This book is the most authoritative and up-to-date source of quick reference on the Baroque composer and theorist Jean-Philippe Rameau (1683-1764) This book is the most authoritative and up-to-date source of quick reference on the Baroque composer and theorist Jean-Philippe Rameau (1683-1764), covering every significant area of his life and creative activity. In particular,the dictionary and work-list provide the reader with easy access to a wealth of cross-referenced material. The dictionary highlights recent discoveries and developments, and corrects a number of errors and misunderstandings. It includes entries on institutions, places, individuals, genres, instruments, technical terms, iconography, editions, specific works and publications, and caters for the fact that some users will be at least as interested in Rameau'stheoretical writings as in his life and music. Performers too are well served by the range of entries, many of which illuminate aspects of Rameau's notation and performance practice that can prove puzzling to the non-specialist. The biographical chapter not only provides relevant factual information but also draws attention to significant patterns in Rameau's life and work. This book counters the widespread perception of the composer as a dry, irascible, unsociable individual, revealing him in a far more sympathetic light by giving due weight to hitherto little-known information. GRAHAM SADLER is Professor Emeritus at the University of Hull, Research Professor at Birmingham Conservatoire and Research Fellow at the University of Oxford. He is known internationally as an authority on French music of the seventeenth and eighteenth centuries.

Rolland's biography attempts to provide an overview of Handel's life and works from his early lessons in music to the classical context in which he is commonly placed. Originally published in English in 1916, Hull's translation gives an insight into biographical facts and the musical pieces composed by Handel including his operas, oratorios and chamber music. This title will be of interest to students of music and musical history.

The Ashgate Research Companion to Henry Purcell provides a comprehensive and authoritative review of current research into Purcell and the environment of Restoration music, with contributions from leading experts in the field. Seen from the perspective of modern, interdisciplinary approaches to scholarship, the companion allows the reader to develop a rounded view of the environment in which Purcell lived, the people with whom he worked, the social conditions that influenced his activities, and the ways in which the modern perception of him has been affected by reception of his music after his death. In this sense the contributions do not privilege the individual over the environment: rather, they use the modern reader's familiarity with Purcell's music as a gateway into the broader Restoration world. Topics include a reassessment of our understanding of Purcell's sources and the transmission of his music; new ways of approaching the study of his creative methods; performance practice; the multi-faceted theatre environment in which his work was focused in the last five years of his life; the importance of the political and social contexts of late seventeenth-century England; and the ways in which the performance history and reception of his music have influenced modern appreciation of the composer. The book will be essential reading for anyone studying the music and culture of the seventeenth century.

First Published in 2003. Routledge is an imprint of Taylor and Francis, an informa company.

Many standard musicological reference works document the use of the trombone from its beginning to the middle of the 17th century, and then from Mozart to the present, but few deal with the intervening years. This book reproduces the texts from two dozen treatises, dictionaries, and encyclopedias, along with English translations, published between 1697 and 1811. It provides an overview of the use of the trombone during that time in America and seven European countries and examines its use in choral music, opera, symphonic music and military music.

Examines Czech musical culture c. 1600-1750 and the society that created and shaped it Traditional polemical histories of Bohemia and Moravia identify the period from the early seventeenth to the mid-eighteenth century as a "period of darkness" - particularly in terms of Czech-language culture. This book challengesthat interpretation from the perspective of musical culture and demonstrates that this was actually a vibrant, productive and innovative period, both for music in the Czech language and instrumental music. By focussing on the distinctive nature of Czech-language education and devotional traditions (rehabilitated along Catholic lines after the Thirty Years War), the book reveals a new understanding of Czech musical practices and repertoires as a beguiling blend of the older, non-conformist, vernacular traditions with the new, theatrical, Italian styles and genres. Drawing on a broad range of genres including sonatas, concertos, oratorios, Passion music, masses, motets, litanies andoperas, Bohemian Baroque reveals a fascinating culture and repertoire that have long been overlooked. In the Czech lands, seventeenth-century courtly life emerged in a much different way from many other European countries. Bohemian Baroque underscores the prominent role of rural life in shaping musical culture more broadly in Bohemia and Moravia and consequently draws attention to the works and environments of composers whose careers were primarily in the Czech lands (in contrast to the traditional focus on more famous emigre composers). The book also considers the influence of Germanic traditions on Czech musical culture; several areas of overlap reveal newly identified examples of shared repertoires-in some cases, German and Czech even appear within a single work. Taken as a whole, Bohemian Baroque posits a new paradigm in which received notions of "Czechness" in the musical culture of the seventeenth and eighteenth centuries might be reconsidered. Bohemian Baroque will be required reading for anyone interested in the music of the Habsburg Empire and Central Europe, cultural history, or baroque music more generally. Students and scholars of musical style and music and identity will equally find much of interest here. Robert G. Rawson is Reader in Musicology and Performance at Canterbury Christ Church University.

