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Rodney Trudgeon's Concert Notes is a collection of essays on famous classical, orchestral compositions. The pieces in this collection have appeared in concert programmes that have accompanied performances by the Cape Town and Johannesburg Philharmonic Orchestras.
Rodney Trudgeon is a well-known radio host and presenter on Fine Music Radio. He is an expert on the range of musical genres that broadly fall under the category "classical music". The text that comprises Rodney Trudgeon's Concert Notes is structured alphabetically according to composer and gives a broad overview of the development of classical music, starting with the Baroque period and ending with modern, atonal music. Each piece is dedicated to a particular musical composition, describing its highlights, its history, and what makes it unique.
Broadly, the pieces are grouped together according to the following three broad categories: ouvertures, concertos, and symphonies, mimicking the structure of concert programmes. Each entry also includes a short biography of its composer. Trudgeon's style is easy to read and accessible to all readers: from those who listen to classical music regularly to those who are unfamiliar with it. Overall, this collection is a useful and informative musical guide, making a case for listening to orchestral music.
Around the middle of the eighteenth century, the leading figures of the French Enlightenment engaged in a philosophical debate about the nature of music. The principal participants-Rousseau, Diderot, and d'Alembert-were responding to the views of the composer-theorist Jean-Philippe Rameau, who was both a participant and increasingly a subject of controversy. The discussion centered upon three different events occurring roughly simultaneously. The first was Rameau's formulation of the principle of the fundamental bass, which explained the structure of chords and their progression. The second was the writing of the Encyclopedie, edited by Diderot and d'Alembert, with articles on music by Rousseau. The third was the "Querelle des Bouffons," over the relative merits of Italian comic opera and French tragic opera. The philosophes, in the typical manner of Enlightenment thinkers, were able to move freely from the broad issues of philosophy and criticism, to the more technical questions of music theory, considering music as both art and science. Their dialogue was one of extraordinary depth and richness and dealt with some of the most fundamental issues of the French Enlightenment. In the newly revised edition of Music and the French Enlightenment, Cynthia Verba updates this fascinating story with the prolific scholarship that has emerged since the book was first published. Stressing the importance of seeing the philosophes' writings in context of a dynamic dialogue, Verba carefully reconstructs the chain of arguments and rebuttals across which Rousseau, D'Alembert, and Diderot formulated their own evolving positions. A section of key passages in translation presents several texts in English for the first time, recapturing the tenor and tone of the dialogue at hand. In a new epilogue, Verba discusses important trends in new scholarship, tracing how scholars continue to grapple with many of the same fundamental oppositions and competing ideas that were debated by the philosophes in the French Enlightenment.
NINE WORKS OF BEETHOVEN, NINE WINDOWS INTO THE LIFE AND LEGACY OF A MUSICAL GENIUS. 'We are doubly blessed that Beethoven should have led such an extraordinary life. Laura has combined the two - the genius of his music and the richness of his experiences - to shine a revealing light on our greatest composer' John Humphrys _________________________ Ludwig van Beethoven: to some, simply the greatest ever composer of Western classical music. Yet his life remains shrouded in myths. In Beethoven, Oxford professor Laura Tunbridge cuts through the noise. With each chapter focusing on a period of his life, piece of music and revealing theme - from family to friends, from heroism to liberty - she provides a rich insight into the man and the music. Revealing a wealth of never-before-seen material, this tour de force is a compelling, accessible portrayal of one of the world's most creative minds and it will transform how you listen for ever. _________________________ 'Tunbridge has come up with the seemingly impossible: a new way of approaching Beethoven's life and music . . . profoundly original and hugely readable' John Suchet, author Beethoven: The Man Revealed 'This well researched and accessible book is a must read for all who seek to know more about the flesh and blood tangible Beethoven.' John Clubbe, author of Beethoven: The Relentless Revolutionary 'This book is really wonderful! ... However many books on Beethoven you own, find the space for one more. This one' Stephen Hough, pianist, composer, writer 'In a year when everyone's looking for a new take on Beethoven, Laura Tunbridge has found nine. Fresh and engaging' Norman Lebrecht, author of Genius and Anxiety 'Remarkable . . . she captures the essence of his genius and character. I'll always want to keep it in easy reach' Julia Boyd, author of Travellers in the third Reich
Synopsis of Vocal Musick, by the unidentified A.B., was published in London in 1680 and appears to have only ever had one edition. Its relatively short shelf-life belies its importance to the history of early British music theory. Unlike other English theoretical writings of the period, the Synopsis derives many of its aspects from the continental theoretical tradition, including the first references in English theory to the modern fractional time signatures that had been invented in Italy in the mid-seventeenth century, the first references in English to compound time and the first explanations of tempo terms such as Adagio and Presto. In these respects the treatise forms an important link between English and continental theoretical traditions and may have encouraged the adoption of Italian principles which became a common feature of English writings by the early eighteenth century. The treatise is essentially in two parts. The first section of the book comprises rudimentary instruction on understanding notation and intervals, descriptions of common vocal ornaments and instruction in the process of learning to sing. The second part consists of a selection of psalms, songs and catches which are provided as exercises for the singer, though several of them require a reasonably advanced degree of skill. These pieces provide valuable insight into the way both sacred and secular music might have been performed by amateur musicians in the Restoration period. They include 14 rare English madrigal settings by the Italian composer Gastoldi - further evidence of the Italian influence which pervades the text. This is the first modern edition of the Synopsis, and indeed the first edition to appear since its original publication.
