Baroque Instrumental Music

On the basis of direct and indirect evidence, three main types of musical repertoire in the early-seventeenth-century Slovenian lands can be established that directly relate to the CounterReformation: plainchant, sacred song in the vernacular, and contemporary polyphonic music. The textual emphasis of the preserved musical pieces above all helped to shape a distinctly Counter-Reformation religious identity: contemporary polyphonic compositions, above all Litanies and Marian antiphons, with the emphasis of the dogma of sanctoral intercession; the acclamations Christus vincit with the stating of the pope Clemens VIII’s religious integrity; and responsory Sedil ie k’misi with accentuation of the transubstantiation. Alhough the vernacular songs heard in Corpus Christi processions are lost to us, they were probably characteristic of the Catholic soundscape and also must have att racted the att ention of the listeners and confronted them with the confessional challenge directly. With the campaign of reform and propaganda, promoted principally by the bishop Hren, the successful progress of Catholic reform in the Slovenian lands at the beginning of the seventeenth century stabilised the situation in many musical institutions.

In 1997 a non-profit foundation was established at Naples to revive the distinguished tradition of music and theater of the 16 th through 18 th centuries. This was a tradition particularly well developed when this region was known as the Regno di Napoli (Kingdom of Naples). In 2010 the foundation took the name Fondazione Pietà de' Turchini-Centro di Musica Antica after the most famous of the four historic conservatories, Santa Maria della Pietà de' Turchini. In 2003 the foundation gave birth to a publishing house, the Turchini Edizioni, already responsible for a number of distinguished contributions, including this two-volume set of twenty essays in 2019 edited by Francesco Cotticelli and Paologiovanni Maione. These studies, dedicated to various aspects of music at Naples, reveal, if many only partially, the great wealth of information available concerning the Kingdom in the Seicento. Paologiovanni Maione's essay, La scena sfuggente (pp. 1-18), recalls the poetic wonder and pleasure of those who have worked in the vast archives of Naples. Maione, who in other publications has made pioneering discoveries concerning the many musical confraternities or congregations of 17 th century Naples (see his «Esquisita e scelta musica» nelle confraternite e congregazioni napoletane fra Sei e Settecento, in La musica dei semplici. L'altra Controriforma, ed. by Stefania Nanni, Roma, Viella, 2012, pp. 155-172), as well as the names and salaries of musicians of the royal chapel under Alessandro Scarlatti (see F. Cotticelli-P. Maione, Le istituzioni musicali a Napoli durante il Viceregno Austriaco (1707-1734). Materiali inediti sulla Real Cappella ed il Teatro di San Bartolomeo, Napoli, Luciano, 1993), evokes the beautiful and sensual eyes of Giulia de Caro, perhaps the most memorable and sensual singer of the 17 th century (see P. Maione, Giulia de Caro «famosissima armonica» e "Il bordello sostenuto" del signor don Antonio Muscettola, Napoli, Luciano, 1997). As she makes fun of her lovers, imagined by the painter Luca Giordano as Cleopatra,

Throughout history there have been many successful women composers. Unfortunately, historically, women have been left out of the music history narrative, which is taught to music students in conservatories and music colleges throughout the Western world. I attempted to help construct a new, more inclusive narrative which incorporates many of these accomplished women through composing an organ concerto. I composed a liturgical organ concerto inspired by music by women composers throughout history. The concerto is for solo organ and string orchestra and is 30 minutes, with six movements. Each movement is based on a different text of the Ordinary of the Mass (Kyrie, Gloria, Credo, Sanctus, Benedictus, and Agnus Dei). Each movement was inspired by a different woman composer from a different historical musical period, who was a pioneer or advocated for women: Hildegard von Bingen (1098-1179), Maddalena Casulana (1544-1590), Isabella Leonarda (1620-1704), Elisabetta de Gambarini (1731-1765), Clara Schumann (1819-1896), and Jeanne Marie-Madeleine Demessieux (1921- 1968).