This book concerns the cadences which reach their conclusion by jumping from scale degree 3 down to 1 or to 1-7-1. The chronological history commences in Gregorian Chant, where the falling third is often preceded by scale degree 4, forming the striking figure 4-3-1. The cadences move, along with the borrowed chant melodies, into the polyphony of the late 14th, 15th and 16th centuries. Here, melodic figures with the shape of 4-3-1, but on any scale degree, become a significant element of style. At cadence the unbroken melodic progression 4-3-1-7-1 may lie entirely in the upper voice, or 4-3-1 may occur in a lower voice followed by 7-1 in the upper. The general effect of the falling third changes as the surrounding musical elements change and as polyphony itself evolves through time. The cadences are reborn in recitative, first in an unbroken form with 4-3-1-7-1 in the voice, later in a broken form with 4-3-1 in the voice, 7-1 in the instrumental continuo part. Many evolving rhythmic, harmonic, melodic, and other elements are important in the cadences, but two are especially significant, for they lead to difficult problems for later performers. These concern (1) the structure in which the accompaniment's V chord is notated directly below the voice's first or single scale degree 1, and (2) the possibility of an appoggiatura on scale degree 2 between the two notes of the falling third. The book suggests some new and unexpected solutions to both these problems and concludes with a brief history of the 4-3-1 figure. The book includes many musical examples by composers such as Dunstable, Dufay, Josquin, Palestrina, A. Scarlatti, J.S. Bach, Handel, Telemann, Haydn, Mozart, Schubert, Mendelssohn and Rossini.

Listeners, performers, students and teachers will find here the analytical tools they need to understand and interpret musical evidence from the baroque era. Scores for eleven works, many reproduced in facsimile to illustrate the conventions of 17th and 18th century notation, are included for close study. Readers will find new material on continuo playing, as well as extensive treatment of singing and French music. The book is also a concise guide to reference materials in the field of baroque performance practice with extensive annotated bibliographies of modern and baroque sources that guide the reader toward further study. First published by Ashgate (at that time known as Scolar Press) in 1992 and having been out of print for some years, this title is now available as a print on demand title.

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.

One of the most remarkable tales of recent resurrections in the field of early keyboard music concerns the music of Heinrich Scheidemann (c. 1595-1663). Long considered a minor master overshadowed by such figures as his teacher Jan Pieterszoon Sweelinck or his fellow student Samuel Scheidt, a number of major source discoveries made in the second half of the twentieth century - the most important one being the discovery of the Zellerfield tablatures - have gradually raised his stature towards what it should now be, namely that of the paramount figure in North German organ music of the first half of the seventeenth century, equalled only by Buxtehude in the second half. Pieter Dirksen, one of the leading scholars on early German keyboard music, shows how Scheidemann was a central personality in the rich musical life of Hamburg and stood on friendly terms with colleagues such as Jacob and Johannes Praetorius, Ulrich Cernitz, Thomas Selle, Johann Schop and Johann Rist. The sources for Scheidemann are for the most part contemporary and stem from all periods of his career, and beyond that until one or two decades after his death. His keyboard music was never published in his lifetime but circulated widely within professional circles. Dirksen considers the transmission of Scheidemann's music as a whole in Part One, where each source is analyzed individually, and the repertoire itself is examined in Part Two. A number of specialized studies, including a detailed investigation into the background of one of the sources as well as adressing questions of organology (an account of the famous Catharinen organ as it was during Scheidemann's era) and performance practice (a study of the fingering indications and observations on registration practice) form Part Three. A wealth of appendices also detail a relative chronology of the music; a geographic overview of the transmission and two hitherto unpublished, fragmentarily transmitted Scheidemann pieces. The book will therefore a

Although it lies far back, running roughly from about 1600 to 1750, the Baroque period is far from forgotten and Baroque music is played widely today as well, exercising numerous musicians and attracting rather substantial audiences. It experienced the emergence of a new sort of music, increasingly secular and increasingly good listening, if you will, and also the start of opera. Some of the Baroque composers appear among the most popular of all time, such as Bach, Handel and Vivaldi. So yes, this is a book for researchers, but it is also a good book for anyone who enjoys this music. The Historical Dictionary of Baroque Music certainly fills a significant space in the whole sub-series on music, since it tells us much more not only about the music but also the age that generated it. This is done particularly well in an insightful introduction, with the flow of events traced by the chronology. The dictionary section fills in the missing details with over 400 entries on the most important composers and musicians, some of the musical works themselves, important places and institutions, and a smattering of technical terms. The bibliography directs us to further reading.

