18th Century Music Research Papers (original) (raw)

2025, Cuadernos de Historia Moderna

Fernandes, Cristina y Ortega, Judith (eds.), Música en las cortes ibéricas (1700-1834): ceremonial, artes del espectáculo y representación del poder, Madrid,

2025, Conectando los archivos con la academia: investigación y divulgación del patrimonio musical hispánico

El siglo XVIII valenciano estuvo marcado por la aparición de las capillas parroquiales, algunas de ellas formadas en el siglo XVII y que ejercieron una gran influencia en la ciudad hasta su desaparición durante la desamortización de Mendizábal en 1835. La bonanza económica de las iglesias valencianas se materializó en la llegada al magisterio de capilla de músicos llegados de Elche o Alicante, algunos de ellos formados en Orihuela. Esta investigación centra su mirada en tres músicos de gran relevancia musical:

2025, Eighteenth-Century Music

2025

The following article discovers the existence of an unpublished music treatise written in 1730 by Onofre Puig, chapel master in the Church of Saints Just and Pastor in Barcelona. The work, handwritten, is preserved in the National Library of Catalonia, and one of its characteristics is that it is written in Catalan. Along with the anonymous treatise of composition preserved in the Centre de Documentació de l’Orfeó Català, Puig’s manuscript is one of the few examples of known musical treatises written in Catalan. Its existence becomes significant because it allows us to demonstrate that in Barcelona (or around Catalonia?), in the 18th Century, musical knowledge was not only conveyed in Spanish but also in Catalan. On the other hand, this type of works offers valuable information on the musical knowledge expected from the musicians of the time. Onofre Puig divides his treatise into three books, in which he considers plainsong, mensural music, and rhythmic music.
Onofre Puig’s treatise, in less than a hundred and fifty pages, deploys and clarifies the knowledge that prospective chapel masters were to acquire in the early 18th Century. The study of this type of theoretical works becomes significant when intending to completely understand the music of a certain era, in our case, that of the 18th Century.

2025, Beethoven y el estilo galante

La presente ponencia tiene como objetivo mostrar los avances alcanzados en mi proyecto de maestría, el cual busca hacer el análisis de algunas sonatas de Beethoven desde categorías propuestas para la música galante.
Puntualmente abordaré la presencia de los esquematas galantes en la sonata op. 10 no. 2 y op. 109 de Beethoven. Aunque el compositor se ha considerado como representante del estilo romántico, hay posibilidad de entender su música desde otras perspectivas; la que se plantea aquí tiene que ver con características técnicas asociadas principalmente a la música galante. Esto con la finalidad de proponer una interpretación musical que dé cuenta de la relación del compositor con este estilo compositivo.
Consecuentemente, se abordará el estilo galante desde el contexto musical de la época, los maestros de capilla y su forma de enseñar en el siglo XVIII. En este apartado se hará también una revisión historiográfica para establecer cómo se ha entendido, desde el campo musicológico actual, al estilo galante. Autores como Radice (1999), Heartz (2003) y Gjerdingen (2007) resultan fundamentales para entender, qué es el estilo galante y cómo se ha entendido la música suscrita a esta categoría.
Después de entender las características técnicas e historiográficas del estilo galante se realizará el análisis de algunas sonatas de Beethoven con los ejemplos más significativos que se han encontrado hasta ahora en la investigación. En el apartado de análisis el texto de R. Gjerdingen, Music in the Galant Style (2007), propone y plantea a detalle los esquematas para el entendimiento de la música galante desde el acto compositivo, creativo, pedagógico y sonoro, que resulta fundamental para establecer las categorías de análisis en la presente investigación.
2
Finalmente, las conclusiones permiten abordar las posibles conexiones de este estilo con el músico alemán dejando, al mismo tiempo, varias dudas y preguntas sobre cómo los esquematas podrían funcionar para describir música de otra época, que se separa temporal y geográficamente del estilo galante.
Así también, esta investigación abre puertas a una interpretación con una perspectiva estílistica distinta y el planteamiento de nuevas preguntas de investigación. Mientras ya se han encontrado estos esquematas galantes en algunas sonatas, su relación histórica con Beethoven queda aún por descubrir.
Palabras clave: esquematas, estilo galante, partimento, análisis musical y contrapunto.

