This companion volume to The Courtly Consort Suite in German-Speaking Europe surveys an area of music neglected by modern scholars: the consort suites and dance music by musicians working in the seventeenth-century German towns. Conditions of work in the German towns are examined in detail, as are the problems posed by the many untrained travelling players who were often little more than beggars. The central part of the book explores the organisation, content and assembly of town suites into carefully ordered printed collections, which refutes the concept of the so-called 'classical' suite. The differences between court and town suites are dealt with alongside the often-ignored variation suite from the later decades of the seventeenth century and the separate suite-writing traditions of Leipzig and Hamburg. While the seventeenth-century keyboard suite has received a good deal of attention from modern scholars, its often symbiotic relationship with the consort suite has been ignored. This book aims to redress the balance and to deal with one very important but often ignored aspect of seventeenth-century notation: the use of blackened notes, which are rarely notated in a meaningful way in modern editions, with important implications for performance.

The volume includes detailed studies concerning various aspects of the musical culture of Silesia from the fifteenth to mid-eighteenth centuries. The authors, who represent academic centres in Poland, Czech Republic, Germany, Slovakia, Holland, France and Great Britain, present new sources, as well as reinterpreting previously known facts and phenomena. What makes the approach here so original is that it takes into account the wider context of musical culture in Silesia, not limited to examining it exclusively in relation to the Polish, Czech or German cultures. Here we can see Silesia as one of the regions of Central Europe, and not merely as a western province of Poland, northern province of the Czech Kingdom, or eastern province of Prussia.

Examines aspects of figured bass notation and continuo realization in the High Baroque, especially with respect to the operas and oratorios of G. F. Handel. This pioneering study examines aspects of figured bass notation and continuo realization in the High Baroque, especially with respect to the operas and oratorios of G. F. Handel. Contemporary treatises, Handel's manuscripts, original performance material, and other early sources provide clarification and guidance for the modern performer. Part one is an overview of figured bass in Handel source materials: autograph manuscripts, performing scores, original keyboard parts, 18th century scribal copies, and early editions. Part two treats in depth continuo realization problems that are often overlooked and can be troublesome in modern performances. The author defines the most common bass patterns, or formula-progressions, in Handel's music, together with the precise harmony the composer intended. The author attempts to show that continuo figuring can serve different functions depending oncontext. Much of the figuring that comes down to us in secondary sources may derive from the composer, or it may reflect valid contemporary practice. Modern editions, in the main, are too selective in this regard: they only include bass figuring from primary sources, leaving the modern performer frequently without sufficient guidance in the continuo part to improvise a stylistic accompaniment. Appendices include brief examples of continuo realization by Handel. Patrick J. Rogers is an active keyboard player and former Fulbright Scholar who studied Handel under Theodor Goellner, Roland Jackson, Terence Best, and the late J. Merrill Knapp.

Dance music at the courts of seventeenth-century Germany is a genre that is still largely unknown. Dr Michael Robertson sets out to redress the balance and study the ensemble dance suites that were played at the German courts between the end of the Thirty Years War and the early years of the eighteenth century. At many German courts during this time, it was fashionable to emulate everything that was French. As part of this process, German musicians visited Paris throughout the second half of the seventeenth century, and brought French courtly music back with them on their return. For the last two decades of the century, this meant the works of Jean-Baptiste Lully, and his music and its influence spread rapidly through the courts of Europe. Extracts from Lully's dramatic stage works were circulated in both published editions and manuscript. These extracts are considered in some detail, especially in terms of their relationship to the suite. The nobility also played their part in this process: French musicians and German players with specialist knowledge were often hired to coach their German colleagues in the art of playing in the French manner, the franzAsischer Art. The book examines the dissemination of dance music, instrumentation and performance practice, and the differences between the French and Italian styles. It also studies the courtly suites before the advent of Lullism and the differences between the suites of court composers and town musicians. With the possible exception of Georg Muffat's two Florilegium collections of suites, much of the dance music of the German Lullists is largely unknown; court composers such as Cousser, Erlebach, Johann Fischer and Johann Caspar Ferdinand Fischer all wrote fine collections of ensemble suites, and these are examined in detail. Examples from these suites, some published for the first time, are given throughout the book in order to demonstrate the music's quality and show that its neglect is completely unjustified.

In 1741, in just 24 days, the German-born, British-naturalized composer George Frideric Handel wrote an oratorio rich in tuneful arias and choruses of robust grandeur. Coolly received in London at first, after Handel's death Messiah enjoyed an extraordinary surge in popularity: it was performed at festivals across England; other composers rushed to rearrange it; it would be commercially recorded on more than 100 occasions. Jonathan Keates tells the story of the composition and musical afterlife of Handel's masterpiece: he considers the first performances and its place in Handel's output; he looks at the oratorio itself and its relationship with spirituality in the age of the Enlightenment; and he examines why Messiah became such an essential element in the national culture of Britain. Illustrated with beautiful images, including the original score of the work, Messiah is a richly informative and affectionate celebration of a high-point of Britain's Georgian golden age.