William Alwyn wrote at least twenty-seven string quartets. The first twenty-
four were written before the 1950s under the guidance of his composition
professor at the Royal College of Music and a friend John B. McEwen. However, these works were eventually disregarded by Alwyn. These early string quartets proved an excellent exercise to develop his other compositional works. The musical influences were strongly influenced by late nineteenth century, as well as the early twentieth century, contemporary composers. This article draws attention to where the string quartet manuscripts of both composers are held and some issues relating to catalogue numbering. A description of the different categories of quartet by both Alwyn and McEwen gives an idea of some potential influences of teacher upon pupil.

At least seven complete eighteenth-century scores of Giuseppe Gazzaniga’s comic opera
La vendemmia (Florence, 1778) are still extant, as well as a number of manuscript arias
from this work by Gazzaniga. One of the latter, “Più dell’onde e più del vento”, which has
survived in multiple manuscript copies (as well as in all of the consulted scores of the entire
opera), is a conventionally structured (da capo) aria for the seconda buffa – Artemisia.
Artemisia is one of two misranked characters: a supposed Lady, who is in reality a low-
-born peasant girl, as opposed to Agatina, a supposed shepherdess who is in reality of
noble blood. One of the copies of Artemisia’s traditional aria of anger, resentment and
vindication “Più dell’onde e più del vento” is especially interesting, for it served in the
local context of Celje’s main church of St Daniel (SI-Co) as the basis for two Latin sacred
contrafacta. This aria by Gazzaniga was used in Celje also for another contrafactum, this
time secular and in German.
“Christus natus est hodie” (for the Christmas liturgy) was written directly into a
copy of the original Italian aria. This “original” was accompanied by a set of (surviving)
instrumental parts, indicated in addition on the cover sheet as “Aria | Piu del onde | a
Soprano | Violino I | Violino II, Oboe I, Oboe II | Cornu I | Cornu II | Viola | con | Basso”.
The other contrafactum was copied separately (only the soprano part survives) without
significant changes to the music, and with a sacred text for the Ascension, “Ascendo ad
Patrem meum”. The two much shorter Latin texts, however, reflect very poorly the original
affetti of the aria, and the long colorature are mostly filled with endless repetitions
of short textual phrases.
There is also one other later copy of the soprano part of the same Italian aria. This
one is underlaid with a new German secular text, “Verstummt ihr kriegerischen Töne”.
In this instance, the text genuinely attempts to reflect the mood of the original Italian
aria, and some minor adaptations (small rhythmic changes, different slurring etc.) were
even made to the music itself to fit the new text better. At least, this third re-use of the
Gazzaniga aria can be linked quite securely to the local Gesellschaft, an amateur music
society (1801–1807, revived in 1832–1846), where some of the teachers at the nearby
school were possibly active. One of these teachers was Benedikt Schluga, who was most
probably the main original copyist of the above-mentioned Celje contrafacta. He was,
indeed, also a choirmaster and organist at St Daniel’s church.
It would seem that the core of SI-Co, Ms. mus. 3 belonging to the music collection of
the Church of St Daniel in Celje is the primary copy of the Italian aria, being originally
intended for performance in a secular setting. Only later was its music put to a secondary
use in the service of the liturgy. Finally, it was re-texted in German for secular use.
Comparative research into this sample, taken from a larger group of Celje contrafacta, has
yielded some initial ideas concerning the provenance of the operatic repertoire that has
survived among this repository of church music. Sacred contrafacta in Slovenian early
music collections – those already discovered as well as those still waiting to be identified
as such – were in past centuries more commonly in use than has generally been thought
until recent research into this subject.

Artykuł  jest  poświęcony  dwóm  manuskryptom  z Książnicy  Pomorskiej  w Szczecinie z utworami J.S. Bacha. MusMs5 zawiera m.in. kopię "Das wohltemperierte Klavier I",  natomiast MusMs6 – odpis "Suit angielskich". Dokumenty poddano analizie filologicznej, z której wynika, że rękopis MusMs5 jest szczególnie cenny, ponieważ można go powiązać  z  kręgiem  J.S.  Bacha.  Ponadto  zawiera  on  nieznane  lekcje  24  preludiów  i  fug.  Pochodzą one zapewne z 1740 r., dlatego zostały tu nazwane „wariantem 1740”. Z kolei badania  proweniencyjne  wykazały,  że  jeden  z  posesorów  (Franz  Zierlein)  nosił  to  samo  nazwisko, co uczeń C.P.E. Bacha i kapelmistrz księcia biskupa Ignacego Krasickiego.

