This second edition has been fully revised and updated to keep abreast of the latest scholarship, and now includes colour images throughout, and a glossary and index. In addition there are new, expanded sections on the major genres and works of the Baroque era, as well as in-depth examinations of the lives and careers of the two greatest Baroque composers, Johann Sebastian Bach and Georg Frideric Handel. This focus guide is intended to provide a solid foundation for pupils of all levels who are studying Baroque music, as well as general readers with an interest in the topic. It suggests listening and viewing material to complement the main topics within the book, and is an ideal resource for those wanting to explore the many aspects of Baroque music.

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 and Research Professor at Birmingham Conservatoire. He is known internationally as an authority on French music of the seventeenth and eighteenth centuries.

The Vivaldi Compendium represents the latest in Vivaldi research, drawing on the author's close involvement with Vivaldi and Venetian music over four decades. The Vivaldi Compendium will serve as the most reliable and up-to-date source of quick reference on the composer Antonio Vivaldi and his music. This takes the form of a dictionary listing persons, places, musical works and many other topics connected with Vivaldi; its alphabetically arranged entries are copiously cross-referenced to guide the reader towards related topics. The Vivaldi Compendium also provides a gateway to further reading via an extensive bibliography, to which reference is made in most of the dictionary entries. These two sections are complemented by a biography of the composer and a carefully organized list of his works. Knowledge about Vivaldi and his music is still advancing at an incredible rate - many discoveries occurred while the book was in preparation - and every effort has been made to ensure that The Vivaldi Compendium represents the latest in Vivaldi research, drawing on the author's close involvement with Vivaldi and Venetian music over four decades. MICHAEL TALBOT is Emeritus Professor of Music at the University of Liverpool and a Fellow of the British Academy. He isknown internationally for his studies of late-baroque Italian music, which include recent books on Vivaldi's chamber cantatas [2003] and the same composer's fugal writing [2007].

This work includes a book and 4 CDs. This is the publication in the Handel festival year 2009! Georg Friedrich Handel is undoubtedly one of the most distinguished baroque composers. Over the centuries, his works have always ranked very highly in popularity ratings. Whether it is the "Water Music" or his "Messiah", Handel has set the benchmark in all categories of music. In this "earBOOK", author Detmar Huchting presents the biography of this great composer. Music CDs: This work contains four CDs that offer a representative cross-section of Handel's creative works. Renowned artists like Peter Schreier, Theo Adam or Reiner Susz and the orchestra as well as the chamber orchestra 'Carl Philipp Emanuel Bach' guarantee top-class performances.

Teaching Music History with Cases introduces a pedagogical approach to music history instruction in university coursework. What constitutes a music-historical "case?" How do we use them in the classroom? In business and the hard sciences, cases are problems that need solutions. In a field like music history, a case is not always a problem, but often an exploration of a context or concept that inspires deep inquiry. Such cases are narratives of rich, complex moments in music history that inspire questions of similar or related moments. This book guides instructors through the process of designing a curriculum based on case studies, finding and writing case studies, and guiding class discussions of cases.

The sublime - that elusive encounter with overwhelming height, power or limits - has been associated with music from the early-modern rise of interest in the Longinian sublime to its saturation of European culture in the later nineteenth century and beyond. This volume offers a historically situated study of the relationship between music, sound and the sublime. Together, the authors distinguish between the different aesthetics of production, representation and effect, while understanding these as often mutually reinforcing approaches. They demonstrate music's strength in playing out the sublime as transfer, transport and transmission of power, allied to the persistent theme of destruction, deaths and endings. The volume opens up two avenues for further research suggested by the adjective 'sonorous': a wider spectrum of sounds heard as sublime, and (especially for those outside musicology) a more multifaceted idea of music as a cultural practice that shares boundaries with other sounding phenomena.

Peter Philips (c.1560-1628) was an English organist, composer, priest and spy. He was embroiled in multifarious intersecting musical, social, religious and political networks linking him with some of the key international players in these spheres. Despite the undeniable quality of his music, Philips does not fit easily into an overarching, progressive view of music history in which developments taking place in centres judged by historians to be of importance are given precedence over developments elsewhere, which are dismissed as peripheral. These principal loci of musical development are given prominence over secondary ones because of their perceived significance in terms of later music. However, a consideration of the networks in which Philips was involved suggests that he was anything but at the periphery of the musical, cultural, religious and political life of his day. In this book, Philips's life and music serve as a touchstone for a discussion of various kinds of network in the late sixteenth and early seventeenth centuries. The study of networks enriches our appreciation and understanding of musicians and the context in which they worked. The wider implication of this approach is a constructive challenge to orthodox historiographies of Western art music in the Early Modern Period.

