versions of his music and writings in a form that allows pertinent comparison and reevaluation.” So opens the general preface to this first volume (of seventeen) in Ut Orpheus’ complete Geminiani Edition, and a more felicitous introduction it would be difficult to imagine. For a composer of such importance, particularly one whose limited output stands well within the logistical and economic constraints of the music publishing industry, his neglect has been astonishing. Until the period instrument movement got going in the past several decades, this was also true of Geminiani’s representation on recordings‐‐a fact that resulted in a particularly amusing episode from my own personal wanderings through the sometimes strange world of classical music collecting and appreciation.
    [Show full text]
  • Foreword Orlando Gibbons
    Foreword Orlando Gibbons (baptised 25 December 1583 – 5 June 1625) was a virginalist and organist of the late Tudor and early Jacobean periods. His Life Gibbons was born in 1583 (most likely in December) and baptised on Christmas Day at Oxford, where his father William Gibbons was working as a wait. Between 1596 and 1598 he sang in the Choir of King's College, Cambridge, where his brother Edward Gibbons (1568–1650), eldest of the four sons of William Gibbons, was master of the choristers. The second brother Ellis Gibbons (1573–1603) was also a promising composer, but died young. Orlando entered the university as a sizar in 1598 and achieved the degree of Bachelor of Music in 1606. That same year he married Elizabeth Patten, daughter of a Yeoman of the Vestry, and they went on to have seven children (Gibbons himself was the seventh of 10 children). King James I appointed him a Gentleman of the Chapel Royal, where he served as an organist from at least 1615 until his death. In 1623 he became senior organist at the Chapel Royal, with Thomas Tomkins as junior organist. He also held positions as keyboard player in the privy chamber of the court of Prince Charles (later King Charles I), and organist at Westminster Abbey. He died at age 41 in Canterbury of apoplexy, and was buried in Canterbury Cathedral. His death was a shock to his peers and brought about a post-mortem, though the cause of death aroused less comment than the haste of his burial and his body not being returned to London.
    [Show full text]
  • 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
    [Show full text]
  • Czech Music Culture in London and Post-1989 Developments in Czechoslovakia at the Time
    International Journal of Arts and Commerce ISSN 1929-7106 www.ijac.org.uk CZECH MUSIC CULTURE IN LONDON AND POST-1989 DEVELOPMENTS IN CZECHOSLOVAKIA AT THE TIME Markéta Koutná Univerzita Palackého v Olomouci, Filozofická Fakulta, Katedra muzikologie Czech Republic E-mail: [email protected] Abstract: The study deals with Czech-London musical relations, particularly Czech music culture in London within the context of cultural, social and political change in 1989. An analysis of the opera, chamber music, and symphonic production of Czech music in London between 1984 and 1994 identifies how and whether the Czechoslovak Velvet Revolution affected the firm position that Czech music culture had held in the capital of the United Kingdom. Key words: Czech musical culture, London, emigration, composers, the Velvet Revolution, 1989 The musical relations between the Czechs and London represent an important current issue. As the capital of the United Kingdom, London naturally takes the lead within the British cultural scene. With its population, budget, and institutional capacities, it is one of the world’s major social and cultural centres, and thanks to the high interest of London-based institutions in Czech music, it is also one of the world's top producers of Czech music. The current research examines how, if at all, the events of November 1989 influenced the position of Czech musical culture in London and the relationship between Czech and London musicians. I became interested in this issue while researching data for my dissertation on Czech musical culture in London.1 Using the specific example of interpretations of Czech opera, chamber music and 1 The study is a part of the student grant project IGA_FF_2015_024 Influence of the Velvet Revolution on Czech Musical Culture in London and all the data used in the study draw on the author’s research for her dissertation Czech Musical Culture in London Between 1984 and 1994.
    [Show full text]
  • Musica Britannica
    T69 (2021) MUSICA BRITANNICA A NATIONAL COLLECTION OF MUSIC Vauxhall Pleasure Gardens c.1750 Stainer & Bell Ltd, Victoria House, 23 Gruneisen Road, London N3 ILS England Telephone : +44 (0) 20 8343 3303 email: [email protected] www.stainer.co.uk MUSICA BRITANNICA A NATIONAL COLLECTION OF MUSIC Musica Britannica, founded in 1951 as a national record of the British contribution to music, is today recognised as one of the world’s outstanding library collections, with an unrivalled range and authority making it an indispensable resource both for performers and scholars. This catalogue provides a full listing of volumes with a brief description of contents. Full lists of contents can be obtained by quoting the CON or ASK sheet number given. Where performing material is shown as available for rental full details are given in our Rental Catalogue (T66) which may be obtained by contacting our Hire Library Manager. This catalogue is also available online at www.stainer.co.uk. Many of the Chamber Music volumes have performing parts available separately and you will find these listed in the section at the end of this catalogue. This section also lists other offprints and popular performing editions available for sale. If you do not see what you require listed in this section we can also offer authorised photocopies of any individual items published in the series through our ‘Made- to-Order’ service. Our Archive Department will be pleased to help with enquiries and requests. In addition, choirs now have the opportunity to purchase individual choral titles from selected volumes of the series as Adobe Acrobat PDF files via the Stainer & Bell website.
    [Show full text]
  • Tomaso Antonio Vitali, Bologna, Museo Bibliografico Musicale
    à Edith Volckaert Recordings: August 2011: église Notre-Dame de Centeilles August 2012: église Notre-Dame de Gedinne (Parte del Tomaso Vitalino) Artistic direction, recording & editing: Jérôme Lejeune Cover and illustrations of the booklet: X-ray scans of the G. P. Maggini violin (by courtesy of Dr. Marc Ghysels, Brussels) www.scantix.com Cover of the booklet: Anonym, Portrait of Tomaso Antonio Vitali, Bologna, Museo Bibliografico Musicale. © akg-image, Paris English translations: Peter Lockwood Deutsche Übersetzungen: Silvia Berutti-Ronelt Th is recording has been made with the support of the Fédération Wallonie-Bruxelles (Direction générale de la Culture, Service de la Musique) GIOVANNI BATTISTA & TOMASO ANTONIO VITALI CIACONNA — CLEMATIS Stéphanie de Failly: violin* François Joubert-Caillet: bass viol (2-6, 10-13) Benjamin Glorieux: cello (7-9, 15) Quito Gato: theorbo & guitar Th ierry Gomar: percussions Marion Fourquier: harp Lionel Desmeules: organ *Stéphanie de Failly plays a violin by Giovanni Paolo Maggini dated 1620 that previously belonged to the renowned Belgian violinist Edith Volckaert. www.clematis-ensemble.be Tomaso Antonio VITALI (1663-1745) 1. Parte del Tomaso Vitalino * 12'03 Giovanni Battista VITALI (1632-1692) 2. Capriccio di Tromba per violino solo 2'15 3. Furlana 3'05 4. Barabano 4'14 5. Il violino sona in tempo ordinario 2'56 6. Rugiero 1'36 Tomaso Antonio VITALI (1663-1745) 7. Passo e mezzo (la minore) 3'14 8 Sonata prima (la minore) 7'12 Grave – Allemanda – Corrente – Minué – Canario 9. Sonata duodecima : Ciacona 3'21 10.Sonata (re maggiore) 6'52 Grave – Allegro – Grave – Allegro – Grave – Giga Giovanni Battista VITALI (1632-1692) 11.
    [Show full text]