2025, Annals of clinical and laboratory science

Non-induced expectorated sputum (NIS) stained with tinctorial stains is not considered useful in the diagnosis of Pneumocystis carinii pneumonia (PCP). The diagnostic yield of NIS was evaluated in human immunodeficiency virus (HIV)-infected patients, when stained with a more sensitive direct fluorescent antibody for PCP-direct fluorescent antibody (PC-DFA). A retrospective analysis was carried out on fifty-five HIV-infected patients with PCP, who had NIS submitted for staining with PC-DFA. Thirty had positive NIS with PC-DFA and all had clinical courses consistent with PCP. Twenty-five had negative NIS with PC-DFA and were diagnosed as having PCP, by autopsy (n = 2), by a positive bronchoalveolar lavage (n = 10), or by having a clinical course consistent with PCP (n = 13). Thus, the sensitivity of NIS stained with PC-DFA was 55 percent (30/55). This is within the range reported in the literature for induced sputum for the diagnosis of PCP. Non-induced sputum stained with PC-DFA can ...

2025, Musical Networks across Borders: The Multiplicity of Musical Creation

Musical creativity emerges from a multitude of cultural, social and historical intersections. This collection of essays aims to highlight the fluidity of genre, style and compositional technique by expanding musical networks to encompass different forms of mobility, including movement across cultural and geographical spaces and the shifts between centre and periphery. Drawing on a variety of sources, including archival materials and fieldwork, the essays in this collection explore aspects of music-making through diverse cases, ranging from early eighteenth-century instrumental music to opera during the ‘long’ nineteenth century and to the modern developments of Jewish and Israeli music. In shifting the focus from the centre to the intricate networks that foster musical creativity, individuals and works that have faded from both historiography and concert performance come into view. Thus, so-called ‘minor composers’ is one of the themes that serve as a common thread running through several essays. Other essays observe style and genre through uncommon yet illuminating lenses, revealing, for example, echoes of opera in Mahler’s symphonies, or tracing the influence of Historically Informed Performance on popular video clips. Further intersections arise from placing composers in broader social, political and cultural perspectives, and in following the movement of musicians who transgressed social, cultural and geographical borders. Subsequently, paths are drawn, for example, from the virtually unknown composer-instrumentalists of early eighteenth-century London to the Russian-Jewish immigrant Samuel Alman and his activities in London’s East End, where the first-ever Yiddish opera was produced in 1912; or from Berlioz and his ‘Jewish friends’ to Ernest Bloch’s Paris encounters that gave birth to his great project, the opera Macbeth. In highlighting a variety of possible angles and approaches, the volume reflects something of the multiplicity that is at the source of musical creation. The collection is dedicated to Jehoash Hirshberg, Professor Emeritus at the Hebrew University of Jerusalem, and aims to reflect the diversity and breadth of his own scholarship. Contributors: Lawrence F. Bernstein, Peter Bloom, Bella Brover-Lubovsky, Yosef Goldenberg, Yoel Greenberg, Alexander Knapp, Yulia Kreinin, Sara Manasseh, Simon McVeigh, Malcolm Miller, Eitan Ornoy, Rimona Paul, Alon Schab, Michael Talbot, Naphtali Wagner, Irit Youngerman

2025, Anuario Musical

In most female convents active in eighteenth-century Europe, music was essential to religious life. Women with previous musical knowledge were highly appreciated and offered benefits when entering the monastic life. Women found in... more

2025, Rhyme and Rhyming in Verbal Art and Song Helsinki, Finland, 22nd–24th May 2019

Handel´s opera Giulio Cesare in Egitto was originally written in Italian, but it has been later performed also in German, and English. It was first performed at the King´s Theatre, Haymarket, London 20th February 1724. It is a drama containing with strong ironic elements. Giulio Cesare was extremely successful due its associations with famous historical characters, and Shakespearean drama, added with connotations to British history. In Giulio Cesare there is affect, ie. emotive technique utilized, both musically and textually. One of the ways is to emphasize the meaningful words by rhyming.

2025, 2025

Tagung der Schola Cantorum Basiliensis im Rahmen des Projektes “L’arte musicale di Giuseppe Torelli (1658–1709)”
Conference of the Schola Cantorum Basiliensis as part of the project "L'arte musicale di Giuseppe Torelli (1658–1709)"

2025, CHÖRE IN DEN OPERN VON CHRISTOPH WILLIBALD GLUCK ANALYSE EINER REPRÄSENTATIVEN AUSWAHL

Zum Opernschaffen von Christoph Willibald Gluck (1714-1787) existiert ein umfangreiches Schrifttum. Darin fehlen aber eingehendere Untersuchungen zu den Chören; dieser Lücke ist die vorliegende Arbeit gewidmet. Die Erstellung einer... more

2025, La Lettre Du Musicien

À l'âge de 18 ans, beaucoup de jeunes se tournent vers une carrière musicale ou musicologique, avec ou sans expérience préalable. Ce chemin, qui semble prometteur et attrayant, peut parfois se révéler être une véritable boîte de Pandore.