Masque and Opera in England, 1656-1688 presents a comprehensive study of the development of court masque and through-composed opera in England from the mid-1650s to the Revolution of 1688-89. In seeking to address the problem of generic categorization within a highly fragmentary corpus for which a limited amount of documentation survives, Walkling argues that our understanding of the distinctions between masque and opera must be premised upon a thorough knowledge of theatrical context and performance circumstances. Using extensive archival and literary evidence, detailed textual readings, rigorous tabular analysis, and meticulous collation of bibliographical and musical sources, this interdisciplinary study offers a host of new insights into a body of work that has long been of interest to musicologists, theatre historians, literary scholars and historians of Restoration court and political culture, but which has hitherto been imperfectly understood. A companion volume will explore the phenomenon of "dramatick opera" and its precursors on London's public stages between the early 1660s and the first decade of the eighteenth century.

Few bodies of Western music are as widely respected, studied, and emulated as the fugues of Johann Sebastian Bach. Despite the esteem which Bach's contributions brought to the genre, however, the origin and early history of the fugue remain poorly understood. Theories of Fugue from the Age of Josquin to the Age of Bach addresses both the history and methodology of the pre-Bach fugue (from roughly 1500 to 1700), and, of greatest significance to the literature, it seeks to present a way out of the methodological dilemma of uncertainty which has plagued previous scholarly attempts by considering what musicians of the time had to say about the fugue: what it was, what it was not, how important it was, and where and how a composer should (or shouldn't) use it. Paul Mark Walker is director of the Early Music Ensemble at the University of Virginia and an expert on the history of the fugue.

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.

It brings together a substantial group of essays by an international team of scholars on a wide range of aspects of Rameau's operas. The individual essays are informed by a variety of disciplines or sub-disciplines - literature, archival studies, musical analysis, gender studies, ballet and choreography, dramaturgy and staging. The contents are addressed to a wide readership, including not only scholars but also practical musicians, stage directors, dancers and choreographers.

In 1725 Johann Sebastian Bach wrote two keyboard suites for his wife Anna Magdalena, whom he married in 1721. These became the first entries in a book in which, over the next twenty years, were gathered together both keyboard pieces and vocal works by Johann Sebastian and his two sons Carl Philipp Emanuel and Johann Christian as well as such composers as Couperin, Boehm, Petzold and Hasse. An illuminating portrait of domestic music-making in the Bach family during the Leipzig period, this authoritative new edition of the book contains the keyboard pieces only, including the well-known Minuet in G and Prelude in C, from The Well-Tempered Clavier, Part I, and more substantial items such as C. P. E. Bach's Solo per il Cembalo in E flat (early versions of Partitas Nos. 3 and 6 and French Suites Nos. 1 and 2 are excluded). This first-class edition, providing an important and attractive introduction to the Baroque style, also contains invaluable advice on appropriate tempo, phrasing, articulation and ornamentation in accordance with contemporary performance practice.

Examines the pivotal role of dance in the Italian operas of Handel, perhaps the greatest opera composer between Monteverdi and Mozart. George Frideric Handel set himself apart from his contemporaries by employing choreographed instrumental music to complement and reinforce the emotional impact of his operas. Of his fifty-three operas, no fewer than fourteen -- including ten written for the London stage -- feature dances. Dance in Handel's London Operas explores the relationship between music, drama, and dance in these London works, dispelling the notion that dance was a largely peripheral element in Italian-language operas prior to those of Gluck. Taking a chronological approach, Sarah McCleave examines operas written throughout various periods in Handel's life, beginning with his early London operas,including his time at the Royal Music Academy and the "Salle" operas of the 1730s, and concluding with his unstaged dramatic opera Alceste (1750). In considering the various influences on Handel (particularly the London stage), McCleave blends analysis of information from eighteenth-century treatises with that found in more modern studies, offering an informed and imaginative understanding of the role dance played in the work of this major figure --one who remained responsive throughout his career to the vital and innovative theatrical environment in which he worked. Sarah McCleave is a lecturer at The School of Creative Arts at Queen's University Belfast.

Bach's Johannine Theology: The St. John Passion and the Cantatas for Spring 1725 is a fertile examination of this group of fourteen surviving liturgical works. Renowned Bach scholar Eric Chafe begins his investigation into Bach's theology with the composer's St. John Passion, concentrating on its first and last versions. Beyond providing a uniquely detailed assessment of the passion, Bach's Johannine Theology is the first work to take the work beyond the scope of an isolated study, considering its meaning from a variety of musical and historical standpoints. Chafe thereby uncovers a range of theological implications underlying Bach's creative approach itself.
Building considerably on his previous work, Chafe here expands his methodological approach to Bach's vocal music by arguing for a multi-layered approach to religion in Bach's compositional process. Chafe bases this approach primarily on two aspects of Bach's theology: first, the specific features of Johannine theology, which contrast with the more narrative approach found in the Synoptic Gospels (Matthew, Mark, Luke); and second, contemporary homiletic and devotional writings - material that is not otherwise easily accessible, and less so in English translation. Bach's Johannine Theology provides an unprecedented, enlightening exploration of the theological and liturgical contexts within which this music was first heard.