This is an English language version of an article published in 2016 on the website “La Sala del Cembalo del Caro Sassone” to celebrate the 300th anniversary of the first publication in 1716 of “L’Art de Toucher le Clavecin”.
Prominent modern musicians have issued reviews of this remarkable work. We do not intend to provide yet another review, but instead a list of the different ways in which L’Art de Toucher produces invaluable information for the historical reproduction of the music of the great François Couperin, of his French contemporaries, and also of contemporaries in other countries, including German musicians and particularly so J.S. Bach.

Il Giosuè (1688) è il secondo oratorio di Giovanni Bononcini (1670-1747) e il primo la cui partitura sia giunta a noi. All’interno di questo, il violoncello è obbligato in tre arie, in una quarta gareggia con un violino solo, ed è l’unico a presentare passaggi virtuosistici nelle due sinfonie. L’articolo ricostruisce i natali del Giosuè, i rapporti con la corte estense, e indaga in particolare modo il ruolo del violoncello. Inoltre, le differenti scritture per questo strumento vengono approfondite attraverso tre arie: «Venir, pugnare e vincere», «Sempre invitto e sempre forte», «Al rotar di questo brando». Grazie a queste, si analizzano le influenze di compositori coevi su Bononcini, il rapporto tra voce e strumento, e la tipologia e l’accordatura del violoncello obbligato previsto.

It is generally true that the more one studies a manuscript and the manuscripts of cognate provenance with which it belongs, the more information one gleans. The problem most of us face, however, is limited access to the documents themselves. Many complexities of a manuscript are simply not discernible from photographic reproductions; and even when one has the opportunity to examine sources in situ, the time that can be devoted to a single document is often insufficient for the task of analysing all its features that deserve to be taken into account. When time is short and when many documents demand attention, the researcher inevitably tends to take an approach not unlike trzbge as applied in medicine to the diagnosis of casualties. Priority might be given, for instance, to manuscripts that are under-researched, on the assumption that the features of better-known manuscripts have already been assessed fully by others. Or priority might be given to manuscripts that have compellingly peculiar features (extensive deletions, evidence of physical rearrangement, and so forth), as opposed to those that seem entirely regular in their structure or routinely notated. Of course, the trap (into which I have regularly fallen) is that one's tnbge can be flawed. The mistake is to presume that manuscripts which are well-known or which present their texts accurately do not have hidden depths. Such a manuscript-with numerous hidden depths-is the autograph of the Gloria in D, RV 389, preserved in the Biblioteca Nazionale Universitaria, Turin: fols 90-129 in Giordano 32. Few works by Vivaldi are as famous as this, and few Vivaldi autographs can have been studied as frequently as this one has been since the 193Os, both in the preparation of modern editions and in the course of other kinds of research-not least on the relationship between the final movement, Cum Sancto Spirits, and its model by Giovanni Maria Ruggieri, a case of borrowing of which knowledge has existed for some time. But this is a particularly deceptive document that must have deceived many who have examined it. Its text, taken at face value, creates an illusion: the source seems like an autograph fair copy when it is not.' Vivaldi's notation here is neat and carefully laid out, almost always accurate, and less abbreviated, with a generously figured basso part, than in many other sources. In fact, it is so accurate and complete that very little intervention is required when an edition is prepared-a rare phenomenon so far as Vivaldi's multi-movement compositions are concerned. Sample pages are shown in Plates 1 and 2.

Forkel's published the first biography of Bach (1808) and ever since his little book has been quoted as an authority on the composer's life and keyboard technique. This article quotes very respected scholars (starting as far back as Spitta in 1880) and further scrutinises many paragraphs from Forkel's work, showing that significant parts of it, and very particularly those concerned with J. S. Bach performance technique, style and the use of the clavichord, are pure fantasy: some of Forkel's assertions cannot be verified, while many others are in open contradiction with other extant and reliable evidence. We conclude that Forkel's work should not be quoted as an authority on Bach.