2025, Musicologica Olomucensia

Te production of Paris publishers in the second half of the 1700s is consi-
dered the most fruitful in contemporary Europe; as such it also signifcantly
contributed to the dissemination of the repertoire of foreign authors, including
composers from Central Europe. Carl Ditters von Dittersdorf ranks among
the best-known Viennese composers of his generation, and it was perhaps even
thanks to his success with Paris publishers that an awareness of his works has
been preserved up until the present. Paris prints of his compositions belong to
the very frst editions; they appeared since 1766 and the greatest increase in the
number of works published came in 1767. Dittersdorf ’s instrumental composi-
tions, especially symphonies, orchestral trios, and trio sonatas, as well as several
piano adaptations of symphonies were released by prominent French publishers
specializing in foreign production. In total, information about 94 compositions,
published under the name Ditters, was found in 36 prints dated up to the year
1800. Te preserved copies allow for determination of an error rate equalling
approximately one fifth in the authenticity of works published. A great majority
of the identifed works that were published in Paris were composed in the 1760s
or earlier – i.e. at the time when Ditters worked in Vienna. It is probable that
particularly the contacts within the Viennese circles of musicians and sponsors,
including the high nobility, enabled Ditters to establish contact with Paris pu-
blishers that was apparently direct to a certain extent.

2025, Harrassowitz Verlag

The Music Collection at the Diocesan Library in Sandomierz is one of the most valuable and extensive of this kind in Poland. It includes in total 807 library items (many collections among them) described in 2522 catalog records. Vast majority of the manuscripts originates from the eighteenth century, a significant number from the first three decades of the nineteenth century and single copies from the seventeenth century. Vol. I of the Catalog (1550 records), preceded by an extensive Introduction, encompasses the repertoire of the church ensembles (vocal-instrumental and chamber music) and keyboard compositions. In preserved manuscripts there are mainly compositions of Polish, Italian, German and Czech composers however anonymous compositions prevail.

2025, Revista Portuguesa de Musicologia

Nesta recensão me ocuparei da publicação de António Jorge Marques, enquanto na próxima, do trabalho de Javier Marín López. Minucioso trabalho iniciado há mais de 10 anos pelo musicólogo António Jorge Marques, A obra religiosa de Marcos António Portugal: Catálogo temático, crítica de fontes e de texto, proposta de cronologia, com prefácio de David Cranmer, é um catálogo das mais de 150 obras sacras desse autor, acompanhado de um amplo estudo sobre o compositor e sobre as fontes (manuscritas e impressas) de suas peças. Não bastassem as mais de mil páginas desse livro, o autor ainda oferece aos leitores um disco ótico (Cd-Rom) encartado na contracapa, com três apêndices dedicados aos copistas, às marcas de água e tipos de papel empregados nas fontes conhecidas de suas obras e uma proposta de cronologia para as obras religiosas de Marcos Portugal. Compositor que anteriormente era conhecido quase somente por sua produção operísticamesmo assim em restritos círculos intelectuais, em sua maioria portugueses e brasileiros -Marcos António Portugal passa a ser visto, agora, de uma maneira completamente diferente, por conta da monumental organização de sua música sacra que nos é oferecida por António Jorge Marques. A dedicação, quantidade e qualidade de trabalho que se encontra nesta publicação torna este D nova série | new series 1/1 (2014), pp.

2025, Revista Musical Chilena

2025, Bonporti oggi Studi e ricerche su ~ Francesco Antonio Bonporti a 250 anni dalla morte.

Bonporti a Trento: una nuova prospettiva sulla biografia del compositore

2025

Ayant été proposé en 2020 de dispenser le cours de « rhétorique musicale » à la HEM, j'ai dû me poser certaines questions fondamentales : Qu'est-ce que les auteurs anciens voyaient exactement en commun entre la disciplina rhetorica et la pratique musicale ? Est-ce que la musique (comme un discours) était censée véhiculer du sens, et si oui, comment cela fonctionnait-il ? Fautes de Figurenlehren élaborées en dehors de l'Allemagne, la « rhétorique musicale » était-elle tout simplement une aberration allemande ? Toutes ces questions m'ont amené à examiner le long Nachleben du concept platonicien de mimesis (lat. imitatio) dans les discussions sur l'expression musicale avant 1800. La similitude entre la musique et la rhétorique repose donc sur la capacité des deux à imiter - et ensuite exciter - les passions de l'âme, sans que l'une ne devienne l'équivalent direct de l'autre.

