DOCSLIB.ORG

Sylvius Leopold Weiss

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sylvius Leopold Weiss Sylvius Leopold Weiss DOUGLAS ALTON SMITH Downloaded from https://academic.oup.com/em/article/8/1/47/445200 by guest on 27 September 2021 With the 20th-century revival of' Silvius Leopoltl Weiss was 11ot.n in ii~tetc.st it1 ihc lute. haw cu~~tc Btesldu, Silcsia i~luw U't~orbw, editions ol r~lusic and I~io- Poland) on 12 October 1686.4 His t)il,liographical studies 01' many 01' father johann Jakob (21662-1754) its major composers. For Franccsco was a lutenist, as were his younger da Milano, John Dowland, and a brother Sigismund (c 1695- 1737) variety 01' or hers-particularly 01- and perhaps also his sister .Juliana the Renaissance-the groundwork has been laid lor a more thorough understanding of their life and Drtmrr (I 1730) Reichardt suggests that Silvius works. German 1)aroque lute music, on the other learned to play the lute at an early age from his tather. hand, remains relatively little known. Although it has In the fiftieth year of'his life lr 17361 the great lutenist received some attrntion lrom German scholars (and Weiss answered the question of how long he had I~een recently, lutenists), it has largely been ignored in the playing the lute with 'twenty years'. One of his friends. English-spraking world, where scarcely any studies who knew f0r certain that Weiss already was playing have l)eer~puhlished on any part of this repertory. the lute in his tenth year, wanted to contradict him, Thus many British and American musicians who are hut he interrupted and said, 'True, hut for twenty years l)aroclue specialists are not aware that there is a sig- I was ~uning'.~ nificant Ilody ol' German I)aroclue lute music and have By 1706 Silvius was in the service of Count Karl never. lleartl ol the grt-atrst German lutenist 01' all Philipp of'the Palatinate, who was at the time resident time-Silvius Leopolci Wciss.l in Breslau. A letter of' 5 May 1706, from Elector Wriss oc.c.upies a towering position in the history ol' .Johann Wilhelni ol' the Palatinate (in Diisseldorf) to lute music lor several rrasorls. Most obviously, he IeIt his brother Karl Philipp expresses gratitude to the the largest torpus of music IOr the instrument ol'any latter lor allowing 'your lutenist Weiss' to c-ome and he cornposer in itr history: al)oitr 80 solo partitas and heard at the Rhenish court.6 From this visit stenis dozens of individual (prol)al)ly nlostly orphaned) Weiss' first dated work, a partita in C minor, over partita movements, as well as eleven incotnpkte which Weiss later inscril~edin the copy in the Dresden sonatas arid contertos for lute and other instru- manuscript : 'Anno 11 7016 in Dusseldorl'. Ergo Nostra ment~.~He was recognized by his contemporaries as Giovent~icomparisce' ('our youthful debut').' Two the pre-r~r~irirntlutenist ol his rra, and in the wot-cis ot years later Silvius' I~rotherand tather- were employed Erns~Gottlic.1~ Baron. he (together with his I~rother at the Dusseldorl coi~rt.~ lohann Sigirtnirnd~'l,rought the lute to the highw An occasion 01' considerable importance lor the peak ol pcr.fcc.tion" with his fluent, virtuosic writing. young virtuoso was an invitation to accompany the Weiss' inlliwntc on his lutenist cw~ternporariesis still Polish Prince Alexander Sol~ieskyt 1676- 17 14) to Italy, alrncw cant ire-1). urirc3sc*arthcd. 