The present download also includes a letter about anonymous clavichords in Bach's milieu, published also in Harpsichord & fortepiano, Vol. 28 No.2.

Zwei Kandidaten für den Status echter Jugendwerke Corellis sind in den letzten Jahren diskutiert worden. Sie werden hier auf die Möglichkeit geprüft, sie mit den gedruckten und sonstwie gut bezeugten Kompositionen Corellis zu verknüpfen. Für die Sonate Anh. 19 ist das Ergebnis positiv; für die Assisi-Sonaten zeichnet sich ein alternatives Szenario ab: Kompositionen eines Anfängers, der sich auf Corelli einerseits, Torelli andererseits bezieht.

Paul Everett, 'Vivaldi at Work: the Autograph of the "Gloria" RV 589', Informazioni e studi vivaldiani, 17 (1996), 68-86.

An assessment and forensic analysis of the autograph manuscript of the more famous of Vivaldi's two settings of the Gloria, drawing conclusions about compositional method, borrowing and adaptation, and the likely date of the work's composition and first performance.

It is generally true that the more one studies a manuscript and the manuscripts of cognate provenance with which it belongs, the more information one gleans. The problem most of us face, however, is limited access to the documents themselves. Many complexities of a manuscript are simply not discernible from photographic reproductions; and even when one has the opportunity to examine sources in situ, the time that can be devoted to a single document is often insufficient for the task of analysing all its features that deserve to be taken into account. When time is short and when many documents demand attention, the researcher inevitably tends to take an approach not unlike trzbge as applied in medicine to the diagnosis of casualties. Priority might be given, for instance, to manuscripts that are under-researched, on the assumption that the features of better-known manuscripts have already been assessed fully by others. Or priority might be given to manuscripts that have compellingly peculiar features (extensive deletions, evidence of physical rearrangement, and so forth), as opposed to those that seem entirely regular in their structure or routinely notated. Of course, the trap (into which I have regularly fallen) is that one's tnbge can be flawed. The mistake is to presume that manuscripts which are well-known or which present their texts accurately do not have hidden depths. Such a manuscript-with numerous hidden depths-is the autograph of the Gloria in D, RV 389, preserved in the Biblioteca Nazionale Universitaria, Turin: fols 90-129 in Giordano 32. Few works by Vivaldi are as famous as this, and few Vivaldi autographs can have been studied as frequently as this one has been since the 193Os, both in the preparation of modern editions and in the course of other kinds of research-not least on the relationship between the final movement, Cum Sancto Spirits, and its model by Giovanni Maria Ruggieri, a case of borrowing of which knowledge has existed for some time. But this is a particularly deceptive document that must have deceived many who have examined it. Its text, taken at face value, creates an illusion: the source seems like an autograph fair copy when it is not.' Vivaldi's notation here is neat and carefully laid out, almost always accurate, and less abbreviated, with a generously figured basso part, than in many other sources. In fact, it is so accurate and complete that very little intervention is required when an edition is prepared-a rare phenomenon so far as Vivaldi's multi-movement compositions are concerned. Sample pages are shown in Plates 1 and 2.

Izvleček: Francesco Barsanti, italijanski glasbeni imigrant v Britaniji, je za dodatni zaslužek ob igranju v orkestru in učenju delal tudi kot glasbeni kopist. Medtem ko je bila njegova inštrumentalna glasba natisnjena, so njegova vokalna dela večinoma ostala razpršena v rokopisih, pogosto brez navedbe avtorja, med deli drugih skladateljev, katerih dela je prepisoval.

John Ravenscroft (1664/5–1697) is today best known for the fact that in 1695 he published a set of church sonatas that closely imitate Corelli in their style. The discourse around Ravenscroft has ever since focused on these twelve sonatas and the significance of their relationship to their illustrious model, to the exclusion of a later set of sonatas of different kind but equal merit. Ravenscroft's fascinating and unusual biography has likewise been totally ignored. The article examines the background of his distinguished, Catholic-leaning family in England during a long, turbulent period when Catholics were severely disadvantaged and his short but productive period spent in Rome, aided by newly discovered archival documents and a rich variety of other sources, both old and more recent, most of which have previously been overlooked by music historians.