2025

Organisation de la cinquième journée du séminaire "Baroque au présent", au Théâtre de Caen, le 16 novembre 2024.
Organisation : Fabien Cavaillé, Judith le Blanc, Claire Lechevalier et Caroline Mounier-Vehier.

2024, Allegro cum laude: Estudios musicológicos en homenaje a Emilio Casares

El enfoque principal de este estudio es resaltar su importancia histórica y su influencia en la transición musical hacia la canción solista y la monodía durante el siglo XVI. Destaca cómo la canción acompañada, interpretada a voz sola con acompañamiento instrumental, ha sido subestimada en las historias generales de la música, a pesar de su papel crucial en el cambio del Renacimiento al Barroco musical. Se discute la necesidad de reevaluar su rol en la historiografía musical, ya que su práctica oral y la falta de documentación escrita han llevado a su menosprecio. Además, el documento sugiere que una perspectiva sociológica podría integrar mejor la canción acompañada en el contexto de la vida cortesana y urbana de la época.

2024, Kremnický letopis / Annales cremnicienses 2/2014

Biography of the pipe organ maker of Kremnica city Martin Zorkovský jr., XVIII. century, Hungarian Kingdom

ISSN 1337-0618

2024, Mozart in Salzburg and Beyond: New Perspectives, ed. Simon P. Keefe (Steglein Publishing)

2024, Mendelssohn und das Rheinland

2024, MusikTheorie

Dynamics is the most neglected of musical parameters in sonata theory: It is usually regarded as an aspect of individual work design and performance practice. However, the use of certain dynamics at crucial points of sonata form has long been a matter of well-established traditions (such as the forte transition or the piano second theme).
The text discusses these topics of sonata form dynamics and their relationship with other parameters (harmonic and thematic structure). It shows the key role of the 18th-century symphony for establishing these topics which were soon imitated in piano and chamber music. The main focus is laid on the essential stages of the classical exposition, on different strategies of the resulting dramaturgy and on the characteristic changes of both during the ‘long 19th century’.

2024, Studi vivaldiani

A NEW VIVALDI SINFONIA Summary Some years ago the author had the good fortune to obtain reproductions of the pages of a Vivaldi sinfonia unknown from elsewhere preserved in a set of partbooks compiled towards 1730 and containing the... more

2024

A c ur a di Guido Oli v ier i e M a rc Va nscheeu w ijck Marco Pesci L'arciliuto e il basso continuo nella Roma di Corelli: osservazioni sull'uso di ottave e acciaccature La presente relazione prende le mosse dalle conclusioni di un precedente studio in cui furono analizzate le intavolature di basso continuo per arciliuto presenti in tre manoscritti: un trattato romano del 1720 dedicato alla realizzazione del basso continuo, compilato da Girolamo Chiti; alcuni passaggi contenuti nel manoscritto Doni di Perugia e gli accompagnamenti di alcune arie di un codice oggi conservato a Tokio. 1 L'analisi di queste intavolature ha portato a formulare l'esistenza di una innovativa e sconosciuta accordatura per l'arciliuto che, con tutta probabilità, fu adottata intorno alla seconda metà del XVII secolo per ampliare le possibilità esecutive dello strumento in relazione allo stile continuistico coevo. Nello studio citato fu esaminata nel dettaglio la legittimità e l'efficacia di un'accordatura con i cori centrali ottavati -non unisoni, secondo la tradizione diffusasi nel XX secolo -in grado di risolvere tutti i dubbi e le contraddizioni presenti nelle tre fonti. Tale accordatura viene confermata anche da una testimonianza iconografica coeva, relativa ad un dipinto di John Michael Wright (Figura 1). 2 1. I-Rli, fondo Chiti, Mus. P 15, Regole più necessarie, et universali per accompagniare il basso continuo con l'arcileuto, o gravicembalo. Li 2 7bre 1720 in Roma […] (d'ora in poi Mus. P15); I-PEas, archivio Fiumi-Sermattei della Genga, ms. senza collocazione (olim VII-II-2), Libro di leuto. Di Gioseppe Antonio Doni (facsimile, S.P.E.S., Firenze 1988); J-Tn, Ohki Collection, ms. N-4/42, cc. 11v-20v. Lo studio di riferimento è Pesci 1996: in appendice, pp. 45-53, è stato riprodotto in facsimile il trattato corsiniano. 2. John Michael Wright: A lady with a theorbo (ca. 1680), Columbus (Ohio, USA), Columbus Museum of Art. Sembra evidente che i cori centrali dello strumento siano ottavati, soprattutto nel contrasto con la targhetta bianca sulla tastiera. Lo strumento sembra più un arciliuto a 10 cori che una tiorba, contrariamente a quanto indicato nel titolo, e ciò potrebbe confermare