11ut c an l)r. rrgarcicd as a sojourn that was to last from 1708 until the Prince's c-ot1sit1c.1-al~lr.hlort rignilit-antly, he represents t hc. ( ul- death.9 At that time it was not uncommon fix pro- ruination 01 the late 1)arocpr style of lutc* c-om- rnising German musicians to go to Italy to absort) the position. ant1 rnost ol his ~nirsicranks easily among rhr Italian style: George Frrderick Handel and Johanri litiert cver- \+~-ittet1lor the iris~rirnlent. David Heinic hen, to name only I\W. were in Italy Downloaded from https://academic.oup.com/em/article/8/1/47/445200 by guest on 27 September 2021 Performance ofa new serenade by Dresden Kapellmeister Schmidt in a garden theatre, September 1719. Original drawing in the Kupferstichkabinett, Dresden during part of the same period as Weiss. Presumably probably met Cardinal Pietro Ottoboni, the leading Weiss accompanied Prince Alexander in the dual role patron of the musical arts in Rome and head ol the of valet and musician. Academy. Kirkpatrick says of Ottoboni that 'Few Alexander, his mother Queen Maria Casimira (and eminent musicians who came to Rome seem to have probably also their retinue, including Weiss) lived in escaped him'.11 The Ottoboni palace's weekly concerts Rome in the Palazzo Zuccari, a small palace built in of chamber music were well known and well attended. 1593 by the painter Federigo Zuccari near the Piazza Corelli was the director of the performances of con- della Trinita de Monti and the Villa Borghese. Maria certed music and Weiss must surely have heard his Casimira maintained an ostentatious household. In music. Perhaps Weiss had the opportunity to perform the summer ol 1708 she engaged Alessandro Scarlatti at the palace: Baron writes that he 'astonished all the as her composer and music director.10 In January Italians' in Rome.12 1709, the elder Scarlatti returned to Naples, leaving Beyond the musical events produced by Academy the position to his son Domenico, who remained with members there were also public opera performances the Queen until she left Rome in June 1714. Domenico and other musical activities in Rome to which Weiss wrote and conducted performances of seven operas in must have been exposed. He learned at least basic- Maria Casimira's private theatre during these years. Italian, and may have undergone a religious con- Prince Alexander was responsible for staging at least version there, for although he had been born into a one of them, and it can be assumed that Weiss played Protestant family, he raised his children as Catholics theorbo continuo in most or all of them. (and was buried in the cemetery of the Catholic The Scarlattis are doubtless not the only musicians Hofkirche, Dresden). Thus the six years in Rome were to and musical people with whom Weiss had contact in be of lifelong significance for Weiss both personally Rome. Through the Sobieskys, who were both and musically. members of the Academv of the Arcadians, Weiss Upon the untimely death of Prince Alexander in 48 EARLY MUSIC JANUARY 1980 The lirsi |ierf'oriiiaiu"e ol Antonio l.otti's Ira/tnlr ill the lien Dresden opera house. 1719 (|>art oldie marriage lesiivities lor Frederick An^usl II and Maria |ose|iha). Dresden. Kiijilerstich- kaliineli: lliis detail shows the orehesiral lories in< hiding mo theorbos Downloaded from https://academic.oup.com/em/article/8/1/47/445200 by guest on 27 September 2021 1714, Weiss returned to Germany. He seems to have the Dresden Hofkapelle. Apart from brief visits to sought employment at the Hessian court in Kassel Vienna, Prague, Leipzig, or other nearby cities, he before becoming lutenist to the Palatine court in remained in Dresden for the rest of his life. Diisseldorf in 1715 or early 1716. In 1717 Weiss per- formed in Dresden for the Elector of Saxony and At this time Elector Frederick Augustus I ('The became unoflicially attached to the Hofkapelle there. Strong') of Saxony, who was also the King of Poland, However, he