In this penetrating study, Russell Stinson explores how four of the greatest composers of the nineteenth century--Felix Mendelssohn, Robert Schumann, Franz Liszt, and Johannes Brahms--responded to the model of Bach's organ music. The author shows that this quadrumvirate not only borrowed from Bach's organ works in creating their own masterpieces, whether for keyboard, voice, orchestra, or chamber ensemble, but that they also reacted significantly to the music as performers, editors, theorists, and teachers. Furthermore, the book reveals how these four titans influenced one another as "receptors" of this repertory and how their mutual acquaintances--especially Clara Schumann--contributed as well.
As the first comprehensive discussion of this topic ever attempted, Stinson's book represents a major step forward in the literature on the so-called Bach revival. He considers biographical as well as musical evidence to arrive at a host of new and sometimes startling conclusions. Filled with fascinating anecdotes, the study also includes detailed observations on how these composers annotated their personal copies of Bach's organ works.
Stinson's book is entirely up-to-date and offers much material previously unavailable in English. It is meticulously annotated and indexed, and it features numerous musical examples and facsimile plates as well as an exhaustive bibliography. Included in an appendix is Brahms's hitherto unpublished study score of the Fantasy in G Major, BWV 572. Engagingly written, this study should be read by anyone at all interested in the music of Bach or the music of the nineteenth century.

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.

This anthology to accompany Gateways to Understanding Music is comprised of musical "texts." These broadly defined texts-primarily musical scores-facilitate the integration of score study and music theory into the ethno/musicology curriculum, a necessary focus in the training of the professional musician. As posed by the textbook, the last question in each modular "gateway" is "Where do I go from here?" This resource provides one more opportunity to go beyond the textbook to examine music scores and texts in even greater depth. This anthology is a combination of primary sources for study: musical scores and music transcriptions, along with a few primary source documents and musical exercises.

Presupposing no specialist musical knowledge, this book offers a fresh perspective on the dramatic role of music in the plays of Shakespeare and his early seventeenth-century contemporaries. Simon Smith argues that many plays used music as a dramatic tool, inviting culturally familiar responses to music from playgoers. Music cues regularly encouraged audiences to listen, look, imagine or remember at dramatically critical moments, shaping meaning in plays from The Winter's Tale to A Game at Chess, and making theatregoers active and playful participants in playhouse performance. Drawing upon sensory studies, theatre history, material texts, musicology and close reading, Smith argues for the importance of music in familiar and less well-known plays including Antony and Cleopatra, Othello, The Revenger's Tragedy, Sophonisba, The Spanish Gypsy and A Woman Killed With Kindness.

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.

The history of music is most often written as a sequence of composers and works. But a richer understanding of the music of the past may be obtained by also considering the afterlives of a composer's works. Genealogies of Music and Memory asks how the stage works of Christoph Willibald Gluck (1714-87) were cultivated in nineteenth-century Paris, and concludes that although the composer was not represented formally on the stage until 1859, his music was known from a wide range of musical and literary environments. Received opinion has Hector Berlioz as the sole guardian of the Gluckian flame from the 1820s onwards, and responsible - together with the soprano Pauline Viardot - for the 'revival' of the composer's Orfeo in 1859. The picture is much clarified by looking at the concert performances of Gluck during the first two thirds of the nineteenth century, and the ways in which they were received and the literary discourses they engendered. Coupled to questions of music publication, pedagogy, and the institutional status of the composer, such a study reveals a wide range of individual agents active in the promotion of Gluck's music for the Parisian stage. The 'revival' of Orfeo is contextualised among other attempts at reviving Gluck's works in the 1860s, and the role of Berlioz, Viardot and a host of others re-examined.

Part One: The History (What do we know?) This brief historical introduction to Bach explores the social, political and religious factors that formed the original context of his life and work, and considers how those factors affected the way he was initially received. What was his impact on the world at the time and what were the key ideas and values connected with him? Part Two: The Legacy (Why does it matter?) This second part explores the intellectual and cultural `afterlife' of Bach, and considers the ways in which his impact has lasted and how his music has been interpreted by later generations. Why is he still considered important today? And what aspects of his legacy are likely to continue to influence the world in the future? The book has a brief chronology at the front plus a glossary of key terms and a list of further reading at the back.

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.

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

Through hundreds of letters, family papers, anecdotes, and records, the Bach Reader established a new approach to biography by offering original documents in impeccable translations. In The New Bach Reader, Christoph Wolff has incorporated numerous facsimiles and added many newly discovered items, reflecting the current state of scholarship about the composer's life and music. The readings in this volume provide an accurate and vivid picture of Bach's world and of his far-reaching influence.

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).