DOCSLIB.ORG

Ornaments for Corelli's Violin Sonatas, Op.5 Author(S): Neal Zaslaw Source: Early Music, Vol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Ornaments for Corelli's Violin Sonatas, op.5 Author(s): Neal Zaslaw Source: Early Music, Vol. 24, No. 1, Music in Purcell's London II (Feb., 1996), pp. 95-116 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/3128452 . Accessed: 26/10/2011 17:04 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to Early Music. http://www.jstor.org Neal Zaslaw Ornamentsfor Corelli'sViolin Sonatas,op.5 he letter of dedication of Arcangelo Corelli's Sonate a violino e M violoneo cimbalo,op.5, is datedRome, 1January 1700.1 According to information Charles collected in Corellihad three _ Burney Rome, spent years revising these compositions for the press;2and from what is known of Corelli'sworking habits we may guess that they were prob- ably composed over a much longer period.3Thus, these sonatas may originallyhave been written in the 1680sand 9os-some possibly even ? Nr earlier.4Following their publication they attainedthe status of classics, and by 18oo had been republishedmore than 50 times, in Amsterdam, Bologna, Florence, London, Madrid, Milan, Naples, Paris, Rome, Rouen and Venice.5No other set of works enjoyed a comparablerecep- tion in the 18thcentury. This frequent republication,along with the survivalof hundreds of 1 Detail from the title-pageof The manuscriptcopies and dozens of arrangements,document the fact that Division-Violin,printed by John Play- the op.5 sonatas continued to be performedand to be used as teaching ford (London, 1684) pieces. Their pedagogicalvalue lay, presumably,in three areas: (1) as etudes-op.5 contains a body of finely wrought music many move- ments of which were within the reach of novice violinists;6(2) as com- positional models-most of the sonatas (or 'solos' or 'lessons') for one violin with basso continuo composed and performedin the first seven or eight decades of the century may be viewed as attempts to enlarge upon or modernize op.5;7(3) as a basis for improvisation-the plain- ness of certain movements made them ideal vehicles for practising ornamentation. This ornamentation took two principal forms: through-composedmelodic paraphraseof primarilyslow movements, and sets of variationsbased on shorterdance movements.8The present articleis concerned mainly with the former type of ornamentation. The through-composedornamentation itself is likewiseof two types, for in the musical textbooks of the 18th century a distinction is made between the small or so-called 'necessary'ornaments, and the freer, large-scale ornamentation or musical paraphrase,which was under- stood to be optional. The former, called agrements, wesentliche Manierenor abbellimenti,consist of trills, turns, slides, appoggiaturas and similar items which leave the contours of a melody intact. The lat- Neal Zaslaw is the Herbert Gussman ter, called doubles,willkiirliche Veriinderungen or passaggi,are more like Professorof Music at Cornell University. some practicesin jazz, where almost anything that works with the set With RobertSeletsky he is preparing an chord can be substituted. The former-the edition ornamented versions progressions 'necessary' of of in slow or and in Corelli'sop.5 for Oxford University ornaments-belong any movement, fast, any perfor- Press. mance, even that of a tyro; the latter-melodic paraphrase-belongs EARLY MUSIC FEBRUARY 1996 95 PARTE PRIMA ments would serve better.1'Violinists with modest techniques could perform with simple ornaments, SONATE A VIOLINO E VIOLONE 0 CIMBALO DEDICATE ALL ALTEZZA SERENISSIMA ELETTORALEDI whereasvirtuosos could make the music their own." SOFIA CARLOTTA Allowing violinists their freedom meant that, as ELETTRICE DIBRANDENBVRGO styles and tastesvaried from individualto individual PRINCIPESSA DI BRVNSCICHET LVNEBVRGODVCHESSADI and from place to place, or evolved from decade to PRVSSIAE DI MAGDEEVRGOCLEVES GIVLIERS BERGA STETINO ornaments POMERANIACASSVBIAE DE VANDALI IN SILESIACROSSEN decade, new permitted the music to be BVRGRAVIADI NORIMBERGPRINCIPESSA DI HALBERSTATT suited to new demands. This is demonstrated by MINDENE CAMIN CONTESSADI HOHENZOLLERNE Tartini'sand Galeazzi'sornaments for op.5;Tartini's RAVENSPVRGRAVENSTAIN LAVEN13VRG E BVTTAV tend to break down the DA ARCANGELOCOR•lLI DA PFSIGCNMO Baroque Fortspinnung into OPERAQVINTA shorter segments resembling the galant style, '""**** whereasGaleazzi's introduce to the melody a kind of 2 The firsttitle-page of the firstedition of Corelli'sop.5 chromaticismquite alien to both Corelli'sand Tar- (Rome, 1700). Sonatasnos.7-12 had a differenttitle-page. tini's music, but idiomatic in music of the late 18th century.Charles Burney expressed this characteristic especially in adagios and in performancesof virtu- thus: 'Corelliis so plain & simple that he can always osos with a thorough grounding in harmony and be made modern.''" counterpoint. Table 