continued to travel: between February was building the finest musical establishment in and June 1718 he gave weekly concerts in London and even played for the King. On 17 June 1718, the Daily Germany, rivalled in Central Europe only by Vienna. Courant announced the last concert: Between 1714 and 1717 the Elector hired, among Whereas Mr. Weiss intends to go out ol England in a others, the pantalonul Pantaleon Hebenstreit, the little time; These are to give Notice, that during his flautist Pierre-Gabriel Buflardin (Quanta's teacher), Stay in London, he will have an Extraordinary Musical the composer Antonio Lotti, the composer and con- Entertainment at his present Lodgings, at the Wallnut- ductor Johann David Heinichen, the violinist Tree in St. Paul's Church-Yard, against the New Vault Francesco Veracini, and several Italian singers. Most of on the South-Side. Which Entertainment will consist these musicians were intended especially for the new of Theorbo-Lutes, Mandolin, Base Viol, Hoboys, fee. Italian opera company which was to be revived at the on which he had the Honour to play before the court, and for which a large new theatre was built in Emperour, and almost all the Princes of Germany, and 1718-19. of late before His Majesty. To begin To-morrow, at 8 a Clock in the Evening. Tickets to be had at his Lodgings One of Weiss' first tasks as Knmmerlautenut in before and at the Hour of the Consort, at 5s. each Dresden was to accompany the Saxon Crown Prince Ticket. Frederick Augustus II to Vienna. In September of 1718 the Crown Prince travelled to the Imperial court to On 23 August 1718, Weiss was formally inducted into choose as his bride one of the daughters of the late F.AKI.V Ml'SIC JAM ARVI9S0 19 Emperor Joseph I. His father the Elector sent twelve of even primarily, for his students. Three scribes helped Dresden's finest musicians to accompany him and to the composer copy the manuscript, compiled during demonstrate the high level of Dresden's musical the early years of Weiss' tenure at Dresden (r 1718-24), culture to the Viennese.
Load more

Recommended publications
  • Sommario Della Rivista Amadeus, 2000
    7 Mila: la lezione continua 50 Cassandra Wilson A Venezia il Teatro di Duilio Courir Una erede per Billie di Franco Fayenz Malibran, 8 II lettore in ristrutturazione, di Gaetano Sanlangclo 52 Lettera dalla Germania: Berlino dovrebbe diventare 11 In scena Arrivi e partenze una «casa» provvisoria di Klaus Geitel G. Carli Ballota, F. Cella, per La Fenice distrutta D. Courir, R. Indaco, Ci. Montecchi, (i. Moroni, A. Porter, N. Sguben, 55 Una storia dell'opera quattro anni fa C. Tempo, F. A. Saponaio russa (1a puntata) Verso un'opera da un terribile incendio 26 II cd - Documenti nazionale Händel a Londra di Rubens Tedeschi Compositore di ventura di Andrew Porter 60 Antica di Massimo R. Zegna 30 II cd - La lettura Händel in Italia 61 Jazz Musica con vista di Franco Fayenz di Massimo R. Zegna 62 Musicaoggi 34 La Fenice quattro anni dopo M. Bortolotto, D. Courir, In cerca di alloggio G. Satragni, P. Luppi di Chiara Squarcina Una storia dell'opera 64 Taccuino russa in cinque 37 «Pagliacci» tra realtà e fantasia di Patrizia Luppi Accadde in Calabria puntate: di Luisa Longobucco 69 Libri in questo numero di G. La Face Bianconi Rubens Tedeschi 40 Ingo Metzmacher racconta la nascita La musica in cui credo 70 Lo scaffale di Cesare Fcrtonani di Paola Mollino del teatro nazionale 42 I luoghi della musica: Oman 71 Hi-fi Per una politica della bellezza di Andrea Milanesi di Nicoletta Lucalelli 46 Salvatore Sciarrino 72 Compact Un personalissimo percorso M. Coralli, C. Fertonani, di Patrìzia Luppi E. Garofalo, G. Gavazzerò, A.