The first performance of Handel's 'Messiah' in Dublin in 1742 is now legendary. Gentlemen were asked to leave their swords at home and ladies to come without hoops in their skirts in order to fit more people into the audience. Why then, did this now famous and much-loved oratorio receive a somewhat cool reception in London less than a year later? Placing Handel's best-known work in the context of its times, this vivid account charts the composer's working relationship with his librettist, the gifted but demanding Charles Jennens, and looks at Handel's varied and evolving company of singers together with his royal patronage. Through examination of the composition manuscript and Handel's own conducting score, held in the Bodleian, it explores the complex issues around the performance of sacred texts in a non-sacred context, particularly Handel's collaboration with the men and boys of the Chapel Royal. The later reception and performance history of what is one of the most successful pieces of choral music of all time is also reviewed, including the festival performance attended by Haydn, the massed-choir tradition of the Victorian period and today's 'come-and-sing' events.
This deeply expressive arioso, which opens Handel's Ode for the Birthday of Queen Anne (1713), was performed at the wedding of Prince Harry and Meghan Markle at St George's Chapel, Windsor, on 19 May 2018. Originally scored in D major for counter-tenor, with trumpet and strings, the work is here arranged by John Rutter for performance by soprano and organ (or strings and organ continuo), with or without solo trumpet, in the slightly lower key of C major. This package contains (1) the orchestral score in C major, and (2) the instrumental parts (solo trumpet, 1st and 2nd violins, viola, cello, bass, organ continuo) in two versions, in C major and D flat major. The D flat version of the parts is to enable performance with modern strings but natural trumpet, the trumpet playing in Handel's original key of D major but at baroque pitch (A = 415).
Vivaldi boasted that he could compose a concerto faster than a
scribe could copy one. Despite his prolificacy, "The Four Seasons,"
and the majority of his already published work had fallen into
obscurity by the time of his death in poverty in 1741. Most of his
music-concertos, sonatas, operas, and sacral music-has been
published only recently.
Although we have heard of the music of J.S. Bach in countless performances and recordings, the composer himself still comes across only as an enigmatic figure in a single familiar portrait. Written to mark the 250th anniversary of Bach's death, author and Bach scholar, Christoph Wolff presents a picture that brings to life this towering figure of the Baroque era. This biography portrays Bach as the living, breathing, and sometimes imperfect human being that he was, while bringing to bear all the advances of the last half-century of Bach scholarship. Wolff demonstrates the intimate connection between the composer's life and his music, showing how Bach's superb inventiveness pervaded his career as a musician, composer, performer, scholar, and teacher. And throughout, we see Bach in the broader context of his time: its institutions, traditions, and influences.
This celebrated collection contains arrangements prepared for Harriet Cohen by some of Britain's finest composers, such as Frank Bridge, William Walton, and Ralph Vaughan Williams, and includes favourites such as 'Sleepers, Wake', 'In dulci jubilo', and the Andante from Brandenburg Concerto No. 2. With a new introduction by David Owen Norris, A Bach Book for Harriet Cohen is ideal for all pianists of intermediate standard or above wishing to further explore Bach's music.
