Romans Inspiration the Source of Classic Improvisation Supervisor
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Fabulously Tidal — Issue 117, 1 January 2018
Fabulously Tidal — Issue 117, 1 January 2018 SPONSORED FEATURE — PHILIP SAWYERS' THIRD SYMPHONY Alice McVeigh: 'This is a fabulously tidal symphony, with wild expanses of differing moods, but it begins with a ripple of unease. We in the cello section were told to play the opening with as much stillness as possible, allowing the first theme to grow as it weaves into violins and violas, into threads of flute and oboe, and — from there — into a tempestuous section of interweaving themes. The argument descends into a woodwind quarrel, resolved by flute and oboe, decorated by horns — while the strings continue to niggle and churn away at any sense of calm. 'Then solo bassoon ignites a new, still tenser, section. The violins take over, lightly but resolutely, answered by middle strings conveying a sense of tenderness — but with a bitter aftertaste. (This is incidentally one of Sawyers' most characteristic strengths: a tenderness, never saccharine, often undermined by subtle discontent.) From the brass comes the first glimpse of escape: the powerful broken octave theme over which the other themes furiously contend. 'The cellos at the recapitulation, now deepened and enriched, are twisted by Sawyers into something passionate and grounded in lower brass, reinforced by timpani. The movement ends with the heavy brass seemingly triumphant over the strings' stubborn reiteration of the theme. Still, the lower strings' pessimism prevails. 'Tutti violins kick-start the second movement with a dramatic leap from their richest register, only yielding to keening solo oboe. 'The sobered strings leave the solo winds to mourn, yet, with characteristic Sawyers intensity, something is brewing at subterranean depths: eventually, the violas' chuntering is answered by full insistent brass, in a stormily ecstatic tantrum. -
Vorwort Preface
HN_368_Vorwort_Hofmann-Druck.fm Seite IV Dienstag, 1. April 2014 1:24 13 IV Vorwort 1768), der vorwiegend in Paris wirkte, 1. Es gibt fast keine barocken Stücke, nahm die Tradition der französischen in denen sämtliche Artikulationen no- Violinsonate in seine Flötenmusik auf. tiert sind; dem Ausführenden obliegt es, Auch verfolgte Blavet musikpädagogi- das Fehlende zu ergänzen. In der Flötenmusik der Barockzeit sind sche Ziele in diesen Werken. Der Oboist 2. Ermangelt ein Stück jeglicher An- die Werke von Bach und Händel an mu- und Komponist GIUSEPPE SAMMARTINI gabe zur Artikulation, so ist dies nicht sikalischem Rang sowie an Bekanntheit (1695 bis 1750) wird auch der „Londo- als Befehl zu durchgängigem Détaché- und Beliebtheit unübertroffen. Es sollte ner“ Sammartini genannt, im Gegensatz spiel aufzufassen, sondern eher als Auf- aber nicht vergessen werden, dass zahl- zu seinem Bruder Giovanni Battista, forderung, eigene Artikulationen anzu- reiche andere Komponisten in ganz Eu- dem so genannten „Mailänder“ Sam- bringen. ropa zur selben Zeit im Anspruch zwar martini. JOHANN PHILIPP EISEL (1698 3. Im Falle vereinzelt notierter Arti- bescheidenere, aber doch reizvolle Mu- bis nach 1756) lebte als Jurist in Erfurt. kulationen sind diese als verbindlich sik für Flöte geschrieben haben. Der Er war Musikliebhaber, der gelegentlich und vorbildlich zu betrachten, d. h. das vorliegende Band berücksichtigt des- auch komponierte. Um 1700 wurde GIO- ganze Stück muss in entsprechender halb deren Schaffen und verzichtet auf VANNI CHINZER geboren. Im Erstdruck Weise artikuliert werden. die in modernen Ausgaben leicht er- seines in unserer Ausgabe berücksich- Die Generalbass-Ziffern werden reichbaren großen Komponisten der tigten Opus 5 steht da Firenze, Compo- durchweg gemäß der Schreibweise der Epoche. -
Swedish Monuments of Music and Questions of National Profiling