    [Show full text]
  • Introduction
    INTRODUctION The estate catalogue of Carl Philipp Emanuel Bach lists 46 Table 1 lists all of the trios published in CPEB:CW, II/2 items under the broad heading “Trii” (NV 1790, pp. 36– and II/3, organized according to the entries in NV 1790, 42). This group includes trio sonatas for various instru- which include place and date of composition and autho- ments, keyboard trios (obbligato keyboard with a single rized scoring. These works comprise 31 of the catalogue’s instrument), and accompanied sonatas (keyboard, violin, 46 “Trii,” as well as the lost trio for violin, viola, and bass, and cello), as well as two collections of “kleine Stücke” in written collaboratively by Bach and his father and listed two and three parts. While this collection of works shows among the “Einige vermischte Stücke” (NV 1790, p. 65). a diversity of scoring, all but the simpler “kleine Stücke” Table 1 does not include Wq 81–82 (NV 1790, nos. 24 (Wq 81–82) and the accompanied sonatas (Wq 89–91) and 31), or Wq 89–91 (NV 1790, nos. 32–44), as these are employ a polyphonic texture comprising three separate published in CPEB:CW, II/5 and II/4, respectively. For contrapuntal lines, whether dispensed for two or three each trio, the table lists any explicitly authorized scoring instruments, thus reflecting the central principle of eigh- with its pertinent principal source(s). A few of the entries teenth-century trio composition.1 include more than one Wq number, to represent their dif- For practical considerations, the edition organizes ferent scorings.
    [Show full text]
  • Johann Sebastian BACH
    Johann Sebastian BACH Complete Works for Lute Yasunori Imamura, Baroque Lute 1Partita in E major, BWV 1006a 20:41 ^Suite in E minor, BWV 996 18:18 Johann Sebastian Bach (1685–1750) Prelude 4:13 & Prelude 2:51 2 Complete Works for Lute 3 Loure 3:58 * Allemande 3:02 Courante 2:40 4 Gavotte en Rondeau 3:29 ( This recording offers the complete lute works of J.S. Bach following the death of Johann Kuhnau (1660–1722), Sarabande 4:24 5 Menuet I & II 4:43 ) including all the solo works as well as pieces from the Kantor at the Thomasschule in Leipzig, Bach was Bourrée 1:51 Bourrée 1:33 6 ¡ St John Passion and the St Matthew Passion , where the appointed as his successor. Gigue 2:27 Gigue 3:48 lute appears in an ensemble setting. The depth and During this time, Bach is believed to have been in breadth of Bach’s interest in the lute and its sonorities are contact with two esteemed lute-players, Sylvius Leopold ™Suite in G minor, BWV 995 25:15 7Suite in C minor, BWV 997 22:01 thus amply demonstrated. The variety of the composer’s Weiss (1687–1750) and Johann Kropffgans (1708–c. 1770). Prelude 3:11 £ Prelude 6:11 8 output in this area is considerable, covering different (Around this period, he transcribed his Fifth Cello Suite for Fugue 7:13 ¢ Allemande 6:18 9 periods of his life. lute and arranged the Third Violin Partita for lute- 0 Sarabande 5:28 ∞ Courante 2:35 A brief biographical summary is perhaps relevant to harpsichord, BWV 1006a .
    [Show full text]
  • Shakespeare 400 Music, Songs and Poetry from the Renaissance - the Cultural Bridge Between the Middle Ages and Modern History in Europe
    13thInternational Music Festival Phnom Penh 3-7 November 2016 Shakespeare 400 Music, songs and poetry from the Renaissance - the cultural bridge between the Middle Ages and modern history in Europe European Union International Music Festival Phnom Penh www.musicfestival-phnompenh.org Contact 077 787038 / 015755718 / [email protected] Dear Music Lovers This year, I am pleased to invite you to explore European Renais- sance Music. The central inspirational figure - William Shakespeare - indeed influenced Drama and Music. His stage directions call for music more than 300 times, and his plays are full of beautiful tributes to music. The Festival will mark the 400th anniversary of Shakespeare’s death in 1616. The Renaissance in music occurred between 1450 and 1625, including the transitional period from Renaissance to Early Baroque. As in the other arts, the horizons of music were greatly expanded. The circulation of music and the number of composers and performers increased. The humanistic interest in language (Shakespeare and his contemporaries) influenced vocal music, creating a close relationship between words and music. Renais- sance composers wrote music to enhance the meaning and emotion of the text. The festival program is a snapshot of the musical life during the European Renaissance and leads us to refined musical forms, such as the opera during the end of the period. In six concerts, you will experience selected songs, poetry and pure instrumental forms. These performing practices took place mostly in domestic interiors in a private sphere of all milieu of society. I look forward to welcome again international artists, with their luggage of historical Instruments including a Spinet, Lute, and Viola da Gamba, to perform music from: England, France, The Nether- lands, Belgium, Germany, Italy and Spain I warmly invite all music lovers, young and old and also those new to classical music to take full advantage of the feast of music offered by this year’s concert program of European Renaissance music.