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.

This is the third volume in an on-going series of books surveying the choral-orchestral repertoire. In this study, Green reviews Bach's entire oeuvre, including the more than two hundred works that are rarely performed and therefore rarely discussed. All Bach's works from BWV1 to BWV249 are analyzed, making this volume one of the most useful handbooks on this repertoire. Green reviews each work in great detail, providing information such as an instrumentation list, performance times, publishers, availability of materials, manuscript location (when possible), the hand of the copyist(s), text sources, a discography, and bibliographies specific to each composition. Most importantly, for each work there is a detailed description of the performance issues within the score. This includes evaluations of each solo vocal role, an evaluation of the choral and orchestral parts, along with an estimation of their respective difficulties. There are a number of indexes that provide brief biographical or historical information about each text source indexed back to the works themselves. There is also an index of works by type, vocal solos, choral voicing, instrumentation, liturgical calendar, performance chronology, title, and chorale usage.

Music at German Courts serves to illustrate the extraordinary diversity of eighteenth-century German court music establishments without losing sight of what these Kapellen had in common. What was musical life at German courts really like during the eighteenth century? Were musical ensembles as diverse as the Holy Roman Empire's kaleidoscopic political landscape? Through a series of individual case studies contributed by leading scholars from Germany, Poland, the United States, Canada, and Australia, this book investigates the realities of musical life at fifteen German courts of varied size (ranging from kingdoms to principalities), religious denomination, and geographical location. Significant shifts that occurred in the artistic priorities of each court are presented through a series of "snapshots"- in effect "core sample" years - which highlight both individualand shared patterns of development and decline. What emerges from the wealth of primary source material examined in this volume is an in-depth picture of music-making within the daily life of individual courts, featuring acast of music directors, instrumentalists, and vocalists, together with numerous support staff drawn from across Europe. Music at German Courts serves to illustrate the extraordinary diversity of eighteenth-century German court music establishments without losing sight of what these Kapellen had in common. SAMANTHA OWENS is Senior Lecturer in Musicology at the University of Queensland, Brisbane, Australia. BARBARA M. REUL is Associate Professor of Musicology at Luther College, University of Regina, Canada. JANICE B. STOCKIGT is a Principal Fellow of the University of Melbourne, Australia. Contributors: DIETER KIRSCH, URSULA KRAMER, MICHAEL MAUL, MARY OLESKIEWICZ, SAMANTHA OWENS, RASHID-S. PEGAH, BAERBEL PELKER, BARBARA M. REUL, WOLFGANG RUF, BERT SIEGMUND, JANICE B. STOCKIGT, MICHAEL TALBOT, RUEDIGER THOMSEN-FUERST, ALINA ZORAWSKA-WITKOWSKA, STEVEN ZOHN

The Modern Castrato: Gaetano Guadagni and the Coming of a New Operatic Age chronicles the career of the most significant castrato of the second half of the eighteenth-century. Through a coincidence of time and place, Gaetano Guadagni was on the forefront of the heroic opera reform, and many forward-thinking composers of the age created roles for him. Author Patricia Howard reveals that Guadagni may have been the only singer of the time fully able to understand the demands and opportunities of this reform, as well to possess the intelligence and self-knowledge to realize that it suited his skills, limitations and temperament perfectly-making him the first castrato to embrace the concepts of modern singing. The first full-length biography of this outstanding singer, The Modern Castrato illuminates the everyday lives of eighteenth-century singers while spotlighting the historic high points of the century. Most famous for his creation of the role of Orpheus in Gluck's Orfeo ed Euridice, his career ranged widely and brought him into contact with many progressives theorists and composers such as Traetta, Jommelli, and Bertoni. Howard's focus on the development of Guadagni's career pauses on essential, related topics along the way, such as the castrato in society, the eighteenth-century revolution in acting, and the remarkable evidence for Guadagni's marionette theater. Howard also assesses Guadagni's surviving compositions, which give new insight into the quality and character of his voice as well as his technical and expressive abilities. The Modern Castrato is an engaging narrative that will prove essential reading for opera lovers and scholars of eighteenth-century music.