2024, HAL (Le Centre pour la Communication Scientifique Directe)

2024, «Harmonia mundi» del objeto documental al sonido. Estudios sobre patrimonio musical

Les opinions i els fets que es consignen als estudis aquí inclosos són de responsabilitat exclusiva dels seus autors. La col•lecció editorial Consonantia no es fa responsable, en cap cas, de la credibilitat, veracitat, autenticitat i originalitat dels estudis. Els originals dels estudis apareguts a la col•lecció editorial Consonantia, publicats en paper o en versió electrònica, són propietat de la Universitat de Barcelona, i cal citar la procedència en qualsevol reproducció parcial o total. Las opiniones y hechos que se consignan en los estudios aquí incluidos son de exclusiva responsabilidad de sus autores. La colección editorial Consonantia no se hace responsable, en ningún caso, de la credibilidad, veracidad, autenticidad y originalidad de los estudios. Los originales de los estudios aparecidos en la colección editorial Consonantia, publicados en papel o en versión electrónica, son propiedad de la Universidad de Barcelona, siendo necesario citar la procedencia en cualquier reproducción parcial o total. The opinions and facts contained in the studies herein are the sole responsibility of their authors. The Consonantia editorial collection is not responsible, in any case, for the credibility, veracity, authenticity and originality of the studies. The originals of the studies that appear in the Consonantia editorial collection, published on paper or in electronic version, are the property of the University of Barcelona, and it is necessary to cite the source in any partial or total reproduction. Esta publicación es posible gracias al respaldo de las siguientes instituciones:

2024, Colloque international "Traité de l’harmonie de Jean-Philippe Rameau en son temps: discours théoriques et pédagogiques, composition et pratiques musicales autour de 1722, IReMus Paris, 13-15 October

The development of harmonic theories has often been associated with modern science and the Enlightenment. Despite of this, Rameau’s Traité de l’harmonie (1722) is not the only case at the time in which important constituents of modern harmony originated from pre-modern thought or in a pedagogical context. Comparative studies remain, however, difficult when historical discourses have just survived in fragments or later accounts.
The present talk departs from Rameau’s “Clermont notes” for drawing a comparison with contemporary documents from Padua and Venice. Both Christensen’s Rameau and Musical Thought in the Enlightenment (1993) and Holtmeier’s Rameaus langer Schatten (2017) contain an extensive discussion of Rameau’s lost writings. In this, Holtmeier pleads for a substantial revision of their previous dating. The relationship of the “Clermont notes” to the Traité is then not only a matter of chronology. For its examination also helps to identify key features of theoretical or pedagogical writings, before proceeding any further.
On the other side, Patrizio Barbieri’s Quarrels on Harmonic Theories in the Venetian Enlightenment (2020) adds new findings from c.1735 on, when part of the Scuola dei rivolti turned to modern science. My archival research included, instead, notes, sketches, and alternative versions of treatises from the 1720s to c.1734, beginning with the reconstruction and dating of a coherent text (Padua, c.1728) from disparate sheets of Vallotti (I-Pca A.VI.530; A.VI.537). These materials show how Calegari and Vallotti based their theories on a “Greco complesso.” In conclusion, certainly not the Greeks, but the semantic field of “sonus musicus” is essential for a historical-systematic comparison with Rameau.

2024, Selva musicologica : księga pamiątkowa dedykowana Profesor Zofii Dobrzańskiej-Fabiańskiej w 70. rocznicę urodzin

"Directorium Chori..." and other manuscripts from the Carmelite monastery in Cracow as a source of knowledge on the education of novices in choral singing in the 18th century

2024

Статья была опубликована электронно в 2020 году. Дополнена и переработана в 2024.

2024, ANDA. I Convegno annuale (Modena, Conservatorio di Musica “Orazio Vecchi – Antonio Tonelli” 29 settembre – 1° ottobre 2023)

2024

Gentili fu uno dei pochi compositori della sua epoca a dedicarsi esclusivamente alla musica strumentale in particolare alle sonate e ai concerti per archi. 5

2024, Rezension/Book review - Arabella Pare, Franz Schubert. The Fragmentary Piano Sonatas (= Schubert: Perspektiven – Studien, Bd. 7), Stuttgart: Steiner 2022

2024, MSA Conference 2022, The 45th National Conference of the Musicological Society of Australia