    [Show full text]
  • Music Migration in the Early Modern Age
    Music Migration in the Early Modern Age Centres and Peripheries – People, Works, Styles, Paths of Dissemination and Influence Advisory Board Barbara Przybyszewska-Jarmińska, Alina Żórawska-Witkowska Published within the Project HERA (Humanities in the European Research Area) – JRP (Joint Research Programme) Music Migrations in the Early Modern Age: The Meeting of the European East, West, and South (MusMig) Music Migration in the Early Modern Age Centres and Peripheries – People, Works, Styles, Paths of Dissemination and Influence Jolanta Guzy-Pasiak, Aneta Markuszewska, Eds. Warsaw 2016 Liber Pro Arte English Language Editor Shane McMahon Cover and Layout Design Wojciech Markiewicz Typesetting Katarzyna Płońska Studio Perfectsoft ISBN 978-83-65631-06-0 Copyright by Liber Pro Arte Editor Liber Pro Arte ul. Długa 26/28 00-950 Warsaw CONTENTS Jolanta Guzy-Pasiak, Aneta Markuszewska Preface 7 Reinhard Strohm The Wanderings of Music through Space and Time 17 Alina Żórawska-Witkowska Eighteenth-Century Warsaw: Periphery, Keystone, (and) Centre of European Musical Culture 33 Harry White ‘Attending His Majesty’s State in Ireland’: English, German and Italian Musicians in Dublin, 1700–1762 53 Berthold Over Düsseldorf – Zweibrücken – Munich. Musicians’ Migrations in the Wittelsbach Dynasty 65 Gesa zur Nieden Music and the Establishment of French Huguenots in Northern Germany during the Eighteenth Century 87 Szymon Paczkowski Christoph August von Wackerbarth (1662–1734) and His ‘Cammer-Musique’ 109 Vjera Katalinić Giovanni Giornovichi / Ivan Jarnović in Stockholm: A Centre or a Periphery? 127 Katarina Trček Marušič Seventeenth- and Eighteenth-Century Migration Flows in the Territory of Today’s Slovenia 139 Maja Milošević From the Periphery to the Centre and Back: The Case of Giuseppe Raffaelli (1767–1843) from Hvar 151 Barbara Przybyszewska-Jarmińska Music Repertory in the Seventeenth-Century Commonwealth of Poland and Lithuania.
    [Show full text]
  • SONGES SPECTACLE CHOREGRAPHIQUE BEATRICE MASSIN Cie LES FÊTES GALANTES En Collaboration Avec Le Manège De Reims
    SONGES SPECTACLE CHOREGRAPHIQUE BEATRICE MASSIN Cie LES FÊTES GALANTES En collaboration avec le Manège de Reims Jeudi 17 mars-20h30 Vendredi 18 mars – 20h30 Scolaire vendredi 18 mars – 14h30 DOSSIER PEDAGOGIQUE Service Jeune Public 2010-2011 03 26 50 31 06 www.operadereims.com SONGES 2 SOMMAIRE Préparer votre venue ............................................................................................................................................. 4 Recommandations ......................................................................................................................................... 4 Témoignages .................................................................................................................................................. 4 Pour joindre le service jeune public ...................................................................................................................... 4 Note d’intention de Béatrice Massin ................................................................................................................... 5 Songes .................................................................................................................................................................... 6 un rêve baroque d’aujourd’hui .......................................................................................................................... 6 Questionner la verticale baroque .....................................................................................................................