Although he is often identified as a Monteverdi scholar (Approaches to Monteverdi: Aesthetic, Psychological, Analytical and Historical Studies, published in the Variorum series in 2013), the majority of Jeffrey Kurtzman's work has focused on other sixteenth- and seventeenth-century Italian sacred music. Organized into three sections, part one begins with a chapter on the Monteverdi Mass and Vespers of 1610 which spotlights the other major work in Monteverdi's first prominent sacred print, the Missa in illo tempore, followed by examples of Kurtzman's work on the sacred music of other composers such as Giovanni Francesco Capello and Palestrina. The section concludes with a piece on polyphonic psalm structures in seventeenth-century Italian Office music. Part two includes pieces which explore the relationship between the standard clef set, the high clef set, specific Magnificat tones and sounding pitch in the Magnificats of Roman composers; the issue of polyphonic psalm antiphons and the question of vocal and instrumental substitutes for plainchant antiphons in the Vespers service; and the use of instruments in the performance of sacred music, demonstrating that the concertato style of the seventeenth century had its origins in the practice of substituting instruments for voices and doubling voices with instruments, thereby introducing multifaceted possibilities for varying sonorities through the course of a composition. Part 3 contains two articles: the first surveying various styles in the Office repertoire of the seventeenth-century based on the approximately 1500 prints of Italian Office music in Kurtzman's and Anne Schnoebelen's catalogue of Mass, Office and Holy Week Music Printed in Italy, 1516-1770. The second article, published for the first time in this volume, assesses the impact on Italian liturgical music of the Catholic reform of the second half of the sixteenth-century.

This volume gathers together twelve essays on the composer's music, reflecting the author's interests in aesthetic and psychological issues, the sacred works, methods of structural analysis, and the problems of making critical editions. The opera Orfeo and two madrigals from Monteverdi's Book Eight are the subject of aesthetic and psychological investigation, especially from the perspective of Michel Foucault's The Order of Things and the psychology of C.J. Jung, all supported by musical analysis. Two essays analyze in detail the structural principles of the psalms Laetatus sum from the 1610 Vespers and the first Dixit Dominus from the Sevla Morale e spirituale of 1641. Two others re-examine the story of Monteverdi's Mass of Thanksgiving and consider the question of what sacred music Monteverdi actually or likely wrote but is now lost. The final essay critiques and compares the methodology and problems of the Malipiero and Cremona editions of Monteverdi's Opera Omnia. All but one of these essays were originally published over a time span of twenty years in journals, conference reports, Festschriften, and as book chapters. The majority of them were not widely distributed or readily available until now. The essay on the Malipiero and Cremona editions appears here for the first time.

Listeners, performers, students and teachers will find here the analytical tools they need to understand and interpret musical evidence from the baroque era. Scores for eleven works, many reproduced in facsimile to illustrate the conventions of 17th and 18th century notation, are included for close study. Readers will find new material on continuo playing, as well as extensive treatment of singing and French music. The book is also a concise guide to reference materials in the field of baroque performance practice with extensive annotated bibliographies of modern and baroque sources that guide the reader toward further study. First published by Ashgate (at that time known as Scolar Press) in 1992 and having been out of print for some years, this title is now available as a print on demand title.

The composition of the solo concerto studied as an evolving debate (rather than a static technique), and for its stylistic features. The solo concerto, a vast and important repertory of the early to mid eighteenth century, is known generally only through a dozen concertos by Vivaldi and a handful of works by Albinoni and Marcello. The authors aim to bring thisrepertory to greater prominence and have, since 1995, been involved in a research programme of scoring and analysing over nine hundred concertos, representing nearly the entire repertory available in early prints and manuscripts.Drawing on this research, they present a detailed study and analysis of the first-movement ritornello form, the central concept that enabled composers to develop musical thinking on a large scale. Their approach is firstly to present the ritornello form as a rhetorical argument, a musical process that dynamically unfolds in time; and secondly to challenge notions of a linear stylistic development from baroque to classical, instead discovering composers trying out different options, which might themselves become norms against which new experiments could be made. SIMON McVEIGH is Professor of Music, Goldsmiths College, University of London; JEHOASH HIRSHBERG is Professor in the Musicology Department, Hebrew University of Jerusalem.