First Published in 1996. Routledge is an imprint of Taylor & Francis, an informa company.

This handbook for flautists addresses all who wish to consider the issues raised when performing music of the past, and experiment with them on old or new instruments. Its aim is to provide an authoritative and practical guide with evidence drawn from a variety of primary sources directly and indirectly associated with the flute. The author provides sound advice on instruments and their care, historical techniques, stylistic issues and historically informed interpretation, with examples drawn from a wide range of case studies, including Bach, Handel, Mozart and Brahms.

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 music of the sixteenth century has been "rediscovered" regularly since its composition. It was an especially fertile period for English music in particular, and to put the century in a historical and musicological perspective, this volume spans the era from 1485 to 1625, although in order to provide context and perspective the contributors range back to the middle of the fifteenth century and towards the end on the seventeenth.

The book opens with a history of music and musicians in Tudor England, covering composition and performance, as well as the changing functions of music over the period. Two chapters are dedicated to sacred and church music. They cover the last years of Pre-Reformation England (especially the music of Fayrfax, Ashwell, Taverner, and the organ music of Redford, Preston and Rhys), the composers who span the charge to Anglicanism (for example Sheppard and Tallis) and those (such as Tye, Byrd, Morley, Weelkes, Hooper and Gibbons) who helped lay the foundations for the rich heritage of Anglian church music that remains so vibrant a part of the church today. These chapters also consider the particular problems of those who continued to write Latin music after the Reformation (in particular Parsons, White and Byrd). The final three chapters of the book are devoted respectively to secular vocal music, to keyboard music, and to ensemble and lute music. These chapters include a detailed discusson of Tudor partsong, of the consort song, of English Madrigalists, the English Virginal School, the English lutenists and the rich variety of muic for ensemble. The book concludes with full bibliographies and with a comprehensive index.

Kitty Clive (1711-1785) was a top London stage star. She dominated spoken as well as musical comedy. From the 1740s onwards, her reputation suffered a sharp decline. For anyone curious about star production in eighteenth-century Britain, her story is not to be missed. Kitty Clive (1711-1785) was a top London stage star. Singing powered her ascent and, for twenty years, was foundational to her success as she came to dominate spoken as well as musical comedy. Her protean powers transfixed audiences, whether in low-style productions or in works by masters like Purcell, Shakespeare, and Dryden. Celebrities such as Handel and Henry Fielding wrote vehicles for her. Clive's career was unique. Despite a sometimes awkward biography - her father was a disgraced Irish Catholic; she defied managers; her marriage was almost certainly a social ruse and her 'husband' a homosexual - her musical voice helped her to become the champion of British song, of patriotism, and of propriety. Yet in the 1740s, critical opinion turned against Clive and the financial power she wielded. Salvaging her career with David Garrick's help, Clive gutted her legacy. She quit serious song and took to caricaturing herself on stage, winning back audiences by disparaging her earlier achievements. Altering works mid-performance, creating and re-shaping stage genres, and leveraging press coverage while seeming not to, she was above all a shrewd manager and a fascinating stage artist. Clive's career reveals to us gorgeous song otherwise lost and perspectives previously unknown. For music historians, musicologists, theatre scholars, and anyone curious about performance history and star production in eighteenth-century Britain, her story is not to be missed. BERTA JONCUS is Senior Lecturer in Music at Goldsmiths, University of London.

**WINNER of Presto Books' Best Composer Biography** 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

The enigmatic character of The Art of Fugue became apparent as early as in its first edition, printed more than a year after the composer's death. Carl Philipp Emanuel Bach, who published both the first and the second editions, raised several unsolved questions regarding this opus. Anatoly P Milka presents a consistent and coherent solution to the unresolved questions about the history, structure and appearance of J.S. Bach's The Art of Fugue, opening new perspectives for further exploration of this musical masterpiece. Milka challenges the present scholarly consensus that there exist two different versions of The Art of Fugue (the Autograph and the Original Edition) and argues that Bach had considered four versions, of which only two are apparent and have been discussed so far. Only Bach's illness and death prevented him from fulfilling his plan and publishing a fourth, conclusive version of his opus.

A prolific music theorist and critic as well as an established composer, Johannes Mattheson remains surprisingly understudied. In this important study, Margaret Seares places Mattheson's Pieces de clavecin (1714) in the context of his work as a public intellectual who encouraged German musicians and their musical public to eschew what he saw as the hidebound traditions of the past, and instead embrace a universalism of style and expression derived from contemporary currents in music of the leading European nations. Beginning with the early non-musical writings by Mattheson, Seares places them in the context of the cosmopolitan city-state of Hamburg, before moving to a detailed study of his first major musical treatise Das neu-erAffnete Orchestre of 1713, in which he espoused his views about the musics of the past and present and, in particular, the characteristics of the musics of Germany, Italy, France and England. This latter section of the treatise, Part III, is edited and translated into English in the book's appendix - the first such translation available. Seares then moves on to an evaluation of the Pieces de clavecin as a work in which Mattheson reflects in musical terms the themes of modernism (in the sense of A la mode) and universalism that are such a strong part of his writings of the period, and a work that represents an important precursor for the keyboard suites of Johann Sebastian Bach and Georg Frideric Handel.