Lars Berglund Swedish Monuments of Music and Questions of National Profiling Symposion »Analyse und Aufklärung, ›Public History‹ und Vermarktung. Methodologie, Ideologie und gesellschaftliche Orientierung der Musikwissenschaft in (und zu) Nordeuropa nach 1945« Beitragsarchiv des Internationalen Kongresses der Gesellschaft für Musikforschung, Mainz 2016 – »Wege der Musikwissenschaft«, hg. von Gabriele Buschmeier und Klaus Pietschmann, Mainz 2018 Veröffentlicht unter der Creative-Commons-Lizenz CC BY-NC-ND 4.0 im Katalog der Deutschen Nationalbibliothek (https://portal.dnb.de) und auf schott-campus.com © 2018 | Schott Music GmbH & Co. KG Lars Berglund Swedish Monuments of Music and Questions of National Profiling In an article published in 1942, the Swedish musicologist Stig Walin proposed a strategy for Swedish historical musicology. It was published in Svensk tidskrift för musikforskning (The Swedish Journal of Musicology) and titled »Methodological problems in Swedish Musicology«.1 Walin had recently earned a doctoral degree in Uppsala with a dissertation on Swedish symphonies in the eighteenth and early nineteenth century. This was the first doctoral dissertation in musicology from Uppsala and awarded him the title of Docent. In the 1942 article, Walin outlines an approach to historiography and the writing of music history, strongly influenced by neo-Kantianism, but also by cultural history in the spirit of Johan Huizinga.2 Walin presents a number of methodological considerations, related to the particular conditions of the historical cultivation of music in Sweden. He suggests a scholarly focus, not only on the production of music, but also on what he designates the reproduction of music – a notion closely affiliated with what we would today call reception history. -
BIS-CD-1585 Inlay
Airs and Graces Parnassus Avenue · Dan Laurin, recorder Parnassus Avenue David Tayler · Hanneke van Proosdij · Tanya Tomkins · Dan Laurin BIS-SACD-1595 BIS-SACD-1595_f-b.indd 1 08-04-23 15.40.21 BIS-SACD-1595 Airs & Graces:booklet 14/4/08 18:09 Page 2 1 Lord Aboynes welcome or Cumbernault house 2'12 2 Waly waly 1'26 3 Clout the Cauldron 1'52 STANLEY, John (1712–86) Solo IV in B minor from Op. 4, for flute and basso continuo 7'16 4 Adagio 2'38 5 Poco Allegro 2'38 6 Gigg 1'55 7 Lochaber 3'13 8 Fy gar rub her o’er with straw 3'57 9 Busk ye busk ye Bonny Bride 4'57 HÄNDEL, Georg Friedrich (1685–1759) Sonata in B minor for flute and basso continuo, HWV 376 6'35 (attributed; from Walsh print, 1730) 10 Adagio 1'52 11 Allegro 1'57 12 Largo 1'19 13 Allegro 1'23 GEMINIANI, Francesco (1687–1762) Sonata in C major for cello and basso continuo, Op. 5 No. 3 12'15 14 Andante 1'52 15 Allegro 4'06 16 Affettuoso 3'13 17 Allegro 3'00 BIS-SACD-1595 Airs & Graces:booklet 14/4/08 18:09 Page 3 18 The Flowers of the Forrest 1'59 19 Dumbarton’s drums 1'13 20 Logan Water 2'05 ROMAN, Johan Helmich (1694–1758) Sonata X in E minor for flute and basso continuo, BeRI 210 11'35 21 Larghetto 2'49 22 Andante 2'55 23 Piva 2'23 24 Non Presto 2'42 25 Villanella 0'41 HÄNDEL, Georg Friedrich (1685–1759) 26 Minuetto from Sonata in E minor, HWV 375 3'22 (attributed; from Walsh print, 1730) TT: 65'47 Parnassus Avenue Dan Laurin recorder David Tayler archlute, theorbo, baroque guitar Hanneke van Proosdij harpsichord, recorder (track 7) Tanya Tomkins cello (Stanley, Händel, Geminiani, Roman and Dumbarton’s drums) William Skeen cello (basso continuo in Scottish tunes and Geminiani) All the arrangements of Scottish tunes except tracks 8 and 18 are based on material from the 1742 Collection of Old Scots Tunes by Francesco Barsanti (1690–1772). -
JOHAN HELMICH ROMAN Drottningholmsmusikenmusic for a ROYAL WEDDING HELSINGBORG SYMPHONY ORCHESTRA˜ ANDREW MANZE
JOHAN HELMICH ROMAN DrottningholmsmusikenMUSIC FOR A ROYAL WEDDING HELSINGBORG SYMPHONY ORCHESTRA˜ ANDREW MANZE BIS-CD-1602 BIS-CD-1602_f-b_cover-shot.indd 1 10-04-19 14.23.34 Johan Helmich Roman (1694–1758) Drottningholmsmusiken Bilägersmusiken uppförd på Drottningholm år 1744 vid H.k.h. Adolf Fredriks och H.k.h. Lovisa Ulrikas förmälning Music for a Royal Wedding P Helsingborg Symphony Orchestra Fredrik Burstedt leader Andrew Manze conductor 1 I. Allegro assai 3'10 14 XIV. [Trio – Menuetto da capo] 2'37 2 II. Allegretto 2'23 15 XV. Grave 3'07 3 III. Andante 5'49 16 XVI. Presto 1'41 4 IV. Non troppo allegro 5'27 17 XVII. Lento 2'21 5 V. Andante 2'53 18 XVIII. [Andante] 2'09 6 VI. Poco allegro 1'38 19 XIX. Allegro molto 0'57 7 VII. Allegro 1'27 20 XX. Allegro 3'40 8 VIII. Lento 3'41 21 XXI. Allegro 1'44 9 IX. Allegro 3'36 22 XXII. Allegro 3'55 10 X. Allegro assai 2'25 23 XXIII. Vivace 1'10 11 XI. Allegro 2'27 24 XXIV. Allegro 5'42 12 XII. Presto 2'29 25 XXIII. Vivace [da capo] 1'20 13 XIII. Tempo di Menuetto 1'29 TT: 70'04 å förmiddagen den 28 augusti 1744 – eller den 17 augusti, enligt P den julianska kalendern som vid denna tid fortfarande användes i Sverige – var det smala sundet mellan Lovön och Kärsön nästan tilltäppt av fest prydda slupar och flaggande örlogsfartyg. Ned mot vattnet framför Drott ning holms slott låg den röda mattan utrullad, med kungens liv - drabanter uppställda på båda sidorna ”i en mycket bred Haye [häck]”. -