Demonstrating the range and popularity of Bach piano transcriptions during the early twentieth century, this volume brings together arrangements from notable British musical figures, including Myra Hess, Leonard Borwick, Harriet Cohen, and William H. Harris. The collection includes exuberant fantasias and fugues, gentle transcriptions from instrumental works, and popular chorales such as 'Jesu, joy of man's desiring' and 'Bist du bei mir'. With an introduction by David Owen Norris, Bach Transcriptions for Piano is the perfect resource for all intermediate to advanced pianists wishing to further explore Bach's music.
In this companion volume to Johann Sebastian Bach: The Learned Musician, Christoph Wolff contextualises his famous subject by delving deeply into the composer's rich collection of music. Emerging from this complex and massive oeuvre, Bach's Musical Universe is a focused discussion of a meaningful selection of compositions. Unlike any previous study, this book details Bach's creative process across the various instrumental and vocal genres, and centres on what the composer himself judiciously presented in carefully designed benchmark collections and individual works-all consequential to Bach's musical art. Tracing Bach's evolution as a composer, Wolff compellingly illuminates the ideals and legacy of this giant of classical music in a new, refreshing light for everyone, from the amateur to the virtuoso.
(Schott). Pieces by Bach, Handel, Telemann, and others. With teaching notes and composer biographies. Intermediate to Advanced Level.
Music in the Galant Style is an authoritative and readily understandable study of the core compositional style of the eighteenth century. Gjerdingen adopts a unique approach, based on a massive but little-known corpus of pedagogical workbooks used by the most influential teachers of the century, the Italian partimenti. He has brought this vital repository of compositional methods into confrontation with a set of schemata distilled from an enormous body of eighteenth-century music, much of it known only to specialists, formative of the "galant style."
This is the first dedicated study of the musical patronage of Roman baronial families in the sixteenth and early seventeenth centuries. Patronage - the support of a person or institution and their work by a patron - in Renaissance society was the basis of a complex network of familial and political relationships between clients and patrons, whose ideas, values, and norms of behavior were shared with the collective. Bringing to light new archival documentation, this book examines the intricate network of patronage interrelationships in Rome. Unlike other Italian cities where political control was monocentric and exercised by single rulers, sources of patronage in Rome comprised a multiplicity of courts and potential patrons, which included the pope, high prelates, nobles and foreign diplomats. Morucci uses archival records, and the correspondence of the Orsini and Colonna families in particular, to investigate the local activity and circulation of musicians and the cultivation of music within the broader civic network of Roman aristocratic families over the period. The author also shows that the familial union of the Medici and Orsini families established a bidirectional network for artistic exchange outside of the Eternal City, and that the Orsini-Colonna circle represented a musical bridge between Naples, Rome, and Florence.
The life and career of George Frideric Handel, one of the most frequently performed composers from the Baroque period, are copiously and intricately documented through a huge variety of contemporary sources. This multi-volume major publication is the most up-to-date and comprehensive collection of these documents. Presented chronologically in their original languages with English translations and with commentaries incorporating the results of recent research, the documents provide an essential and accessible resource for anyone interested in Handel and his music. In charting Handel's activities and the performance and reception of his music during his lifetime, the documents also offer valuable insights into broader eighteenth-century topics such as court life, theatrical history, public concerts and music publishing. Volume Four begins with the re-establishment of Handel's career in London following his return from Dublin in 1742, and covers the period to 1750 which saw the composition of a succession of his greatest English works for his oratorio seasons, including Samson, Semele, Belshazzar, Juda Maccabaeus and Solomon.
To evaluate the familiar, even over-familiar, story of Handel's life could be seen as a quixotic endeavour. How can there be anything new to say? This book seeks to distinguish fact from fiction, not only to produce a new biography but also to explore the concepts of biography and dissemination by using Handel's life and lives as a case study. By examining the images of Handel to be found in biographies and music histories - the genius, the religious profound, the master of musical styles, the distiller into music of English sentiment, the glorifier of the Hanoverians, the hymner of the middle class, the independent, the prodigious, the generous, the sexless, the successful, the wealthy, the bankrupt, the pious, the crude, the heroic, the devious, the battler of ill-fortune, the moral exemplar - and by adding new factual information, David Hunter shows how events are manipulated into stories and tropes. One such trope has been employed to portray numerous persons as Handel's enemies regardless of whether Handel considered them as such. Picking apart the writing of Handel's biographers and other reporters, Hunter exposes the narrative underpinnings - the lies, confusions, presumptions, and conclusions, whether direct and inferred or assumed - to show how Handel's 'lives' in biographies and histories have moulded our understanding of the musician, the man and the icon. DAVID HUNTER is Music Librarian at the University of Texas at Austin.