1 identifies all known sets of ornaments, Becauseof the ubiquityof Corelli'sop.5 a number with their sources. Not included are wholesale re- of sets of notated ornaments for it survive. Some of compositions of op.5, such as Shuttleworth's or these represent the fumblings of beginners, others Geminiani'sarrangements of the sonatas as concerti are teaching manuscripts,and still others reveal at- grossi and Veracini's Dissertazioni sopra l'Opera tempts to record the ornamentationof well-known Quintadel Corelli.'3Also necessarilyexcluded are or- violinists. Most of the surviving manuscript and naments perhapsnever notated as well as others cer- printed sets of ornaments were listed by Hans tainly notated but apparentlylost. Examplesof the Joachim Marx in his excellent Corelli catalogue of former include Blainville'saccount of Pietro Loca- 1980, and many of these have long been known, if telli's performingthe opening Adagio of the fourth perhaps not fully understood.9In this article I have sonata of op.5 so ravishinglythat 'it would cause a been able to add a few sets of ornaments to those canaryto fall from its perch in a swoon of pleasure','4 chronicled by Marx, to correct a few errors, and to and the remark of Haydn's London impresario begin to answer such questions as: who wrote each Johann Peter Salomon upon the death of Frangois- set?, when?, for what purpose?-and what con- Hippolyte Barthdl1monin 18o8:'We have lost our nection, if any, may it have had with Corelli's own Corelli!There is nobody left now to play those sub- practices? lime solos.'15(From this and other evidence it is clear Most modern violin instructionis so stronglyori- that the ability to ornament Corelli's sonatas was entated to the literal reproductionof fixed pieces of one way in which 18th-century violinists were music that it may not be amiss to remind ourselves judged.) of possible advantages of a type of training that As an example of certainlynotated but lost orna- stressed freely improvised ornamentation. One ad- ments for op.5 one can cite Nicola Matteis, Jr. vantage is that no two performanceswould ever be Quantz acquired a manuscript of Matteis's orna- the same, lending an air of adventure sometimes ments for the 12 adagios of the first six sonatas lacking in modern concerts. Another is flexibilityin around 1720,16 but my enquiriesin the places where adjusting the music to varying circumstances: in Matteis worked (London and Vienna) and where larger, more resonant venues or on solemn occa- Quantz's manuscripts have come to rest (Berlin, sions fewer and slower ornamentswould work well; Stockholm,Krak6w) have failed to turn up a copy.'7 in smallervenues, in front of connoisseursor on fes- Another instanceis a manuscriptowned by the com- tive occasions more profuse and more rapid orna- poser John Cousser (Johann Kusser) of ornaments 96 EARLY MUSIC FEBRUARY 1996 Table 1 Extantsets of free ornaments for Corelli's op.5 +0 '- O c + 0 B bc ,+0+ )+,,QoO++++> ,,o<+++,+'++,<+ ,, Parte Prima. Sonate a violino e violone o cimbalo ... opera quinta Sonata I [D major] 1 Grave- Allegro- * Adagio- N Grave- *FI Allegro- * Adagio 2 Allegro. [Fuga]- Adagio 3 Allegro 4 Adagio 5 Allegro. [Fuga] Sonata II [F major] 1 Grave P 2 Allegro. [Fuga]- Adagio 3 Vivace 4 Adagio 5 Vivace. [Fuga] Sonata III [C major] 1 Adagio 2 Allegro. [Fuga]- Adagio 3 Adagio **t 4 Allegro- Adagio 5 Allegro Sonata IV [F major] 0 E.s 1 Adagio H 2 Allegro. [Fuga]- 4 O AdagioI 3Vivace vggegoR SonataV [G minor] 1 Adagio IJ1 I*s. 2 Vivace. [Fuga]- Adagio cc * 3 Adagio M 4 Vivace . , .N 5 Giga.Allegrot EARLY MUSIC FEBRUARY 1996 97 0 +~?P ' ?- Ltg s? oo: +00+0 ), %QO+0 0 0 0 0 0 0Ay 0 C) 8~13.t'e i i~ae9- ~ Sonata VI [A major] 1 Grave E 2 Allegro.[Fuga]- Adagio cc 3 Allegro 4 Adagio 5 Allegro. [Fuga] Parte Seconda.Preludii, Allemande, Correnti,Gighe, Sarabande, Gavotte e Follia Sonata VII [D minor] /R 1 Preludio.Vivace 2 Corrente.Allegro 3 Sarabanda.Largo 4 Giga.Allegro .114,. SonataVIII [E minor] I 1 Preludio.Largo MN, E 2Allemanda. Allegro Y _ 3 Sarabanda.Largo g * 4 Giga.Allegro. Sonata IX [A major] 1 Preludio.Largo * 2 Giga.Allegro * 3 Adagio 4 Tempodi Gavotta. Allegro * Sonata X [F major] 1 Preludio.Adagio ** *. * * 2 Allemanda.Allegro N * *• 3 Sarabanda.Largo 4 Gavotta.Allegrot * 5 Giga.Allegro ... SonataXI[E major] * 1 Preludio.Adagio ON 2 Allegro 3 Adagio 4 Vivace 5 Gavotta.Allegrot v [SonataXII, D minor: Variationson La] Follia * free ornamentation v set of variations(only those in MSS containing free ornaments-see RobertSeletsky's article elsewhere in this issue) c cadenzaor close t ornamentsby Michael Festing,discovered by HarryJohnstone as this articlewent to press 98 EARLY MUSIC FEBRUARY 1996 Tablei-Sources PEZ ANON A Secondcollection of /SONATAS / fortwo / coveredby HarryJohnstone, who is preparinga studyof FLUTES and a BASS, / by / SignrChristopher Pez, / to thisnew source.
Recommended publications
  • Dynamicsanddissonance: Theimpliedharmonictheoryof