Cremona Baroque Music 2018
Musicology and Cultural Heritage Department Pavia University Cremona Baroque Music 2018 18th Biennial International Conference on Baroque Music A Programme and Abstracts of Papers Read at the 18th Biennial International Conference on Baroque Music Crossing Borders: Music, Musicians and Instruments 1550–1750 10–15 July 2018 Palazzo Trecchi, Cremona Teatro Bibiena, Mantua B Crossing Borders: Music, Musicians and Instruments And here you all are from thirty-one countries, one of Welcome to Cremona, the city of Monteverdi, Amati and the largest crowds in the whole history of the Biennial Stradivari. Welcome with your own identity, to share your International Conference on Baroque Music! knowledge on all the aspects of Baroque music. And as we More then ever borders are the talk of the day. When we do this, let’s remember that crossing borders is the very left Canterbury in 2016, the United Kingdom had just voted essence of every cultural transformation. for Brexit. Since then Europe—including Italy— has been It has been an honour to serve as chair of this international challenged by migration, attempting to mediate between community. My warmest gratitude to all those, including humanitarian efforts and economic interests. Nationalist the Programme Committee, who have contributed time, and populist slogans reverberate across Europe, advocating money and energy to make this conference run so smoothly. barriers and separation as a possible panacea to socio- Enjoy the scholarly debate, the fantastic concerts and political issues. Nevertheless, we still want to call ourselves excursions. Enjoy the monuments, the food and wine. European, as well as Italian, German, French, Spanish, And above all, Enjoy the people! English etc. -
Blicken I Den Gustavianska Spegeln Blicken I Den Gustavianska Spegeln
Blicken i den gustavianska spegeln Blicken i den gustavianska spegeln Svensk musikvetenskap om tiden under Gustav III Erik Wallrup 1. Om ett fält Studiet av musiken under Gustav III:s regeringstid har med en nästan obruten kontinui- tet varit en av svensk musikvetenskaps huvudfåror sedan disciplinen växte fram under 1900-talets första årtionden. Anledningarna till detta är flera och förbundna med de avgörande förändringar i det svenska musiklivet som ägde rum under perioden 1771–92. Med sitt inrättande av Kungl. Svenska operan 1773 kom Gustav III att skapa förut- sättningar för en dynamisk verksamhet som gav impulser även till områden utanför de sceniska konsterna. En andra central institution hade han då redan stadfäst med Kungl. Musikaliska akademien 1771 (även om de tidiga åren begränsades av en ekonomisk svångrem). Som tredje central faktor började under perioden det borgerliga musiklivet växa fram, till en början lierat med adeln. Därmed uppstod ett kulturellt fält som har påkallat högst olikartade typer av utforskning: empiriskt inriktade studier, musikalisk analys, socio-kulturell forskning, studier med fokus på förändrade ekonomiska förhål- landen, estetiskt tematiserade undersökningar – listan kan göras lång. Med tanke på att de vetenskapliga idealen för den svenska musikforskningen har skiftat påtagligt under det hundratal år som gått, uppstår också möjligheten att betrakta fältet ur ett veten- skapshistoriskt perspektiv: kontinuiteten i forskningen inom området gör att en samman- hängande historia blir möjlig att skriva. En given publiceringsplats för forskningen har varit Svensk tidskrift för musikforskning (STM). Till den andra årgången hade Patrik Vretblad (1920) tagit fram det anonyma re- plikskifte i Stockholms Posten där en förändrad framförandepraxis av Pergolesis Stabat mater både angreps och försvarades. -
NEWSLETTER of the American Handel Society