Fugal invention has proved a successful line of analytical inquiry in recent studies of repertoires from Josquin to J. S. Bach. Alan Howard brings similar insights to the music of Henry Purcell, and proposes the first analytical approach to his music to examine compositional methods alongside historically contemporary theory, focusing particularly on Purcell's 'artificial' approach to imitative counterpoint. Through this methodology Howard challenges previous responses to Purcell's music that portrayed him as fundamentally conservative. This study offers fresh insights into the musical world in which Purcell lived and worked and situates Purcell's compositional concerns in the broader context of notions of artifice in Restoration culture. Howard thereby offers both a fresh analytical approach - to Purcell's early instrumental works and to his later concerted vocal music - and a critique of the reception history surrounding the fantazias and sonatas in particular.
The life and career of George Frideric Handel, one of the most frequently performed composers from the Baroque period, are copiously and intricately documented through a huge variety of contemporary sources. This major multi-volume publication is the most up-to-date and comprehensive collection of these documents. Presented chronologically in their original languages with English translations and with commentaries incorporating the results of recent research, the documents provide an essential and accessible resource for anyone interested in Handel and his music. In charting his activities in Germany, Italy and Britain, the documents also offer a valuable insight into broader eighteenth-century topics, such as court life, theatrical history, public concerts and competition between music publishers. This volume covers the period of Handel's London opera career during which he achieved gradual independence from the Royal Academy opera company, but also introduced English theatre oratorios and wrote the music for the 1727 coronation.
Music in the Baroque World: History, Culture, Performance offers an interdisciplinary study of the music of Europe and the Americas in the seventeenth and first half of the eighteenth centuries. It answers calls for an approach that balances culture, history, and musical analysis, with an emphasis on performance considerations such as notation, instruments, and performance techniques. It situates musical events in their intellectual, social, religious, and political contexts and enables in-depth discussion and critical analysis. The companion web site provide links to scores and audio/visual performances, making this a complete course for the study of Baroque music. Features An interdisciplinary approach that balances detailed analysis of specific pieces of music and broader historical overview and relevance A selection of historical documents at the end of each chapter that position musical works and events in their cultural context Extensive musical examples that show the melodic, textural, harmonic, or structural features of baroque music and enhance the utility of the textbook for undergraduate and graduate music majors A global perspective with a chapter on Music in the Americas A companion score anthology and website with links to audio/video content of key performances and research and writing guides Music in the Baroque World: History, Culture, Performance tells stories of local traditions, cultural exchange, performance trends, and artistic mixing. It illuminates representative works through the lens of politics, visual arts, theology, print culture, gender, domesticity, commerce, and cultural influence and exchange.
for soprano solo and organ (or strings and organ continuo), with optional solo trumpet This deeply expressive arioso, which opens Handel's Ode for the Birthday of Queen Anne (1713), was performed at the wedding of Prince Harry and Meghan Markle at St George's Chapel, Windsor, on 19 May 2018. Originally scored in D major for counter-tenor, with trumpet and strings, the work is here arranged by John Rutter for performance by soprano and organ (or strings and organ continuo), with or without solo trumpet, in the slightly lower key of C major. The orchestral score and instrumental parts are available for purchase as a package containing (1) the orchestral score in C major, and (2) the instrumental parts (solo tpt, vln 1, vln 2, vla, vc, db, organ continuo) in two versions, in C major and D flat major. The D flat version of the parts is to enable performance with modern strings but natural trumpet, the trumpet playing in Handel's original key of D major but at baroque pitch (A = 415).
The German church cantata of the eighteenth century was the culmination of a long tradition of Lutheran "sermon music" that used the proclamation, amplification, and interpretation of scripture to teach and persuade the listener. Bach's cantatas also served this didactic purpose and typically incorporate numerous allusions to scriptural passages or themes in their librettos. Unfortunately, many of these passages remain obscure to the twentieth-century musician because they demand a much closer familiarity with the Bible than is common today. The Handbook to Bach's Sacred Cantata Texts identifies scriptural references for the wording, imagery, and themes that Bach's listeners would have known. In addition, the religious or literary theme of each text is summarized within the specific context of the cantata as a whole. With interlinear translations and a full complement of indexes.