    Dynamicsanddissonance: Theimpliedharmonictheoryof

    Intégral 30 (2016) pp. 67–80 Dynamics and Dissonance: The Implied Harmonic Theory of J. J. Quantz by Evan Jones Abstract. Chapter 17, Section 6 of Quantz’s Versuch einer Anweisung die Flöte traver- siere zu spielen (1752) includes a short original composition entitled “Affettuoso di molto.” This piece features an unprecedented variety of dynamic markings, alternat- ing abruptly from loud to soft extremes and utilizing every intermediate gradation. Quantz’s discussion of this example provides an analytic context for the dynamic markings in the score: specific levels of relative amplitude are prescribed for particu- lar classes of harmonic events, depending on their relative dissonance. Quantz’s cat- egories anticipate Kirnberger’s distinction between essential and nonessential dis- sonance and closely coincide with even later conceptions as indicated by the various chords’ spans on the Oettingen–Riemann Tonnetz and on David Temperley’s “line of fifths.” The discovery of a striking degree of agreement between Quantz’s prescrip- tions for performance and more recent theoretical models offers a valuable perspec- tive on eighteenth-century musical intuitions and suggests that today’s intuitions might not be very different. Keywords and phrases: Quantz, Versuch, Affettuoso di molto, thoroughbass, disso- nance, dynamics, Kirnberger, Temperley, line of fifths, Tonnetz. 1. Dynamic Markings in Quantz’s ing. Like similarly conceived publications by C. P. E. Bach, “Affettuoso di molto” Leopold Mozart, and others, however, Quantz’s treatise en- gages
  • Fabulously Tidal — Issue 117, 1 January 2018