NEWSLETTER of The American Handel Society Volume XIX, Number 1 April 2004 THE THOMAS BAKER COLLECTION In 1985 the Music Library of The University of Western Ontario acquired the bulk of the music collection of Thomas Baker (c.1708-1775) of Farnham, Surrey from the English antiquarian dealer Richard Macnutt with Burnett & Simeone. Earlier that same year what is presumed to have been the complete collection, then on deposit at the Hampshire Record Office in Winchester, was described by Richard Andrewes of Cambridge University Library in a "Catalogue of music in the Thomas Baker Collection." It contained 85 eighteenth-century printed titles (some bound together) and 10 "miscellaneous manuscripts." Macnutt described the portion of the collection he acquired in his catalogue The Music Collection of an Eighteenth Century Gentleman (Tunbridge Wells, 1985). Other buyers, including the British Library, acquired 11 of the printed titles and 4 of the manuscripts. Thomas Baker was a country gentleman and his library, which was "representative of the educated musical amateur’s tastes, include[d] works ranging from short keyboard pieces to opera" (Macnutt, i). Whether he was related to the Rev. Thomas Baker (1685-1745) who was for many years a member of the choirs of the Chapel Royal, St. Paul’s Cathedral, and Westminster Abbey, is not clear. Christoph Dumaux as Tamerlano – Spoleto Festival USA 2003 However, his collection did contain several manuscripts of Anglican Church music. TAMERLANO AT SPOLETO The portion of the Thomas Baker Collection now at The University of Western Ontario, consisting of 83 titles, is FESTIVAL USA 2003 admirably described on the Music Library’s website Composer Gian Carlo Menotti founded the Festival dei (http://www.lib.uwo.ca/music/baker.html) by Lisa Rae Due Mondi in 1958, locating it in the Umbrian hilltown of Philpott, Music Reference Librarian. -
The London Publisher John Walsh (1665 Or 1666-1736) and the Recorder1
DAVID LASOCKI THE LONDON PUBLISHER JOHN WALSH (1665 OR 1666-1736) AND THE RECORDER1 In London during the 1690s, public concerts and theatre intermission entertainments became extremely popular among the upper and middle classes. The late Baroque style recorder, introduced from France in the early 1670s,2 was already well established as the instrument of choice for the gentleman amateur. These two phenomena coincided with a revolution in the dissemination At the Restoration of the monarchy in 1660, music had largely been circulated in manuscript copies,3 and this practice continued into the eighteenth century. Foreign works were imported by Henry Playford and other owners of music shops as and manuscripts. Local publication meant using letterpress, a time-consuming expensive process. Around 1683, however, an engraver specializing in music, Cross senior, began work. Cross was for initiating the changes that enabled engraving to become the means of commercial exploitation of published music during the eighteenth century. His example, combining the activities of engraver, printer and publisher, was followed by many others. It broke down the distinc tion that was maintained by the Playfords between printer and publisher.4 At the same time composers (sometimes at their patron's expense) professional engravers and printers and take the risk of selling works themselves. Almost all of the chamber music issued in England in the last quarter of the seventeenth century was published by this method.s At Easter 1695, a dozen years after Cross showed the way, John Walsh senior set up at the Golden Harp and Hautboy in Catherine Street off the Strand, and he 1 This article is adapted from material for my forthcoming book, Woodwind Instruments in Britain, 1660-1740: Social History, Music, and Performance Practice. -
J. H. Roman Anna Paradiso
J. H. ROMAN THE 12 KEYBOARD SONATAS Nos 8–12 ANNA PARADISO ANNA PARADISO BIS-2135 BIS-2135_f-b.indd 1 2015-06-18 15:24 Roman did not provide any titles for the pieces in this collection, and consequently they have been referred to both as ‘suites’ and as ‘sonatas’. Guided by the observation by Ingmar Bengtsson – an authority on Roman – that on several occasions the composer used the term ‘Sonata’ for pieces of a similar character, we have used this title on the present recording. Likewise, Roman never mentioned any specific keyboard instrument for which these works may have been intended. I alternate between a French- and an Italian-style harpsi - chord in order to exploit different sound possibilities. But there is also a great clavichord tradition in