Handel´s musical expression was largely going towards lighter style Galant, not totally against the traditional beginning of the 18 th Century Baroque music making, but rather furthering it into some fresher musical fields by connecting tastefully European styles. This is reflected for instance in Handel´s opera Giulio Cesare´s dancelike catchy arias, which are set in da capo model as tripartite. The first section is repeated decoratively in the end by the soloist, the middle section is varying and contrasting by texture, rhythm, musical key, and mood, so that the listener´s attention is caught via "shading" and contemplating, producing the elaborate emotional content of the text, seeking personal emotions and sensitivity. Accordingly, the message is furthered via an emotion encouraged to be reflected via textual poetical verse. The meaningful words are being emphasized elaborately by endings with corresponding sounds. Regardless of the language, the basic meaning remains in the intermediary duality between the main themes, the affects of love and revenge which are set as a bipartite counterforcible / reactional embodiments created by the characters of the opera, which owe to Aristotle´s four elements (384-322BCE), and Plato´s atomism (429-347BCE) theories and can be described by Greimassian and Tarastian semiotic modal models (1992/2012).

2024, Il Saggiatore musicale

Johann Joachim Quantz, in his Versuch einer Anweisung, die Flöte traversiere zu spielen (1752), credited Giuseppe Torelli with the invention of the concerto form. Detailed historical research has limited the reliability of this old and in:uential assumption. Nevertheless, the contribution of the Veronese composer to the development of the Baroque concerto remains undeniable. It can be summarized as the fashioning of a new kind of musical writing – ritornello form, solo-tutti alternation, thematic dierentiation of instrumental groups, a tendency towards homorhythmic textures – which marked the transition from 17th-century polychoral sonata to the mature concerto. In addition to this, there is a preference for the trumpet as solo instrument: a stylistic feature of Torelli’s Bolognese period, who was employed on several occasions between 1684 and 1709 by the Cappella musicale of San Petronio.
This well-established historiographical picture, however, is not entirely accurate. Only part of Torelli’s œuvre was published during his lifetime (Op. 1-6; Op. 8 is posthumous), while a large number of manuscript pieces remain unpublished and dicult to date. Among them are a dozen works from the last Bolognese period (1701-09), in which the oboe stands out as a concertante instrument. This nucleus of compositions – variously labelled as ‘Concerto’, ‘Sonata’, ‘Sinfonia’ – displays innovative features with regard not only to instrumentation but also to its morphological-stylistic arrangement. The variability of de*nition also suggests a cross-fertilization of genres, contexts and functions.
A careful analysis of these works can implement a more complete de*nition of the Torellian production framework and, more generally, of the instrumental output of the Bolognese School.

2024

Data e firma dell'allieva/o___________________________________________________________ TEORIA ANALISI E COMPOSIZIONE Prova scritta Tipologia B1 Realizza il basso a parti strette o late, elaborando una melodia coerente con il contenuto... more

2024, Música en las cortes ibéricas (1700-1834): ceremonial, artes del espectáculo y representación del poder

La organización de la Real Cámara de Fernando VII tras su restauración
en el trono en 1814 anula las reformas introducidas por José I y retoma el modelo anterior de Carlos IV. Sin embargo, desde 1814 y hasta el fallecimiento del rey en 1833, vive una larga etapa de trasformaciones al tempo que se desarrolla en este ámbito una actividad musical de importancia extraordinaria.
Este trabajo se centra en el puesto de director de música de la Real
Cámara, el cargo más importante en su estructura musical. En él se identifican los distintos directores que hubo durante este reinado: Francisco Brunetti, Carlo Marinelli y José Trota, además de otros complementarios como el de compositor (Francesco Federici, Indalecio Soriano Fuertes) y pianista acompañante (Mariano Lidón).
El estudio parte del análisis de la amplia documentación administrativa
conservada en el Archivo General de Palacio relativa a este periodo de
fuerte tensión política en el que abundaron los conflictos entre los músicos.
Esto permite conocer cómo fue el proceso y los criterios del nombramiento de los directores o compositores, cuáles eran sus atribuciones y su consideración profesional. Todo esto se estudia teniendo en cuenta el marco institucional y organizativo de la Casa Real así como la práctica musical en la Real Cámara. En definitiva, exploramos distintos aspectos de la música de cámara en la corte en un periodo apenas estudiado en los últimos años del Antiguo Régimen.

2024, Ex Chordis – Rivista di Cultura, Storia, Didattica e Ricerca degli Strumenti ad Arco

In questo contributo si vuole analizzare la produzione cameristica e solistica per archi di Francesco Ricupero, compositore della seconda metà del Settecento di cui conosciamo pochissime notizie biografiche ma di cui possediamo un’enorme quantità di manoscritti musicali. Studiare e analizzare manoscritti e composizioni sconosciute può essere utile non solo per arricchire il repertorio di uno strumento ma per riportare in auge pratiche esecutive dimenticate e stili nascosti. Pur trattandosi di una produzione secondaria di un compositore pressoché dimenticato dalla storia della musica, risulta essere molto interessante, ricca di spunti e diversa da quanto scritto e composto a Napoli nella seconda metà del Settecento. Tale produzioni merita oggi approfondimenti, edizioni critiche ed esecuzioni. In particolare, analizzeremo la Sonata per violino e cembalo, una composizione molto particolare, composta solo in due movimenti, che mal si inserisce nel repertorio solistico dell'epoca.