    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.
  • L'estro Armonico (Opus 3): Homage to a Medici Prince Antonio Vivaldi

    L'estro Armonico (Opus 3): Homage to a Medici Prince Antonio Vivaldi

    L’Estro Armonico (Opus 3): Homage to a Medici Prince Antonio Vivaldi (1678 – 1741) The first decade of the eighteenth century was an exciting one for Vivaldi. In 1703 he became fully ordained as a priest and obtained a teaching post at the Ospedale della Pietài. His duties still left him time to freelance as a violinist (often with his father, Giovanni Battista Vivaldiii) and to compose a moderate amount of music. His works had so far generated a modest amount of local success with two sets of sonatas being published by the Venetian publishing houses of Giuseppe Sala in 1705 and Antonio Bortoli in 1709iii. In addition to various sonatas and concertos, Vivaldi received a commission to compose his first (known) vocal work, a serenata titled Le gare del dovereiv for a performance in Rovigo in 1708. The publication of L’Estro Armonico three years later proved to be one of the major turning points in his career, and his concerto style took Europe by storm. Vivaldi chose the Amsterdam firm of Estienne Roger to publish L’Estro Armonico, whose printing presses used a more modern technology than their Venetian counterpartsv. In addition, Roger had a fantastic distribution network, particularly in Northern Europe where, at various times he had agents in Berlin, Brussels, Cologne, Halle, Hamburg, Leipzig, Liège, London and Rotterdam; Roger’s state-of-the-art technology combined with Vivaldi’s cutting- edge concerto style proved to be an immediate success. In search of an influential patron, Vivaldi dedicated L’Estro Armonico to the Grand Prince of Tuscany, Ferdinando de’Medicivi, son of Cosimo III de’Medici.
  • MUSIC in the BAROQUE 12 13 14 15

    MUSIC in the BAROQUE 12 13 14 15

    From Chapter 5 (Baroque) MUSIC in the BAROQUE (c1600-1750) 1600 1650 1700 1720 1750 VIVALDI PURCELL The Four Seasons Featured Dido and Aeneas (concerto) MONTEVERDI HANDEL COMPOSERS L'Orfeo (opera) and Messiah (opera) (oratorio) WORKS CORELLI Trio Sonatas J.S. BACH Cantata No. 140 "Little" Fugue in G minor Other Basso Continuo Rise of Instrumental Music Concepts Aria Violin family developed in Italy; Recitative Orchestra begins to develop BAROQUE VOCAL GENRES BAROQUE INSTRUMENTAL GENRES Secular CONCERTO Important OPERA (Solo Concerto & Concerto Grosso) GENRES Sacred SONATA ORATORIO (Trio Sonata) CANTATA SUITE MASS and MOTET (Keyboard Suite & Orchestral Suite) MULTI-MOVEMENT Forms based on opposition Contrapuntal Forms FORMS DESIGNS RITORNELLO CANON and FUGUE based on opposition BINARY STYLE The Baroque style is characterized by an intense interest in DRAMATIC CONTRAST TRAITS and expression, greater COUNTRAPUNTAL complexity, and the RISE OF INSTRUMENTAL MUSIC. Forms Commonly Used in Baroque Music • Binary Form: A vs B • Ritornello Form: TUTTI • SOLO • TUTTI • SOLO • TUTTI (etc) Opera "Tu sei morta" from L'Orfeo Trio Sonata Trio Sonata in D major, Op. 3, No. 2 1607 by Claudio MONTEVERDI (1567–1643) Music Guide 1689 by Arcangelo CORELLI (1653–1713) Music Guide Monteverdi—the first great composer of the TEXT/TRANSLATION: A diagram of the basic imitative texture of the 4th movement: Baroque, is primarily known for his early opera 12 14 (canonic imitation) L'Orfeo. This work is based on the tragic Greek myth Tu sei morta, sé morta mia vita, Violin 1 ed io respiro; of Orpheus—a mortal shepherd with a god-like singing (etc.) Tu sé da me partita, sé da me partita Violin 2 voice.
  • What Handel Taught the Viennese About the Trombone

