Baroque Music Research Papers - Academia.edu (original) (raw)

- by
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- Baroque Music, Marc-Antoine Charpentier, Oratorio, Mottetti

Concerto in G Major for oboe, strings and basso continuo by Antonín Reichenauer (c. 1694-1730), which is edited for the first time, is a significant and rare sights instrumental works by Czech composers of the late Baroque. The work was composed probably in the third decade of the 18th century for Count Wenceslas Morzin band for whom Reichenauer worked at that time. This ensemble was one of the best bands in the Czech Republic and as "Maestro di Musica in Italia" for him composed music also Antonio Vivaldi, who dedicated this Morzin a collection of the Concertos op. 8 with the famous "Le quattro stagioni". Also, the Reichenauer's handwriting on the Concerto in G major is obvious direct influence of Vivaldi's music. This critical edition prepared a music historian and musician Lukáš M. Vytlačil to satisfy the scholarly community and also meet the needs of musicians. The score is therefore complemented by Czech and English commentary, complete facsimile copy of the Dresden manuscript and instrumental parts. The concerto is possible without transposition also play on the flute.

- by Lukáš M Vytlačil
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- Music History, Baroque Music, Performance Practice, Czech music
- by Felix Diergarten
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- Baroque Music, Early Modern Catholicism

This paper was read at the 2021 annual conference of the Musicological Society of Australia. It is drawn from my forthcoming book, edited with David Dolata and Philippe Vendrix: "Tablature: Alternate notations 1350-1750" to be published by Brepols. It presents a new vision of tablature and its role in Western culture resulting from a ten-year study of tablatures, 1350-1750. The surviving repertoire of more than 70,000 works for more than forty instruments, including human voice, is preserved in a variety of notations that are alternatives to conventional mensural notation. We examined all kinds of tablatures, from the widely accepted mainstream forms to the more idiosyncratic and experimental varieties that gained little traction in the real world of musical practice. On the notational side, this paper explores the nature of tablature, the essence of its graphic system, the commonalities between systems and the contemporary challenges to renewing the associated terminology. From another perspective, it considers the marginalisation of tablature music in our cultural heritage, and the attendant historiographical deficiencies that result from the near-total exclusion of the repertoire from musicological thinking. Tablature can be revealed as more than a simple notation for "playing by numbers,” instead an alternative way of thinking about music and transmitting it. Tablature fulfilled special and necessary functions, not only as the first viable system of score notation, but also permitting the expression of dimensions of performance-related information that were impossible in conventional notation. In the sixteenth and seventeenth centuries, tablature was a mainstream notation, essential to the social fabric of music, and important whether in their broader use as conducting scores, or in facilitating the popular transmission of elite repertoires.

- by John Griffiths
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- Music, Baroque Music, Notation (Music), Renaissance music
- by Uri Golomb
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- Music, Early Music, Music And Religion, Baroque Music

The volume collects all of the known instrumental works by Joseph Brentner (1689–1742). His collection of six four-voice concertos Horae pomeridianae op. 4 was published 1720 in Prague, and it represents the only locally produced printed title from that time that was devoted to secular instrumental music. Two similar concerti da camera have been preserved at the Vatican Apostolic Library. In the context of the given genres, the instrumental Pastorella and the Partita a 5 with the unusual instrumentation of viola d’amore, two oboes, horn, and bass are unique among the compositions of Bohemian origin that have been preserved.

- by Václav Kapsa
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- Baroque Music, Instrumental Music

Edición y estudio histórico-artístico.

- by Susana Sarfson Gleizer and +1
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- Music History, Musicology, Baroque Music, Musicology, Spanish Music Historiography