    [Show full text]
  • Violin Sonatas
    PISENDEL VIOLIN SONATAS Tomasz Aleksander Plusa violin · Robert Smith cello Earl Christy lute and theorbo · Ere Lievonen harpsichord JOHANN GEORG PISENDEL 1687-1755 Johann Georg Pisendel was born on the 26th December 1687 in Cadolzburg, a Violin Sonatas small town in Bavaria where his father had settled as Cantor in 1680. At the age of ten he joined the Ansbach court chapel as a chorister. Destined to follow in his father’s footsteps, he entered the local court chapel of Ansbach as a chorister in 1697, SILVIUS LEOPOLD WEISS Sonata for solo violin in A minor studying singing with Francesco Antonio Pistocchi and the violin with Pistocchi’s 1687-1750 11. [without tempo indication] 2’46 great friend and fellow Bolognese, Giuseppe Torelli. To have studied with so great a 1. Ouverture (from Sonata 12. Allegro 5’31 master as Torelli at such a young age must have been fundamental to the development for lute No.39 in C) 4’46 13. Giga 4’36 of Pisendel both as a violinist and composer. 14. Variatione 5’41 At the age of sixteen he was a violinist in the court orchestra of Ansbach. In March JOHANN GEORG PISENDEL 1709 Pisendel left Ansbach for Leipzig to study law. His stay in Leipzig enabled him 1687-1755 SILVIUS LEOPOLD WEISS to enter into two friendships which were to continue throughout his life. Sonata for violin and b.c. in C minor 15. Presto (from Sonata On the way to Leipzig, his path led through Weimar, where he made the 2. Adagio – Andante 1’53 for lute No.39 in C) 6’30 acquaintance of Johann Sebastian Bach, who was at that time in service there.
    [Show full text]
  • Carl Schurz Was in the Pledge Class of 1870
    Appendix Gamma2: The Breslau Intellectual Line Connecting brothers of Phi Kappa Psi Fraternity at Cornell University, tracing their fraternal Big Brother/Little Brother line to the tri-Founders and their Pledges . Brother Carl Schurz was in the Pledge Class of 1870. . Carl Schurz was friends with Gottfriend . Felix Mendelssohn studied under Kinkel years . Carl Friedrich Zelter . . Gottfried Kinkel was spouse to . Carl Friedrich Zelter studied under Carl Johanna Kinkel. Friedrich Christian Fasch . . Johanna Kinkel studied music under . Carl Philipp Emanuel Bach studied Jewish musician, under Sylvius Leopold Weiss. Felix Mendelssohn . Below we present short biographies of the Breslau intellectual line of the Phi Kappa Psi Fraternity at Cornell University. “Who defends the House.” We begin with brother Carl Schurz (1870), tapped into Phi Kappa Psi at Cornell in the first class after the Founding: Carl Schurz (March 2, 1829 – May 14, 1906) was a German revolutionary, American statesman and reformer, and Union Army general in the American Civil War. He was also an accomplished author, newspaper editor and journalist, who in 1869 became the first German-born American elected to the United States Senate. His wife Margarethe Schurz and her sister Bertha von Ronge were instrumental in establishing the kindergarten system in the United States. During his later years, Schurz was perhaps the most prominent Independent The University of Bonn in American politics, noted for his high principles, his avoidance of political partisanship, and his moral conscience. Brother Schurz is famous for saying: "Our country right or wrong. When right, to be kept right; when wrong, to be put right." Many streets, schools, and parks are named in honor of him, including New York City's Carl Schurz Park.
