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Professor Slim deals here with the several roles that music can
play in the artworks of the Renaissance, looking in particular at
Italian painting of the 16th century. For understandable reasons,
art historians sometimes neglect the role of music and, especially,
that of musical notation when studying works of art. These studies
not only identify musical compositions, wholly or partially
inscribed in paintings - and tapestries, ceramics, prints as well -
but also seek reasons why these particular musical compositions
were included and analyse their relevance to the scene depicted.
Furthermore, as many of these studies show, identifying a musical
composition, especially if it has a text, leads to the formation of
ideas about iconographical functions and thus augments
interpretations of the visual art.
Stravinsky in the Americas explores the "pre-Craft" period of Igor
Stravinsky's life, from when he first landed on American shores in
1925 to the end of World War II in 1945. Through a rich archival
trove of ephemera, correspondence, photographs, and other
documents, eminent musicologist H. Colin Slim examines the
twenty-year period that began with Stravinsky as a radical European
art-music composer and ended with him as a popular figure in
American culture. This collection traces Stravinsky's rise to
fame-catapulted in large part by his collaborations with Hollywood
and Disney and marked by his extra-marital affairs, his grappling
with feelings of anti-Semitism, and his encounters with
contemporary musicians as the music industry was emerging and
taking shape in midcentury America. Slim's lively narrative records
the composer's larger-than-life persona through a close look at his
transatlantic tours and domestic excursions, where Stravinsky's
personal and professional life collided in often-dramatic ways.
This acclaimed edition of Scarlatti's operas is making available
for the first time authentic versions of the works of one of the
key figures in the history of the genre. In this fifth volume of
the series, Cohn Slim provides a definitive edition of "Massimo
Puppieno," an opera from the middle years of Scarlatti's career. In
his introduction he discusses the opera and performance practices
of the day. A translation of the libretto is included.
H. Cohn Slim is Professor of Music, University of California,
Irvine.
Other operas available are "Eraclea, Marco Attilio Regolo,
Griselda," and "The Faithful Princess."
Near the end of the third decade of the sixteenth century, a
five-volume set of madrigal and motet partbooks was assembled in
Florence and sent as a gift--or "musical embassy"--to the English
court of Henry VIII. The manuscript set--minus the missing altus
part--has been owned since 1935 by the Newberry Library in Chicago;
but until H. Colin Slim's exhaustive efforts, no thorough study of
the history or contents of the partbooks had been undertaken.
At first encounter, these partbooks yield no clues concerning their
provenance, their composers' names, or the reasons for their
dispatch to England. In his search for this information, Professor
Slim used the musicologists' customary tools, namely,
biobibliography, concordances, and textual and musical analysis.
But he also used bibliographers' tools not always employed by
musicologists: watermarks, bindings, script, orthography, and
illuminations.
As a result of his efforts, the author was able to identify nearly
all the works' composers and the manuscripts' expert illuminator.
He also presents a detailed description of the binding process and
the probably background of the scribe, places the political and
social references in the works, and determines the route the
volumes may have taken after they left Henry's library.
By placing the date of the partbooks' arrival in England around
1528, Professor Slim suggests that the musical culture of the early
Tudor court was less French than has hitherto been thought. Indeed,
the presence of the partbooks in Henry's library makes them the
earliest evidence of the Italian madrigal in England. The author
also provides new and significant data on the artistic and
historical position of Philippe Verdelot, the partbooks' most
extensively represented composer.
Volume I of this set contains two parts. The first, dealing with
the manuscript itself, contains the history of the partbooks,
information on their origin, composers, texts, and their importance
as a gift to Henry VIII. Part II, dealing with the music, discusses
general musical traits, the motets, the madrigals, the results of
collation, and the appearance of some of the Newberry motets and
madrigals in other sources.
Near the end of the third decade of the sixteenth century, a
five-volume set of madrigal and motet partbooks was assembled in
Florence and sent as a gift--or "musical embassy"--to the English
court of Henry VIII. The manuscript set--minus the missing altus
part--has been owned since 1935 by the Newberry Library in Chicago;
but until H. Colin Slim's exhaustive efforts, no thorough study of
the history or contents of the partbooks had been undertaken.
At first encounter, these partbooks yield no clues concerning their
provenance, their composers' names, or the reasons for their
dispatch to England. In his search for this information, Professor
Slim used the musicologists' customary tools, namely,
biobibliography, concordances, and textual and musical analysis.
But he also used bibliographers' tools not always employed by
musicologists: watermarks, bindings, script, orthography, and
illuminations.
As a result of his efforts, the author was able to identify nearly
all the works' composers and the manuscripts' expert illuminator.
He also presents a detailed description of the binding process and
the probably background of the scribe, places the political and
social references in the works, and determines the route the
volumes may have taken after they left Henry's library.
By placing the date of the partbooks' arrival in England around
1528, Professor Slim suggests that the musical culture of the early
Tudor court was less French than has hitherto been thought. Indeed,
the presence of the partbooks in Henry's library makes them the
earliest evidence of the Italian madrigal in England. The author
also provides new and significant data on the artistic and
historical position ofPhilippe Verdelot, the partbooks' most
extensively represented composer.
In Volume II, Professor Slim has transcribed the music of the
thirty motets and thirty madrigals for modern performance. The
parts are cantus, tenor, bassus, and quintus et VI; the altus
partbook is missing. Concordant sources provide the altus parts for
all but four of the motets and six of the madrigals. These ten have
been composed by Professor Slim. Notes at the end of each selection
provide variant readings for both music and text. The Latin texts
of the motets, the Italian of the madrigals, and an English
translation of each appear at the end of the volume.
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