The Viennese fondness for the chalumeau is confirmed by the prominent role it played in the repertory throughout the 18th century. These composers were amongst the most innovative in writing for the instrument in all its four sizes. In music for the stage, the chalumeau was most often used to accompany pastoral and romantic scenes. Its treatment at the hands of Fux, the Bononcini brothers and Joseph I is particularly exquisite in their anticipation of Mozart’s use of the clarinet in Così fan tutte. Gluck chose the chalumeau for the Vienna versions of Orfeo and Alceste. Florian Gassmann, who settled in Vienna after studies in Italy, was amongst several composers still writing for the chalumeau at a time when clarinets were readily available. In chamber and orchestral music too, the chalumeau made its mark. Wenzel Pichl wrote for the instrument in the 1770s and only later did he develop an enthusiasm for the clarinet. Further proof of the instrument’s survival into the pre-Classical era is found in the divertimenti by Florian Gassmann and Carl Dittersdorf. An important concertante work is the concerto for soprano chalumeau by Franz Hoffmeister. Mozart was aware of the chalumeau, as his father’s copying of Joseph Starzer’s Musica da camera testifies. This work was later attributed to Mozart as K.187/159c and exerted a clear influence on Mozart’s own divertimento K188/240b for a similar combination. This article traces the development of the chalumeau repertoire in 18th-century Viennese opera, chamber, orchestral, and solo literature. Issues unique to the performance of chalumeau repertoire, such as reed-position and instrument size, are also discussed.

- by Ingrid E Pearson
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- Baroque Music, Historically Informed Performance (HIP)

This contribution represents a chapter in the volume "Sozialgeschichte der Musik des Barock", the sixth part of the "Handbuch der Musik des Barock", and deals with the status and function of bowed and plucked instruments in the Baroque period. During this era, musical instruments were generally closely linked to a specific social class. Although the same type of instrument may have sometimes been present among different social strata, its building technique varied substantially. I illustrate this by considering the following division: lower classes (beggars, marginalized groups, minstrels and village musicians), middle classes (civic and court musicians and amateurs) and upper classes (virtuosos and aristocrats). During the Baroque period, certain instruments also triggered social mobility: the violin, for instance, enabled the best players to generate considerable wealth as well as a title of nobility, whereas the viola da gamba gradually disappeared among professional musicians. In order to observe these musical-social strata and their potential crossings, we must attend to the specificities of region and gender dynamics.

- by Christoph Riedo
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- Music, Organology, Sociology of Music, Viola Da Gamba
- by Mytch Evangelista
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- Music History, Music Theory, Baroque Music, Classicism
- by Grzegorz Joachimiak
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- Early Music, Baroque Music, History of music, Lute Music

This most recent edition of the bibliography contains almost 21,200 titles in English (64%) and French (36%), with an introductory section on historiography. It deals with every aspect of Italian history and culture from the Late... more

Cosa sarebbe stato l'intenzione di Corelli, in particolare attenzione sul clavicembalo nell'Op.V di Corelli?

- Facsimile of the 12 sonatas in ms. 177 (Biblioteca del Sacro Convento di S. Francesco) -Musicological introduction by Guido Olivieri - Critical notes by Enrico Gatti - Critical edition in a separate file, suitable for performance Texts... more

- Facsimile of the 12 sonatas in ms. 177 (Biblioteca del Sacro Convento di S. Francesco)
-Musicological introduction by Guido Olivieri
- Critical notes by Enrico Gatti
- Critical edition in a separate file, suitable for performance
Texts both in Italian and English

- by Guido Olivieri
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- Baroque Music, Baroque Violin, Violin sonatas, Italian Baroque Music

Note di sala.
Teatro Ponchielli. Cremona, 14 giugno 2021

- by GIULIA VITALE
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- Musicology, Baroque Music, Claudio Monteverdi
- by Livio Marcaletti
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- Baroque Music, Alexander the Great, Baroque opera, G F Handel
- by Gustavo Garabito Ballesteros
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- Music, Musicology, Sociology of Music, Baroque Music

Studies of pre-existing music in narrative cinema often focus on a
single film, composer or director. The approach here adopts a wider
perspective, placing a specific musical repertoire – baroque music – in
the context of its reception to explore its mobilisation in post-war
cinema. It shows how various revivals have shaped musical fashion, and
how cinema has drawn on resultant popularity and in turn contributed
to it. Close analyses of various films raise issues of baroque musical style
and form to question why eighteenth-century music remains an
exception to dominant film-music discourses. Account is taken of
changing modern performance practice and its manifestation in
cinema, particularly in the biopic. This question of the re-imagining of
baroque repertoire leads to consideration of pastiches and parodies to
which cinema has been particularly drawn, and subsequently to the role
that neo-baroque music has played in more recent films.