    [Show full text]
  • Classical by Composer
    Classical by Composer Adolphe Adam, Giselle (The Complete Ballet), Bolshoi Theater Orchestra, Algis Zuraitis,ˆ MHS 824750F Isaac Albeniz, Iberia (complete), Maurice Ravel, Rapsodie Espagnole, Jean Morel, Paris Conservatoire Orchestra, RCA Living Stereo LSC-6094 (audiophile reissue) 2 records Tomaso Albinoni, Adagio for Strings and Organ, Concerto a Cinque in C Major, Concerto a Cinque in C Major Op. 5, No. 12, Concerto a Cinque in E Minor Op. 5, No. 9, The Sinfonia Instrumental Ensemble, Jean Witold, Nonesuch H-71005 Alfonso X, El Sabio, Las Cantigas de Santa Maria, History of Spanish Music, Volume I MHS OR 302 Charles Valentin Alkan, Piano Pieces Bernard Ringeissen Piano Harmonia Mundi B 927 Gregorio Allegri, Miserere, and other Great Choral Works CD ASV CD OS 6036 DDD, ADD 1989 Gregorio Allegri, Miserere, and other Choral Masterpieces CD Naxos 8.550827 DDD 1993 Gregorio Allegri, Miserere, Giovanni Pierluigi, Stabat Mater, Hodie Beata Virgo, Senex puerum portabat, Magnificat, Litaniae de Beata Virgine Maria, Choir of King’s College, Cambridge, Sir David Willcocks, CD London 421 147-2 ADD 1964 William Alwyn, Symphony 1, London Philharmonic Orchestra, William Alwyn, HNH 4040 Music of Leroy Anderson, Vol. 2 Frederick Fennell, Eastman-Rochester “POPS” Orchestra, 19 cm/sec quarter-track tape Mercury Living Presence ST-90043 The Music of Leroy Anderson, Frederick Fennell, Eastman-Rochester Pops Orchestra, Mercury Living Presence SR-90009 (audiophile) The Music of Leroy Anderson, Sandpaper Ballet, Forgotten Dreams, Serendata, The Penny Whistle Song, Sleigh Ride, Bugler’s Holiday, Frederick Fennell, Eastman-Rochester POPS Orchestra, 19 cm/sec half-track tape Mercury Living Presence (Seeing Ear) MVS5-30 1956 George Antheil, Symphony No.
    [Show full text]
  • Ph.D. Dissertations in Musicology University of North Carolina At
    Ph.D. Dissertations in Musicology University of North Carolina at Chapel Hill Department of Music 1939 – 2019 Table of Contents Dissertations before 1950 1939 1949 Dissertations from 1950 - 1959 1950 1952 1953 1955 1956 1958 1959 Dissertations from 1960 - 1969 1960 1961 1962 1964 1965 1966 1967 1968 1969 Dissertations from 1970 - 1979 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 Dissertations from 1980 - 1989 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 Dissertations from 1990 - 1999 1990 1991 1992 1994 1995 1996 1998 1999 Dissertations from 2000 - 2009 2000 2001 2002 2003 2005 2006 2007 2008 2009 Dissertations since 2010 2010 2013 2014 2015 2016 2018 1939 Peter Sijer Hansen The Life and Works of Dominico Phinot (ca. 1510-ca. 1555) (under the direction of Glen Haydon) 1949 Willis Cowan Gates The Literature for Unaccompanied Solo Violin (under the direction of Glen Haydon) Gwynn Spencer McPeek The Windsor Manuscript, British Museum, Egerton 3307 (under the direction of Glen Haydon) Wilton Elman Mason The Lute Music of Sylvius Leopold Weiss (under the direction of Glen Haydon) 1950 Delbert Meacham Beswick The Problem of Tonality in Seventeenth-Century Music (under the direction of Glen Haydon) 1952 Allen McCain Garrett The Works of William Billings (under the direction of Glen Haydon) Herbert Stanton Livingston The Italian Overture from A. Scarlatti to Mozart (under the direction of Glen Haydon) 1953 Almonte Charles Howell, Jr. The French Organ Mass in the Sixteenth and Seventeenth Centuries (under the direction of Jan Philip Schinhan) 1955 George E. Muns, Jr. Climax in Music (under the direction of William S.