2024, Interdisciplinary Studies in Musicology

Love in the Writings of Saint Hildegard of Bingen The work of Ludwik Bronarski The stimulus which has led me to look more closely at Saint Hildegard of Bingen was the relatively little known work Die Lieder der hi. Hildegard. Ein Beitrag zur Geschichte der geistlichen Musik des Mittelalters, written by Ludwik Bronarski as his doctoral thesis in Freiburg, under the supervision of one of the greatest researchers of medieval mu sic-Peter Wagner. It was defended in 1919 and published three years later. Apart from one more article, from 1926,1 this work about Hildegard is the only one in Bronarski's output which does not deal with Chopin. Possibly the reason why the work has been forgotten so easily is its un usualness in the output of a famous chopinologist. It is forgotten unjustly. This thorough analysis of Hildegard's songs is one of the first of its kind to be undertaken-possibly the very first, given that earlier works concentrate either on Hildegard's biography or her mystical writings, whereas Bronarski writes exclusively about the Saint's poetry and music (although her authorship of the music is not confirmed for certain). It is notable that, despite his use of research methods un popular today, Bronarski's main theses remain extremely up-to-date: from establishing the number of Hildegard's works, through their classi fication, to his final observations. The work is divided into six parts: an introduction (explaining how the work came about and concentrating on the sources used by the author) and five chapters. The songs are classified in two ways: with re spect to the different types of plainchant (we note here the unusual char acter of these works, evincing a rather liberal approach to the rules of plainchant with regard to both text and melody; forms are not only re 1 Ludwik Bronarski, 'Die Quadripartita figura in der mittelalterlichen Musik theorie', in Festschrift Peter Wagner zum 60. Geburtstag, ed. Karl Weinmann (Leip zig, 1926).

2024, Musicians' Mobilities and Music Migrations in Early Modern Europe

2024

L’edizione critica del Concerto n°1 per cembalo (o fortepiano) e orchestra del compositore bavarese Johann Simon Mayr (Mendorf, Baviera, 1763 - Bergamo, 1845) è stata condotta dal musicologo bergamasco Prof. M° Fabrizio Capitanio, Conservatore della Biblioteca Musicale ‘Gaetano Donizetti’ di Bergamo.
In questa veste di pubblicazione, l’opera viene presentata nella sua integrità e nella sua assoluta fedeltà, fedeltà ottenuta da una sistematica collazione dei testimoni reperiti nella Biblioteca Donizetti e nel Museo Donizettiano di Bergamo.
La riscoperta del repertorio strumentale di Mayr è stato oggetto abbastanza recente di indagini, seppur non in modo sistematico, ma ciò che è evidente da un’indagine preliminare è la profonda attenzione nei confronti del pianoforte e delle sue poliedriche dimensioni, soprattutto legate all’insegnamento .

2024, Eighteenth-Century Music

In his book How Sonata Forms: A Bottom-Up Approach to Musical Form Yoel Greenberg makes a substantial contribution to our understanding of the evolution of sonata form. His analysis of the binary and concerto forms of mid-eighteenth-century composers sheds light on the emergence of a musical structure that has intrigued musicologists and listeners for centuries. Greenberg grounds his research in the writings of past and present sonata-form thinkers, engaging with a 'who's who' list of musicians and scholars from Scheibe to recent twenty-first-century writers. He complements this grounding in the field with an interdisciplinary approach, drawing on concepts from diverse areas such as linguistics, evolutionary biology, sociology, statistics and philosophy. This approach provides the framework for a bottom-up investigation into the development of sonata form. Greenberg supports his arguments with evidence from historical treatises, data on thematic quotations in a corpus of almost one thousand works and statistical analysis. Acutely musical and skilfully written, Greenberg's book presents analyses and arguments with clarity and accessibility. His prose is not only insightful but also infused with humour and grace, making it a compelling read for both scholars and enthusiasts alike. Greenberg leans heavily on the distinction between synchrony and diachrony throughout this work. Synchrony represents a snapshot of a specific moment or period of time, allowing us to ask the question 'what is sonata form?'. On the other hand, diachrony resembles a timeline and corresponds to the question 'when and how did sonata form come into existence?' (13). However, attempts to address these questions reveal counterexamples to neat narratives or categorizations, termed 'fuzziness' by Greenberg. When addressing the synchronic question, numerous sonata forms fit the definition perfectly, while many others fit it awkwardly. Similarly, answering the diachronic question complicates explaining the existence of sonata-form movements that occurred 'too early' in the timeline. None the less, Greenberg successfully makes valuable insights into the nature and evolution of sonata form. Greenberg's arguments frequently invoke the distinction between bottom-up and top-down approaches. A bottom-up approach focuses on individual features, such as genotypes or musical elements, and explores how they combine to form more complex systems, like phenotypes or musical forms. It is reductionist. A top-down approach starts with a complete whole and then deconstructs it into smaller segments. It is holistic. In music, top-down approaches dominate, often addressing the diachronic question through the lens of 'great men' who altered the paradigm or forged new paths for a particular form. Bottom-up approaches in musicology are relatively uncommon, even rare. They offer a new perspective that top-down approaches cannot. In the case of sonata form, a bottom-up approach allows us to understand it as 'a problem, a collection of disparate common practices inherited from other works and expected by listeners, which must