    What Handel Taught the Viennese About the Trombone

    291 What Handel Taught the Viennese about the Trombone David M. Guion Vienna became the musical capital of the world in the late eighteenth century, largely because its composers so successfully adapted and blended the best of the various national styles: German, Italian, French, and, yes, English. Handel’s oratorios were well known to the Viennese and very influential.1 His influence extended even to the way most of the greatest of them wrote trombone parts. It is well known that Viennese composers used the trombone extensively at a time when it was little used elsewhere in the world. While Fux, Caldara, and their contemporaries were using the trombone not only routinely to double the chorus in their liturgical music and sacred dramas, but also frequently as a solo instrument, composers elsewhere used it sparingly if at all. The trombone was virtually unknown in France. It had disappeared from German courts and was no longer automatically used by composers working in German towns. J.S. Bach used the trombone in only fifteen of his more than 200 extant cantatas. Trombonists were on the payroll of San Petronio in Bologna as late as 1729, apparently longer than in most major Italian churches, and in the town band (Concerto Palatino) until 1779. But they were available in England only between about 1738 and 1741. Handel called for them in Saul and Israel in Egypt. It is my contention that the influence of these two oratorios on Gluck and Haydn changed the way Viennese composers wrote trombone parts. Fux, Caldara, and the generations that followed used trombones only in church music and oratorios.
  • How Its Styles and Techniques Changed Music Honors Thesis Lauren Felis State University of New York at New Paltz

    How Its Styles and Techniques Changed Music Honors Thesis Lauren Felis State University of New York at New Paltz

    Music of the Baroque period: how its styles and techniques changed music Item Type Thesis Authors Felis, Lauren Rights Attribution-NonCommercial-NoDerivs 3.0 United States Download date 26/09/2021 16:07:48 Item License http://creativecommons.org/licenses/by-nc-nd/3.0/us/ Link to Item http://hdl.handle.net/20.500.12648/1382 Running head: MUSIC OF THE BAROQUE PERIOD 1 Music of the Baroque Period: How its Styles and Techniques Changed Music Honors Thesis Lauren Felis State University of New York at New Paltz MUSIC OF THE BAROQUE PERIOD 2 Table of Contents Table of Contents 2 Abstract 3 Introduction 4 A Brief History 4 Doctrine of Affections 5 Musical Style 6 Baroque Dance 7 Baroque String Instruments 7 Baroque Composers 8 Arcangelo Corelli 9 La Folia 9 Suzuki 10 Process of Preparing Piece 10 How I Chose the Piece 10 How I prepared the Piece 11 Conclusion 11 Appendix A 14 Appendix B 15 Appendix C 16 Appendix D 17 Appendix E 18 MUSIC OF THE BAROQUE PERIOD 3 Abstract This paper explores the music of the Baroque era and how its unique traits made it diverge from the music that preceded it, as well as pave the way for music styles to come. The Baroque period, which is generally agreed to range from around 1600 to 1750, was a time of great advancement not only in arts and sciences, but in music as well. The overabundance of ornamentation sprinkled throughout the pieces composed in this era is an attribute that was uncommon in the past, and helped distinguish the Baroque style of music.
  • Opera Olimpiade