    [Show full text]
  • Open Sjhornbergerrevised.Pdf
    The Pennsylvania State University The Graduate School IN THE SHADOW OF GREATNESS: WOMEN COMPOSERS AND THEIR FLUTE SONATAS AT THE PRUSSIAN COURT, 1730-1771 A Thesis in Music by Sheila Joy Hornberger © 2020 Sheila Joy Hornberger Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts May 2020 ii The thesis of Sheila Joy Hornberger was reviewed and approved* by the following: Marica S. Tacconi Professor of Musicology Thesis Advisor Mark C. Ferraguto Associate Professor of Musicology R J David Frego Director of the School of Music iii ABSTRACT The Prussian Court at Berlin during the reign of Frederick the Great (1740-1786) was well known as an epicenter of musical activity during the Enlightenment; it attracted many famed composers such as Johann Sebastian Bach, Carl Philipp Emanuel Bach, and Johann Hasse. Composers Johann Joachim Quantz, CPE Bach, Johann Kirnberger, and Friedrich Wilhelm Marpurg wrote their famous treatises while working at this court, which helped to further knowledge of music and music theory. Frederick the Great was also widely known for his musicality, and he left over one hundred compositions for posterity. While historians have credited the flute-playing king for creating this musical renaissance in Prussia after the death of his philistinian father, the contributions of his musical sisters, Wilhelmine von Bayreuth and Anna Amalia of Prussia have been largely ignored. The presence of a third woman composer, Anna Bon di Venezia, also remains largely unrecognized in musicological circles. It should be of little surprise, however, that this newly enlightened Prussian court enabled the musical advancement of these talented women.
    [Show full text]
  • Frontespizio Guida Camera
    ....................................................... Indice cronologico dei compositori Indice cronologico dei compositori 1550-1599 1770 Ludwig van Beethoven ({ 1827): 38 1563 John Dowland ({ 1626): 257 1778 Johann Nepomuk Hummel ({ 1837): 392 1781 Mauro Giuliani ({ 1829): 323 1782 NiccoloÁ Paganini ({ 1840): 525 1600-1649 1784 Louis (Ludwig) Spohr ({ 1859): 700 1637 Dietrich Buxtehude ( 1707): { 187 1784 Georges Onslow ({ 1853): 523 1644 Heinrich Ignaz Franz Biber von Bibern ( { 1786 Carl Maria von Weber ({ 1826): 761 1704): 102 1792 Gioachino Rossini ({ 1868): 596 1796 Franz Adolf Berwald ({ 1868): 98 1650-1699 1797 Franz Peter Schubert ({ 1828): 639 1653 Arcangelo Corelli ({ 1713): 224 1656 Johann Paul von Westhoff ( 1705): { 778 1800-1849 1656 Marin Marais ( 1728): { 439 1804 Mikhail IvanovicÏ Glinka ({ 1857): 329 1659 Henry Purcell ( 1695): { 556 1805 Fanny Mendelssohn-Bartholdy Hensel ({ 1668 FrancÎois Couperin ({ 1733): 228 1847): 366 1671 Tomaso Giovanni Albinoni ({ 1751): 5 1809 Felix Mendelssohn-Bartholdy ({ 1847): 449 1672 Francesco Antonio Bonporti ( 1749): { 120 1810 Fryderyk Chopin ( 1849): 1672 Antoine Forqueray ( 1745): { 219 { 309 1810 Robert Schumann ( 1856): 1673 Jacques Hotteterre ( 1763): { 667 { 391 1810 August Joseph Norbert BurgmuÈ ller ( 1678 Antonio Vivaldi ( 1741): { { 753 1836): 1679 Jan Dismas Zelenka ( 1745): 179 { 792 1813 Giuseppe Verdi ( 1901): 1681 Georg Philipp Telemann ( 1767): { 748 { 735 1813 Charles-Henri-Valentin Morhange detto Al- 1683 Jean-Philippe Rameau ({ 1764): 569 kan ({ 1888): 8 1685
    [Show full text]