Katarina Šter and Nejc Sukljan, ed.
(articles in Italian, English, German, and Slovenian).

Authors:
Giovanni Varelli,
David Hiley,
Eva Veselovská and Eduard Lazorík,
Nejc Sukljan,
Klemen Grabnar,
Katarina Šter,
Matjaž Barbo,
Maruša Zupančič,
Aleš Nagode,
Sara Zupančič,
Katarina Bogunović Hočevar,
Gregor Pompe.

While there is no direct connection between Michelangelo Galilei (1575 - 1631) and Esaias Reusner (1636-1679), both Galilei and Reusner served at the Radziwiłł court in Vilnius. This article explores this historical connection as well as the stylistic influence of Galilei's music present in the first book of lute music by Reusner.

La plique et sa survivance que XIV e siècle: conséquences pour l'interprétation de l'oeuvre de Guillaume de Machaut. .. .. .. .. .. .. . Carola Hertel «Er muss Führungskraft, unendliche Leidensfähigkeit, grenzenlose Geduld und echte psychologische Begabung haben». Zur Psychologie des Dirigenten-Berufes. .

La plique et sa survivance que XIV e siècle: conséquences pour l'interprétation de l'oeuvre de Guillaume de Machaut. .. .. .. .. .. .. . Carola Hertel «Er muss Führungskraft, unendliche Leidensfähigkeit, grenzenlose Geduld und echte psychologische Begabung haben». Zur Psychologie des Dirigenten-Berufes. .

La plique et sa survivance que XIV e siècle: conséquences pour l'interprétation de l'oeuvre de Guillaume de Machaut. .. .. .. .. .. .. . Carola Hertel «Er muss Führungskraft, unendliche Leidensfähigkeit, grenzenlose Geduld und echte psychologische Begabung haben». Zur Psychologie des Dirigenten-Berufes. .

Kontrafakture posvetne glasbe v cerkvenih arhivih slovenske Štajerske / Secular Music Contrafacta in the Church Archives of Slovenian Styria

Jana Erjavec
Contrafacta in the Archive of the Abbey and Parish Church of St Daniel in Celje

Metoda Kokole
Užaljena gospa Artemizija ali Kristus nam je danes rojen:
celjske kontrafakture operne arije Giuseppa Gazzanige

Marko Motnik
Z opernega odra na cerkveni kor: kontrafakture v glasbenem arhivu
proštijske cerkve sv. Jurija na Ptuju

Fabrizio Ammetto
Il processo rielaborativo di Johann Georg Pisendel in alcune Sonate
per violino e basso continuo

Michael Talbot
The Singer and Composer Henry Holcombe (1690–1756)

Gregor Pompe
Digitalno-konceptualistični premiki: analiza festivalov Forum nove

Članek obravnava skupino arheoloških vodnikov, ki so bili v lasti članov ljubljanske Akademije operozov in izobražencev iz njihove bližine in so se kot njihova zapuščina ohranili v Semeniški knjižnici v Ljubljani. Na podlagi analize pripisov, ki so jih v teh knjigah pustili njihovi lastniki, pojasnjuje odnos do materialne dediščine antike, ki so ga izobraženi Kranjci v obdobju baroka razvili na svojih potovanjih po Italiji.