2024, Eighteenth-Century Music

This editorial includes some reflections on periodization problems regarding the hispanic music of the eighteenth century.

2024

Organisation de la quatrième séance du séminaire "Baroque au présent", au Théâtre de Caen, le 10 novembre 2023.
Organisation : Fabien Cavaillé, Judith le Blanc, Claire Lechevalier et Caroline Mounier-Vehier.

2024, Nasarre

La colección de las cantatas de Londres escritas por el compositor italiano Attilio Ariosti (1666-1729), dedicadas a Jorge I de Gran Bretaña, son un ejemplo de cómo la recepción social de la música en esa época dependía más de eventos externos como la política, los cambios en la moda o las fluctuaciones económicas, que de cualidades e innovaciones musicales de la propia composición. Ariosti, virtuoso de la viola d'amore, tuvo que buscar su forma de vida en el mecenazgo de la nobleza en Berlín, Viena, Londres o París, sufriendo las consecuencias de un compositor que todavía depende de los gustos de la corte y el público. Estas cantatas para viola d'amore, de las que se conservan ejemplares en todo el mundo, son arias breves en forma da capo (acompañadas por dos violines) y recitativos, con sus textos en el estilo italiano antiguo.

2024, TOmás Vicente Tosca y la renovación musical en. el siglo XVIII

Introductory overview of musical theory and thought in Spain in the 17th and first half of the 18th century. Panorama introductorio sobre la teoría y el pensamiento musicales de España en el siglo XVII y primera mitad del XVIII.

2024

La música es un aspecto fundamental de la cultura de corte durante el Antiguo Régimen, ya sea como forma de representación política y expresión religiosa, como factor de distinción o como práctica de sociabilidad, deleite y entretenimiento. La música de corte conforma un campo de estudio de gran importancia histórica; este libro propone un espacio de encuentro para la investigación sobre la música de corte y las artes del espectáculo en el ámbito ibérico y contribuye a impulsar el diálogo entre investigadores de España y Portugal. Las estrechas relaciones entre los dos países dieron lugar a varios tipos de intercambio, tanto de músicos como de repertorios y prácticas musicales. La celebración de varios enlaces a lo largo de los siglos XVIII y XIX entre infantes de ambas casas reales sirvió para reforzar los lazos entre las familias. La confluencia de perspectivas sobre España y Portugal contribuirá tanto a comprender mejor las especificidades de cada país como a caracterizar mejor lo que constituye un terreno común. El contenido del libro se organiza en cuatro secciones. La primera está dedicada a la música escénica, un elemento fundamental en la representación del poder. La segunda trata la música religiosa vinculada a la actividad de las capillas reales, determinada por un estricto ceremonial litúrgico. La tercera se ocupa de la música en el marco de la Real Cámara y otros espacios privados. El último apartado se centra en el estudio de la danza histórica, tanto en el ámbito teatral como en el social. Se propone una visión amplia que mira a la música no sólo en el entorno de la realeza, sino también a través de la extensión de prácticas y modelos con origen en la corte a otros dominios de la sociedad y en su relación estrecha con otras artes.

2024

В статье обобщаются результаты изучения портрета графини Марии Анны Дембовской (1761-1776) работы Ф. Фукса (1774) из собрания музея-замка Червены Камен, Братислава. Наряду с фактами биографии Дембовской, которые удалось выявить при работе с рядом неизвестных ранее источников 18 века, впервые приводятся сведения о музыке, изображенной на портрете.