This book is the first guide to research on the composer Georg Philipp Telemann (1681-1767) in any language. Although the scholarly 'Telemann Renaissance' is now a half-century old, there has never been a book intended to serve as a gateway for further study. Apart from a handful of biographies, dictionary entries, and annotated bibliographies (many of which are now severely out of date), students of Telemann's life and music have been left to dive into the secondary literature in order to get their bearings. Considering that this now burgeoning literature has mainly taken the form of German dissertations and conference proceedings, it is small wonder that the field of Telemann studies has been relatively slow to develop in the English-speaking world. And yet the veritable explosion of performances, both live and recorded, of the composer's music in recent decades has won him an ever-increasing following among musicians and concert-goers worldwide. As with other books in the Composer Compendia series, the book includes a brief biography, dictionary, works-list, and selective bibliography. STEVEN ZOHN is Laura Carnell Professor of Music History at Temple University.
Renaissance music, like its sister arts, was most often experienced collectively. While it was possible to read Renaissance polyphony silently from a music manuscript or print, improvise alone, or perform as a soloist, the very practical nature of Renaissance music defied individualism. The reading and improvisation of polyphony was most frequently achieved through close co-operation, and this mutual endeavour extended beyond the musicians to include the society to which it is addressed. In sixteenth-century Milan, music, an art traditionally associated with the court and cathedral, came to be appropriated by the old nobility and the new aristocracy alike as a means of demonstrating social primacy and newly acquired wealth. As class mobility assumed greater significance in Milan and the size of the city expanded beyond its Medieval borders, music-making became ever more closely associated with public life. With its novel structures and diverse urban spaces, sixteenth-century Milan offered an unlimited variety of public performance arenas. The city's political and ecclesiastical authorities staged grand processions, church services, entertainments, and entries aimed at the propagation of both church and state. Yet the private citizen utilized such displays as well, creating his own miniature spectacle in a visual and an aural imitation of the ecclesiastical and political panoply of the age. Using archival documents, music prints, manuscripts and contemporary writing, Getz examines the musical culture of sixteenth-century Milan via its life within the city's most influential social institutions to show how fifteenth-century courtly traditions were adapted to the public arena. The book considers the relationship of the primary cappella musicale, including those of the Duomo, the court of Milan, Santa Maria della Scala, and Santa Maria presso San Celso, to the sixteenth-century institutions that housed them. In addition, the book investigates the musician's role as an actor and a functionary in the political, religious, and social spectacles produced by the Milanese church, state, and aristocracy within the city's diverse urban spaces. Furthermore, it establishes a context for the numerous motets, madrigals, and lute intabulations composed and printed in sixteenth-century Milan by examining their function within the urban milieu in which they were first performed. Finally, it musically documents Milan's transformation from a ducal state dominated by provincial traditions into a mercantile centre of international acclaim. Such an important study in Italian Renaissance music will therefore appeal to anyone interested in the culture of Renaissance Italy.
In an age of hyper-specialization, Robert M. Stevenson reminds us of a time when an exceptional musician could easily work in various disciplines without being accused of dilettantism. Over his long career he has become an exceptional pianist, composer, teacher, and scholar. Few others can boast the sheer volume and groundbreaking nature of his scholarship, but virtually no one can also claim to have done this while producing compositions that were performed by major musical organizations such as the Philadelphia Orchestra. His place in American musical history is secure and considerable. The time is well past for volume of work to be published in his honor. This collection of essays honors the subject that may be the most visible of his long career, the sacred music of Iberian and Latin American Renaissance. Stevenson's Spanish Cathedral Music and Music in the Age of Columbus, published over forty years ago, remain the standard surveys of these subjects. The collection features contributions by a group of scholars who feel an immense debt of gratitude for his foundational work in this area, and it brings together studies of musical and archival sources, performance practices, institutional traditions, chant traditions, and compositional approaches related to music produced in Spain, Portugal, and Latin America during the years 1480-1650, a time of exceedingly rich artistic output.
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