Die Musik des Mittelalters bis zur Romantik gehört zu unserem Musikleben, nicht aber die entsprechenden historischen Konzepte von Emotionen und ihres Ausdrucks. So sind Musiker:innen im Bereich der Alten Musik herausgefordert, einen persönlichen Bezug zur impliziten und expliziten «Emotionalität» eines historischen Musikstücks zu finden.
Das diesjährige Symposium der Schola Cantorum Basiliensis fragt nach den Möglichkeiten, die Musiker:innen für diese Übersetzungsarbeit zur Verfügung stehen, und wie sich diese mit historisch informierter Musikpraxis einerseits und heutigem Konzertbetrieb und Publikumserwartungen andererseits verknüpfen lassen. Wie also kann historische Distanz überbrückt werden? Welche Möglichkeiten gibt es, die einem historischen Musikstück zugehörige Emotionalität in der Aufführung umzusetzen? Antworten dazu beeinflussen die Interpretationsentscheidungen für alle Parameter, über die sich «Emotion» klanglich, auditiv und visuell vermittelt.
Die Beiträge des Symposiums werden die vielfältigen Aspekte exemplarisch angehen: Beispielsweise wird das Phänomen der emotionale Ansteckung beim Musizieren und Musik-Hören aus historischer wie aus neurowissenschaftlicher und kognitiver Perspektive diskutiert; historische Hörerwartungen und Erwartungen an das Affiziert-Werden und an das Ausdrücken Emotionen (von der Renaissance bis zur Romantik) werden erörtert im Hinblick auf Aneignung bzw. Umsetzung in unserer heutigen Zeit; transkulturelle und interdisziplinäre Positionen in Bezug auf den Ethos und das Verhältnis von Emotion und Rationalität erhalten ebenso einen Raum, insofern sie für die musikalisch-performative Realisierung relevant sind. Konkrete performative Umsetzungen bietet unter anderem das Konzert «The Language of Pain» (Ensemble Theatro dei cervelli) mit Madrigalen aus Monteverdis 8. Madrigalbuch.

Vsak slovenski muzikolog, ki prebere naslov tega prispevka, bi lahko glede na kvantitativno statistiko muzikoloških besedil slovenskih avtorjev, ki so bila na to ali sorodno vsebino doslej objavljena-poleg dveh temeljnih obsežnejših del izpod peresa Dragotina Cvetka in janeza Höflerja 1 je od poznih osemdesetih let do danes izšel tudi dober ducat samo temu času oz. slogovnemu obdobju posvečenih preglednih razprav predvsem Cvetkovih učencev (jože Sivec, Katarina bedina, Ivan Klemenčič) in avtorice tega prispevka 2

The paper deals with manuscripts and books of Aleš Žiga Dolničar and other members of the Baroque Academia operosorum (Accademy of the Industrious) in the Seminary Library in Ljubljana, related to the Republic of Venice. It examines the prints that influenced Dolničar's manuscript Descriptio nobilissimae urbis Venetiae (1703), including description of a travel from Gorizia to Venice, panegyric on Venice, descriptions of some important churches, and lots of drawings. It also reconstructs his views of political, religious, and artistic heritage of the Serenissima.

An international conference and a series of concerts dedicated to the rediscovery of Giuseppe Torelli, the great Maestro of the concerto form, teacher of Antonio Vivaldi and Johann Georg Pisendel.
In the historical sites of the Bologna of his time and in places that preserve the musical memory of the period.

Članek obravnava skupino arheoloških vodnikov, ki so bili v lasti članov ljubljanske Akademije operozov in izobražencev iz njihove bližine in so se kot njihova zapuščina ohranili v Semeniški knjižnici v Ljubljani. Na podlagi analize pripisov, ki so jih v teh knjigah pustili njihovi lastniki, pojasnjuje odnos do materialne dediščine antike, ki so ga izobraženi Kranjci v obdobju baroka razvili na svojih potovanjih po Italiji.

Orgle predstavljajo pomembno sestavino slovenske kulturne zgodovine, saj so bile s svojim značilnim zvokom močno prisotne v zavesti vseh slojev prebivalstva. Na Kranjskem so se začele pojavljati v drugi pol. 15. stol. V ohranjenih arhivskih virih so podatki o 34 lokacijah z orglami do konca 17. stol. (skoraj izključno le cerkve) in o 44 glasbilih, vendar je bilo tako lokacij kot glasbil najbrž več. Največje kranjske orgle z ohranjeno dispozicijo so imele devet manualnih registrov.