    Opera Olimpiade

    OPERA OLIMPIADE Pietro Metastasio’s L’Olimpiade, presented in concert with music penned by sixteen of the Olympian composers of the 18th century VENICE BAROQUE ORCHESTRA Andrea Marcon, conductor Romina Basso Megacle Franziska Gottwald Licida Karina Gauvin Argene Ruth Rosique Aristea Carlo Allemano Clistene Nicholas Spanos Aminta Semi-staged by Nicolas Musin SUMMARY Although the Olympic games are indelibly linked with Greece, Italy was progenitor of the Olympic operas, spawning a musical legacy that continues to resound in opera houses and concert halls today. Soon after 1733, when the great Roman poet Pietro Metastasio witnessed the premiere of his libretto L’Olimpiade in Vienna, a procession of more than 50 composers began to set to music this tale of friendship, loyalty and passion. In the course of the 18th century, theaters across Europe commissioned operas from the Olympian composers of the day, and performances were acclaimed in the royal courts and public opera houses from Rome to Moscow, from Prague to London. Pieto Metastasio In counterpoint to the 2012 Olympic games, Opera Olimpiade has been created to explore and celebrate the diversity of musical expression inspired by this story of the ancient games. Research in Europe and the United States yielded L’Olimpiade manuscripts by many composers, providing the opportunity to extract the finest arias and present Metastasio’s drama through an array of great musical minds of the century. Andrea Marcon will conduct the Venice Baroque Orchestra and a cast of six virtuosi singers—dare we say of Olympic quality—in concert performances of the complete libretto, a succession of 25 spectacular arias and choruses set to music by 16 Title page of David Perez’s L’Olimpiade, premiered in Lisbon in 1753 composers: Caldara, Vivaldi, Pergolesi, Leo, Galuppi, Perez, Hasse, Traetta, Jommelli, Piccinni, Gassmann, Mysliveek, Sarti, Cherubini, Cimarosa, and Paisiello.
  • 9914396.PDF (12.18Mb)

    9914396.PDF (12.18Mb)

    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fece, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, b^inning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back o f the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Ifigher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnaticn Compare 300 North Zeeb Road, Aim Arbor NO 48106-1346 USA 313/761-4700 800/521-0600 NOTE TO USERS The original manuscript received by UMI contains pages with indistinct print. Pages were microfilmed as received. This reproduction is the best copy available UMI THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE A CONDUCTOR’S GUIDE TO THREE SACRED CHORAL/ ORCHESTRAL WORKS BY ANTONIO CALDARA: Magnificat in C.
  • An Historical and Analytical Study of Renaissance Music for the Recorder and Its Influence on the Later Repertoire Vanessa Woodhill University of Wollongong

    An Historical and Analytical Study of Renaissance Music for the Recorder and Its Influence on the Later Repertoire Vanessa Woodhill University of Wollongong

    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1986 An historical and analytical study of Renaissance music for the recorder and its influence on the later repertoire Vanessa Woodhill University of Wollongong Recommended Citation Woodhill, Vanessa, An historical and analytical study of Renaissance music for the recorder and its influence on the later repertoire, Master of Arts thesis, School of Creative Arts, University of Wollongong, 1986. http://ro.uow.edu.au/theses/2179 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] AN HISTORICAL AND ANALYTICAL STUDY OF RENAISSANCE MUSIC FOR THE RECORDER AND ITS INFLUENCE ON THE LATER REPERTOIRE by VANESSA WOODHILL. B.Sc. L.T.C.L (Teachers). F.T.C.L A dissertation submitted in partial fulfillment of the requirements for the degree of Master of Arts in the School of Creative Arts in the University of Wollongong. "u»«viRsmr •*"! This thesis is submitted in accordance with the regulations of the University of Wotlongong in partial fulfilment of the requirements for the degree of Master of Arts. I hereby certify that the work embodied in this thesis is the result of original research and has not been submitted for a higher degree at any other University or similar institution. Copyright for the extracts of musical works contained in this thesis subsists with a variety of publishers and individuals. Further copying or publishing of this thesis may require the permission of copyright owners. Signed SUMMARY The material in this thesis approaches Renaissance music in relation to the recorder player in three ways.
  • Johann Joachim Quantz