- by Donald Greig
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- Minimalism, Opera and classical music in film, Baroque Music, Jean Renoir
- by Alex B Coblentz
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- Baroque Music, Harpsichord, Domenico Scarlatti, Keyboard Sonata
- by Fabrizio Bigotti
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- Baroque Music, Renaissance music, Gregorio Allegri

This catalog lists the solo and chamber works written specifically for the instruments of the viola da gamba family through the entire course of its historic development. - Solo compositions for viol - Compositions for one or two... more

- by Bettina Hoffmann
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- Viola Da Gamba, Baroque Music

Egy operaszerű passió és egy passiószerű opera egymásraolvasásának chiazmusában Isten művei (opera) egyedül a kereszt és a szenvedés által (per crucem et per passionem), önmaguk ellentétében (sub contrario specie) válhatnak hozzáférhetővé. A kereszt testbe íródó tapasztalata azonban nem történet – az önmagáról való beszéd ellehetetlenítése révén olyan nem-narratológiát igényel önmaga elbeszélésére, mely csak egy, kereszt előtti/mögötti valóság már érvénytelenített nyelvén szólalhat meg. Miről tehet tanúbizonyságot a Máté-passió és a Hálátlan dögök keresztalakzata, ha az azt leíró nyelvet a kereszt eseménye folyton érvényteleníti? Ha a tanúság egy távolléten, egy idegenné vált testen alapszik, szétroncsolva ezáltal a jelenlét, a tanú önazonosságát? Milyen seb rajzolódik ki a beáramló sztázis, anarratív halál által a saját testen, amelyet a passiónak és operának folyton hordoznia kell?

- by Örs Székely
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- Comparative Literature, Narratology, Baroque Music, Negative Theology
- by Jean-Paul Verpeaux
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- Baroque Music, Organ (pipe), Organ Music
- by C.M. Griffiths
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- Music, Music History, Musicology, English Literature

Sources, genesis and dissemination of the music from 'Orfeo' (London 1736).

- by Giovanni Andrea Sechi
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- Musicology, Castrati, Baroque Music, Handel

This is an unpublished translation, produced independently.

- by Paul M Rosenberg
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- Baroque Music, Venice, Antonio Vivaldi, History of Venice
- by Beate Sorg
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- Baroque Music, Christoph Graupner, George Philipp Telemann, Musical Sources Studies
- by Tanja Kovacevic
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- Music, Early Music, Music History, Musicology
- by Agnese Pavanello
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- Musicology, Baroque Music, 18th Century Music History, 18th Century Music
- by Siel Agugliaro
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- Church Music, Early Music, Baroque Music, Renaissance music
- by Eric Rice
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- Baroque Music, J S Bach, Martin Luther, Germany
- by Johannes Menke
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- French Baroque Music, Baroque Music, Jean-Baptiste Lully, Musical Analysis

Вокальная техника является технологическим звеном «вокально-интерпретационной
модели», «продуктом» многосторонней работы певца по интерпретации музыкального
произведения. Характеристики голоса могут быть качественными только на основе еди-
ного комплекса всех остальных эффективно функционирующих компонентов. В эпоху
Барокко выбор приемов звукоизвлечения, звуковедения и пр. осуществлялся самими во-
калистами в соответствии с общепринятыми тогда правилами.

- by Valentina Fomina
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- Baroque Music, Interpretation, Italy, Bel Canto

On the occasion of the publication of Rudolf Flotzinger's book "Johann Joseph Fux. Leben - musikalische Wirkung - Dokumente" (Graz 2015) this article assesses the situation of current Fux research. It reviews the symptomatic problems in Flotzinger's edition of documents and presents a great number of unknown Fux sources. This study intends to open a perspective for new way of Fux research, applying stricter and more accurate scholarly methods in the future

- by Michael Lorenz
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- Cultural History, Baroque Music, Historical Musicology, Source Study
- by Nicola Usula
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- Opera, Baroque Music, Early Modern Italy, Baroque opera