Book Review of: Adam Jarzębski, Concerti e canzoni i inne kompozycje / and other works, edited by Marcin Szelest, Warszawa, Institute of Art, Polish Academy of Sciences / Instytut Sztuki Polskiej Akademii Nauk, 2021 (Monumenta Musicae in Polonia, Opera Omnia, Seria Series II).

Polk from the University of New Hampshire, who mentored me during my master's studies, deserves a special acknowledgement for his belief in my capabilities. Olav Chris Henriksen receives my deepest gratitude for his kindness and generosity during my Boston lute studies; his quite enthusiasm for the lute and its repertoire ignited my interest in German lute music. My sincere and deepest thanks are extended to the members of my dissertation committee. Drs. Rebecca Baltzer, Susan Boettcher and Elliot Antokoletz offered critical assistance with this effort. All three have shaped the way I view music.

The article presents an overview of the literature on Maribor’s music history from the thirteenth  century to the present day and highlights the problem of the organised archive material of various institutions. An analysis of current achievements reveals gaps in our knowledge of the sections of Maribor’s music history discussed to date and suggests areas for further research.

Booklet-Text zur gleichnamigen CD-Aufnahme. Antonio Caldara gilt als einer der bekanntesten und fruchtbarsten Vokalkomponisten des Hochbarock, aber er hat seine Karriere als Cellist in Venedig begonnen und mit seinen Triosonatendrucken opus 1 (1693) und 2 (1699) Sammlungen von ausserordentlicher Qualität vorgelegt. Der Text stellt die Musik in den Rahmen von Caldaras Schaffen und in den Kontext seiner Zeit.

Two early-17th-century London opera overtures by François Dieupart (1676 Paris - 1751 St-Germain-sur-École, Île de France), one carrying his name in the London manuscript source, the other authenticated by its second edition by Walsh, are the subject of this article, an extension of our François Dieupart’s Biography Revised (2021).*  These two four-part ‘French Ouvertures’, hitherto supposed to be lost, belong, as argued, respectively to the mini-opera Britain’s Happiness (premiere 1704), and the opera Thomyris (premiere 1707).

Prezentowane opracowanie jest wstępem do badań poświęconych sygnaturom na grafikach artystycznych. Celem tej części jest przegląd typologii sygnatur występujących na grafikach artystycznych dawnych i współczesnych. Sygnatura jest znakiem własnościowym artysty, identyfikującym go, a ściślej – personalizującym. Może występować pod postacią językową, jako sygnatury literowe dzielące się na wyrazowe (najczęściej jest to imię i nazwisko artysty) i monogramy oraz sygnatury aliterowe obejmujące ideogram i piktogram. Współczesne grafiki sygnowane są na ogół własnoręcznie, przy zastosowaniu następującej kolejności: tytuł, numeracja/technika/podpis, data powstania dzieła Opis wykonany jest najczęściej ołówkiem pod dolną krawędzią odbitki (poza kompozycją), z reguły z prawej strony, a ewentualna dedykacja – po lewej stronie numeru odbitki. Chociaż jest to zwyczajowa propozycja i możliwe jest odmienne wskazanie autorstwa, należy pamiętać, iż obecność własnoręcznej sygnatury na rycinie jest jedn...

The most important task undertaken by German musicologists in Wroclaw during the first half of the twentieth century was to catalogue the musical sources of the whole of Silesia, supervised by the Institute of Music (Seminar of Musicology) at the University of Wroclaw, which arose out of the former Royal Academic Institute of Music, established in 1812. The Institute of Music was the first centre to catalogue local musical sources in Wroclaw and the whole region. The Institute’s library was founded during the secularisation process of 1810, and large collections of musical sources were transferred there from regional Catholic churches and monasteries. Thanks to the efforts of Otto Kinkeldey and his doctoral student Hans Erdmann Guckel, the library’s stock was set in order for the first time at the beginning of twentieth century, with clear, uniform shelf-marks given to individual items. In the late 1920s, complex cataloguing was established by Max Schneider and four of his students,...

