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Books > Arts & Architecture > Music > Western music, periods & styles > Baroque music (c 1600 to c 1750)
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The Courtly Consort Suite in German-Speaking Europe, 1650-1706 (Paperback)
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The Courtly Consort Suite in German-Speaking Europe, 1650-1706 (Paperback)
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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.
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