This five-volume graded series of organ music by J. S. Bach (2 volumes for manuals only; 3 volumes for manuals and pedals) provides a wonderful selection of pieces for all players. The whole is an authoritative and fully practical introduction to this cornerstone of the organ repertoire, with pieces presented in highly practical form for teachers and students.

This five-volume graded series of organ music by J. S. Bach (2 volumes for manuals only; 3 volumes for manuals and pedals) provides a wonderful selection of pieces for all players. The whole is an authoritative and fully practical introduction to this cornerstone of the organ repertoire, with pieces presented in highly practical form for teachers and students.

This five-volume graded series of organ music by J. S. Bach (2 volumes for manuals only; 3 volumes for manuals and pedals) provides a wonderful selection of pieces for all players. The whole is an authoritative and fully practical introduction to this cornerstone of the organ repertoire, with pieces presented in highly practical form for teachers and students.

This five-volume graded series of organ music by J. S. Bach (2 volumes for manuals only; 3 volumes for manuals and pedals) provides a wonderful selection of pieces for all players. The whole is an authoritative and fully practical introduction to this cornerstone of the organ repertoire, with pieces presented in highly practical form for teachers and students.

This four-volume anthology contains a sparkling selection of pieces and represents all the major composers of the period. It includes pieces in all the main genres, with Cornet and Trumpet Voluntaries, Echo Voluntaries, fugal works with slow introductions, and Full Voluntaries; as such, the collection offers a wide range of attractive music suitable for both church and recital use. Each volume contains an extended Introduction, with information on instruments of the period, registration, ornamentation, and notes on the composers. An important feature of the collection is an editorial realization of the cadenzas which occur at key points in some of the pieces; these complete the works and demonstrate how they would have been performed at the time. With extended historical information and a wonderful array of pieces carefully edited from original sources, this is a major collection that will be of interest to organists of all abilities.

This four-volume anthology contains a sparkling selection of pieces and represents all the major composers of the period. It includes pieces in all the main genres, with Cornet and Trumpet Voluntaries, Echo Voluntaries, fugal works with slow introductions, and Full Voluntaries; as such, the collection offers a wide range of attractive music suitable for both church and recital use. Each volume contains an extended Introduction, with information on instruments of the period, registration, ornamentation, and notes on the composers. An important feature of the collection is an editorial realization of the cadenzas which occur at key points in some of the pieces; these complete the works and demonstrate how they would have been performed at the time. With extended historical information and a wonderful array of pieces carefully edited from original sources, this is a major collection that will be of interest to organists of all abilities.

This four-volume anthology contains a sparkling selection of pieces and represents all the major composers of the period. It includes pieces in all the main genres, with Cornet and Trumpet Voluntaries, Echo Voluntaries, fugal works with slow introductions, and Full Voluntaries; as such, the collection offers a wide range of attractive music suitable for both church and recital use. Each volume contains an extended Introduction, with information on instruments of the period, registration, ornamentation, and notes on the composers. An important feature of the collection is an editorial realization of the cadenzas which occur at key points in some of the pieces; these complete the works and demonstrate how they would have been performed at the time. With extended historical information and a wonderful array of pieces carefully edited from original sources, this is a major collection that will be of interest to organists of all abilities.

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.

for SATB unaccompanied This edition of the Salve Regina by Portuguese composer Diogo Dias Melgas (1638-1700) is the first published version of the work, which has previously only been available in a library edition. Suitable for liturgical or concert performance, this setting is in four equally active parts throughout, each of which takes the initial plainsong motif at the opening. The effectiveness of this moving work lies in the skilful manipulation of simple motivic material, through the use of devices such as parallel writing, sequences, repetition, suspensions, and hocket. The vocal score is presented alongside detailed performance and editorial notes, and an optional basso continuo part appears as an appendix. Salve Regina is featured on The Sixteen's CD 'A Golden Age of Portuguese Music', conducted by Harry Christophers (COR16020).

for SATB soloists, SATB chorus, and string ensemble Composed during the early 1700s, Emanuele d'Astorga's nine-movement Stabat Mater was to become one of the most frequently performed choral works of the eighteenth century. Tinged with melancholy, it features ornate solos, duets, and trios interspersed between beautiful imitative moments for full chorus. Robert King has consulted eighteenth-century sources for this edition, which includes an organ reduction for rehearsal purposes. The orchestral score and parts are available on hire/rental.