Trudno racjonalnie i naukowo dociekać, na czym polega siła oddziaływania portretu, która od czasów jego narodzin u progu nowożytności zapewniała mu tak wielkie zainteresowanie odbiorców. Zarówno uczonych erudytów i arystokratycznych klientów, którzy je zamawiali sobie i bliskim, jak również szerokiego grona wszystkich tych, którzy tylko niekiedy miewali okazje je podziwiać. O ile w pierwszych stuleciach rozwoju zainteresowanie to miało swoje mocne uzasadnienie w opiniach teoretyków, którzy skłonni byli przypisać portretom ważną rolę w „odradzaniu się” sztuki, o tyle w XVII i XVIII w. nie stały one wysoko w hierarchii tematów powierzanych malarzom. Cóż z tego? Wzięci portreciści i tak należeli do twórców zarabiających najlepiej, aby „ustawić się” w kolejce do tych najsłynniejszych, jak w końcu XVII w. Hyacinthe Rigaud, trzeba było szukać wpływowych protektorów. Podobnie ekskluzywne było w XVIII w. grono klientów słynnych portrecistek Élizabeth Vigée-Lebrun czy Angeliki Kauffmann. Naw...

Although Giuseppe Torelli (Verona 1658 – Bologna 1709) and his music have yet to receive in-depth attention from musicologists, he was a composer who played a significant role in the creation and development of the concerto as a genre and as a form, while his compositions served as models to all those musicians who have dealt with the genre in the generation that succeeded him, including Antonio Vivaldi.
Objectives of the conference are both to explore the life, works, and influence (in a European perspective) Torelli had on instrumental music in Bologna and in Emilia, as well as to shed light both on other specific figures of Bolognese musical live of the period, and on the circulation of Bolognese music and musicians. Although preference will be given to papers dealing with these major topics, the scientific committee also invites proposals concerning other aspects of Bolognese music of the period 1670–1710, including the relationship between musical patronage and production, reciprocal influences between instrumental and vocal music, instrument making, and aspects of performance practice.
In addition, these study days dedicated to Torelli are conceived as an effort to galvanize new scholarship on the composer and to shed light on two other aspects: first, on the pedagogical level (through workshops directed by specialized faculty) aiming to offer a specific education on Bolognese styles around 1700. And second, on issues of performance practice, providing students—through their participation in concerts in various venues—with high-profile performance opportunities both in solo and chamber contexts, and in orchestral situations, giving them the possibility to meet and interact with experts in early music.

The decade from 1733 to 1742 was the culmination of the late Baroque musical era. Within these years, the harpsichordist is likely to single out 1741 as highly exceptional in the history of music for keyboard. At the time and for just a few years, three very diverse styles coexisted throughout the Western musical world: late Italian Baroque, late French Baroque and early Rococo-Classicism. In 1741 two great masterworks of the literature for the keyboard saw the light of day: Johann Sebastian Bach's Aria mit Verschiedenen Veränderungen, nowadays known as “The Goldberg Variations” and Jean-Philippe Rameau’s "Pièces de Clavecin in Concerts avec un violon et un viole". At the same time, Carl Philipp Emanuel Bach was composing his Prussian Sonatas and Württemberg Sonatas 1 and 2, which would be completed in 1742. Three completely different musical worlds co-existing in the triangle Leipzig, Paris and Berlin in the year 1741!

Recorded performances of this masterpiece show astonishing variety, reflecting the many details in the score that appear puzzling to the modern performer. We will try to clarify these issues and suggest a reconstruction of the manners of performance likely to reproduce the composer's intentions.

Note: this text reproduces the article as submitted to Harpsichord & fortepiano. The only differences with the published article are in formatting and in two pictures that eventually were not published in the magazine's final version.

CHAMBONNIÈRES, the father of French harpsichord music (notes published in the box of two CDs recorded by harpsichordist Franz Silvestri, Deutsche Harmonia Mundi 2016) Jacques Champion de Chambonnières was born in Paris around 1601. In the CD record, Franz Silvestri performs eight suites in each of the tonalities used Chambonnières, freely reordering the pieces according to the practices of lute players of the time.

This PDF file includes the full biography of Chambonnières by Di Veroli as included in the CD booklet, in English, Italian and Spanish.