Sweden, and I have therefore chosen to perform two of the sonatas on that instrument, more precisely on a copy after Philip Jakob Specken, quite possibly of a model that Roman himself owned. I would like to extend my warm thanks to keyboard-maker Dan Johansson for the kind loan of this fine instrument. My performance is based on a close reading of the one manuscript in Roman’s hand containing these pieces, with the help of some modern editions and with some corrections applied both to the primary and to the secondary sources. Anna Paradiso Sonatas VII and XII Neapolitan harpsichord by Masao Kimura (2012) after Onofrio Guarracino (c. 1650) Sonata IX; Sonata in C major; Johan Agrell: Sonata II French harpsichord by François Paul Ciocca (2008) after Nicolas & François Blanchet (1730) Sonatas X and XI Clavichord by Dan Johansson (1997) after Philip Jakob Specken (1743) Sonatas I–VII (BeRI 225–231) are available on BIS-2095 2 ROMAN, Johan Helmich (1694–1758) Sonata VIII in A major 14'29 16 Lento poco 1'50 BeRI 232 17 […] 3'04 1 Commodo 6'54 2 Lento 4'00 Sonata XII in E minor 7'30 3 Vivace 3'08 BeRI 236 4 Scozzese. -
THE MARRIAGE of the NORTHERN STAR the Programme the MUSIC
THE MARRIAGE OF THE NORTHERN STAR Flauguissimo Ensemble Andrea Eklund soprano Yu-Wei Hu flute Johan Löfving guitar, theorbo Consone Quartet Magdalena Loth-Hill violin David Lopez Ibáñez violin Elitsa Bogdanova viola George Ross cello with Rosie Moon double bass Justyna Janiszewska contemporary dancer Steven Player baroque dancer Concert supported by Nigel Pittman, The Swedish Church in London’s Thora Ohlsson Cultural Fund and The Behrens Foundation Flauguissimo, Consone THE MARRIAGE OF NORTHERN STAR St George’s Church, 8pm Friday 2 November Event 9 THE PROGRAMME THE MUSIC Johan Helmich Roman 1694–1758 Drottningholmsmusiken In 1744, the wedding of Swedish Crown the new rulers, and expressing hope for Allegro assai – Andante – Presto – Grave Prince Adolf Fredrik and Louisa Ulrika of peace and prosperity following decades of Prussia at Drottningholm Castle was the Swedish warfare and imperialism. Süsse Zeiten eilet nicht most splendid celebration of a royal power After the peaceful coup of King Gustav III in from Cantata in einer Taffel-Musik couple and the grand opening to the Age of 1772 Sweden entered a new era. The strong Enlightenment in Sweden. Drottningholmsmusiken parliament of previous decades gave way Andante – Allegro molto – Andante – As an important cultural centre in northern to years of royal absolutism, which were to Europe, the Swedish court at Stockholm last even beyond the King’s assassination. Allegro – Allegro welcomed musicians and artists such as However, Gustav was an enlightened Carl Michael Bellman 1740–1795 Fjäril’n vingad syns på Haga Johan Helmich Roman and Joseph Martin ruler in the finest sense of the word. (The butterfly winged is seen in Haga) Kraus from all around continental Europe He supported the arts and sciences and with open arms. -
Newsletter Is Published Twice Yearly,In October and April
676 7 7 i s e t c s y o s . 6 6 s s f . s o 7 c 7 s r i s s . 6 6 s e u s i 7 g m s 7 s SECM . h 6 y s t 6 s 7 r e N E W S L E T T ER s u e 7 s t 6 sn n s t 6 e h c s- s 7 7 6 6 7 issue no.34 fall 2019 Stockholm as a Resource for her abdication cannot be denied.Her court there was the center of Eighteenth-Century Research musical culture and was the starting point in the careers of major figures such as Alessandro Scarlatti and Giacomo Carrissimi. Bertil van Boer It was during the eighteenth century, however, that it achieved As we approach our ninth biennial conference, which will be held a cultural highpoint, with the peaceful rule of its German-born in Stockholm in March, 2020, there is much to be said about the “elected”rulers Fredrik I and Adolf Fredrik,the latter of whom was opportunities for research in and around the Swedish capital city. married to Prussian Princess Louisa Ulrika, the sister of Frederick As with many European cities,there the Great. Her son, Gustav III, was is a good amount of musical mate‐ a polymath who politically sought rial, much of which is largely un‐ to re-establish the dominance of known outside of the country itself. Sweden as a European power Although most scholars of our cen‐ through his military, diplomatic, tury are aware of the stature of the and cultural skill.