    Johann Joachim Quantz

    Johann Joachim Quantz Portrait by an unknown 18th-century artist An account of his life taken largely from his autobiography published in 1754–5 Greg Dikmans Johann Joachim Quantz (1697–1773) Quantz was a flute player and composer at royal courts, writer on music and flute maker, and one of the most famous musicians of his day. His autobiography, published in F.W. Marpurg’s Historisch-kritische Beyträge (1754– 5), is the principal source of information on his life. It briefly describes his early years and then focuses on his activities in Dresden (1716–41), his Grand Tour (1724– 27) and his work at the court of Frederick the Great in Berlin and Potsdam (from 1741). Quantz was born in the village Oberscheden in the province of Hannover (northwestern Germany) on 30 January 1697. His father was a blacksmith. At the age of 11, after being orphaned, he began an apprenticeship (1708–13) with his uncle Justus Quantz, a town musician in Merseburg. Quantz writes: I wanted to be nothing but a musician. In August … I went to Merseburg to begin my apprenticeship with the former town-musician, Justus Quantz. … The first instrument which I had to learn was the violin, for which I also seemed to have the greatest liking and ability. Thereon followed the oboe and the trumpet. During my years as an apprentice I worked hardest on these three instruments. Merseburg Matthäus Merian While still an apprentice Quantz also arranged to have keyboard lessons: (1593–1650) Due to my own choosing, I took some lessons at this time on the clavier, which I was not required to learn, from a relative of mine, the organist Kiesewetter.
  • "Lucca Città Della Musica" Di Sara Matteucci

    "Lucca Città Della Musica" Di Sara Matteucci

    SARA MATTEUCCI Lions Club Lucca Host CLuccaITTÀ DELLA MUSICA Questo volume è un’espressione del progetto “Lucca città della musica” che il Lions Club Lucca Host sta portando avanti negli ultimi anni al fine di far entrare Lucca fra le città UNESCO creative della musica. Il Comitato Cultura del Lions Club Lucca Host, presieduto da Leonardo Odoguardi e com- posto da Riccardo Benvenuti, Michele Bianchi, Francesco Cipriano, Giuliano Marchetti, Cristiano Meossi, Enrico Ragghianti, Antonio Sargenti, è stato supportato dai presidenti del Club Umberto Stefani, Adalberto Saviozzi, Maria Carla Giambastiani e dai soci Cesare Rocchi, Gualberto Del Roso. Si ringraziano tutti coloro che hanno collaborato alla realizzazione di questa pubblicazione ed in particolare l’autrice del lavoro Sara Matteucci e Manifatture Sigaro Toscano. SARA MATTEUCCI CLuccaITTÀ DELLA MUSICA Lions Club Lucca Host Si ringrazia per il contributo CLuccaITTÀ DELLA MUSICA Referenze fotografiche Foto Ghilardi, Lucca; Foto Arnaldo Fazzi, Archivio Maria Pacini Fazzi Editore © Copyright 2010: Lions Club Lucca Host Cura grafica e impaginazione Gabriele Moriconi per Maria Pacini Fazzi Editore, Lucca www.pacinifazzi.it ISBN 978-88-6550-026-2 Lions Club Lucca Host Negli Scopi del lionismo è previsto di «prendere attivo interesse al bene civico, culturale, sociale e mo- rale della comunità», mentre nel Codice dell’etica lionistica si chiede di «dimostrare con l’eccellenza delle opere e la solerzia del lavoro, la serietà della vocazione al servizio». Questo desiderio di incidere positiva- mente nel tessuto cittadino è stato ed è una vocazione congenita al Lions Club Lucca Host. Dalla sua istituzione nel 1955, esso si è impegnato per la valorizzazione del patrimonio culturale ed artistico di una città dalla lunga storia.
  • 1 Francesco Geminiani

    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.