For nearly two centuries, Johann Sebastian Bach has been regarded as a cornerstone of Western musical culture. His music inspired subsequent generations of composers and philosophers alike, and continues to capture our imaginations in many ways. Bach studies is part of this picture, often seen as providing excellent examples of musicological scholarship. For The Baroque Masters: Bach, the editor has chosen thirty-three published articles which, in his view, not only represent a broad spectrum of the scholarly discussions on Bach's life and works, but will also facilitate the on-going study of Bach's creative genius. The articles have been selected to ensure that this volume will be considered useful for not only those students who are currently engaging in Bach studies at universities but also for more seasoned Bach scholars as they consider future direction of Bach studies.

Research in the 20th and 21st centuries into historical performance practice has changed not just the way performers approach music of the 17th and 18th centuries but, eventually, the way audiences listen to it. This volume, beginning with a 1915 Saint-SaA"ns lecture on the performance of old music, sets out to capture musicological discussion that has actually changed the way Baroque music can sound. The articles deal with historical instruments, pitch, tuning, temperament, the nexus between technique and style, vibrato, the performance implications of musical scores, and some of the vexed questions relating to rhythmic alteration. It closes with a section on the musicological challenges to the ideology of the early music movement mounted (principally) in the 1990s. Leading writers on historical performance practice are represented. Recognizing that significant developments in historically-inspired performance have been led by instrument makers and performers, the volume also contains representative essays by key practitioners.

Since 1978, the 300th anniversary of Vivaldi's death, there has been an explosion of serious writing about his music, life and times. Much of this has taken the form of articles published in academic journals or conference proceedings, some of which are not easy to obtain. The twenty-two articles selected by Michael Talbot for this volume form a representative selection of the best writing on Vivaldi from the last 30 years, featuring such major figures in Vivaldi research as Reinhard Strohm, Paul Everett, Gastone Vio and Federico Maria Sardelli. Aspects covered include biography, Venetian cultural history, manuscript studies, genre studies and musical analysis. The intention is to serve as a 'first port of call' for those wishing to learn more about Vivaldi or to refresh their existing knowledge. An introduction by Michael Talbot reviews the state of Vivaldi scholarship past and present and comments on the significance of the articles.

The 300th anniversary of Henry Purcell's death in 1995 stimulated a good deal of new research into his music, its sources, performance, reception and cultural context. The 23 articles in this volume have been chosen by Peter Holman as a representative selection of the best scholarly writing over the last few decades, featuring most of the leading Purcell scholars, including Curtis Price, Robert Thompson, Robert Shay, Bruce Wood, Rebecca Herissone, and Christopher Hogwood, though it also includes some earlier classic articles, by Michael Tilmouth, Richard Luckett, Margaret Laurie and others. The four sections are 'Biography and Contexts', 'Sources, Editing and Publishing', 'Styles, Genres and Compositional Process', and 'Performance, Performance Practice and Reception'. Peter Holman's introduction explores the history of Purcell scholarship, reviews its present state, comments on the significance of the articles, and offers a prospect for the future.

This anthology represents scholarly literature devoted to Handel over the last few decades, and contains different kinds of studies of the composer's biography, operatic career, singers, librettists, and his relationship with the music of other composers. Case studies range from recent research that transforms our knowledge of large-scale English works to an interdisciplinary exploration of an individual opera aria. Designed to bring easy and convenient access to students, performers and music lovers, the wide-ranging articles are selected by David Vickers (co-editor of the recent Cambridge Handel Encyclopedia) from diverse sources - not only familiar important journals, but also specialist yearbooks, festschrifts, not easily accessible newsletters, conference proceedings and exhibition catalogues. Many of these represent an up-to-date understanding of modern Handel studies, deal with fascinating biographical issues (such as the composer's art collection, his chronic health problems, and the nature of popular anecdotal evidence), and fill gaps in the mainstream Handelian literature.

Claudio Monteverdi is now recognized as the towering figure of a critical transitional moment of Western music history: relentless innovator in every genre within chamber, church and theatre music; self-proclaimed leader of a 'new dispensation' between words and their musical expression; perhaps even 'Creator of Modern Music'. During recent years, as his arrestingly attractive music has been brought back to life in performance, so too have some of the most outstanding musicologists focussed intensely on Monteverdi as they worked through the 'big' questions in the historiography and hermeneutics of early Baroque music, including musical representation of language; compositional theory; social, institutional, cultural and gender history; performance practices and more. The 17 articles in this volume have been selected by Richard Wistreich to exemplify the best scholarship in English and because each, in retrospect, turns out to have been a ground-breaking contribution to one or more significant strands in Monteverdi studies.