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Exam board: AQA Level: GCSE Subject: Sociology First teaching:
September 2017 First exams: Summer 2019 Target success in AQA GCSE
Sociology with this proven formula for effective, structured
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An outstandingly significant feat of Mozart scholarship.... A
fundamental reassessment of the early history of CosA� fan tutte
and a major contribution to its critical evaluation as a work of
art. The author's scrutiny of the autograph score unleashes a
torrent of information on how Mozart composed the opera, how he
changed his mind or felt compelled to change his mind, how the
nature of the work itself changed and, most startlingly, a frank
exposure of its many unresolved issues. The detective work has the
thrill of the chase, but the material will appeal beyond Mozart
scholars to opera historians, biographers, musicologists,
producers, conductors, performers, and those involved in
performance practice. Professor DAVID WYN JONES, Cardiff
University. This study proposes a hypothesis to account for some of
the opera's long-standing 'problems'. It suggests that Mozart
considered the idea that the pairings in Act II should not be
crossed: that each of the two disguised officers should seek to
seduce his own woman. Although this alternative plot structure was
rejected, signs of it may remain in the final score, in the uneasy
co-existence of dramatic duplicity and musical sincerity, and in
the ending, in which the easy restitution of the original couples
seems not to take account of the new passions that have been
aroused. Evidence that several of the singers were re-cast is also
presented. In addition to these radically new ideas about the
conceptual genesis of CosA�, the book also provides a full account
of the work's compositional history, based on early Viennese and
Bohemian copies. Four different versions are identified, including
a significant revision in which Mozart removed the ActII finale
canon. The composer's probable involvement in the 1791 Prague
production is also discussed. IAN WOODFIELD is Professor of
Historical Musicology, School of Music and Sonic Arts, Queen's
University Belfast.
In the year following its 1787 Prague premiere, Don Giovanni was
performed in Vienna. Everyone, according to the well-known account
by Da Ponte, thought something was wrong with it. In response,
Mozart made changes, producing a Vienna 'version' of the opera,
cutting two of the original arias but inserting three
newly-composed pieces. The dilemma faced by musicians and scholars
ever since has been whether to preserve the opera in these two
'authentic' forms, or whether to fashion a hybrid text
incorporating the best of both. This study presents new evidence
about the Vienna form of the opera, based on the examination of
late eighteenth-century manuscript copies. The Prague Conservatory
score is identified as the primary exemplar for the Viennese
dissemination of Don Giovanni, which is shown to incorporate two
quite distinct versions, represented by the performing materials in
Vienna (O.A.361) and the early Lausch commercial copy in Florence.
To account for this phenomenon, seen also in early sources of the
Prague Don Giovanni and Cosi fan tutte, a general theory of
transmission for the Mozart Da Ponte operas is proposed, which
clarifies the relationship between the fluid text produced by
re-creation (performing) and the static text generated by
replication (copying). Aspects of the compositional history of Don
Giovanni are uncovered. Evidence to suggest that Mozart first
considered an order in which Donna Elvira's scena precedes the
comic duet 'Per queste tue manine' is assessed. The essential truth
of Da Ponte's account - that the revision of the opera in Vienna
was an interactive process, involving the views of performers, the
reactions of audiences and the composer's responses - seems to be
fully borne out. The final part of the study investigates the late
eighteenth-century transmission of Don Giovanni. The idea that
hybrid versions gained currency only in the nineteenth century or
in the lighter Singspiel tradition is challenged. IAN WOODFIELD is
Professor and Director of Research at the School of Music and Sonic
Arts, Queen's University Belfast.
Johann Peter Salomon, the celebrated violinist and impresario, made
his debut in England in March 1781. History has credited Salomon
with bringing Haydn to London, yet as Ian Woodfield reveals in this
monograph, Salomon's introduction of the composer to the London
musical scene owed as much to luck as to skilful planning. Haydn's
engagement in London proved to be a much-needed uplift to Salomon's
career which, as Woodfield illustrates, had been on the wane for a
number of years. In addition to its reassessment of Salomon's
uneven career in London during the 1780s, this book throws light on
the general relationship between public and private spheres of
professional music-making at the time, and on the relationship
between the social and professional attributes required of
musicians if they were to be successful. Nowhere are these tensions
better illustrated than in the letters and journals of the Burney
family, especially those of Susan Burney, which are drawn on in the
book to provide a vivid picture of the fiercely competitive musical
world of eighteenth-century London.
This book explores the cultural and commercial life of Italian opera in late eighteenth-century London. Through primary sources, many analyzed for the first time, Ian Woodfield examines such issues as finances, recruitment policy, handling of singers and composers, links with Paris and Italy, and the role of women in opera management. These key topics are also placed within the context of a dispute between two of the most important managers of the day, Frances Brooke and David Garrick, and the major venues of the time: the King's Theatre and its rivals Drury Lane and Covent Garden.
The Italian opera company in Prague managed by Pasquale Bondini and
Domenico Guardasoni played a central role in promoting Mozart's
operas during the final years of his life. Using a wide range of
primary sources which include the superb collections of
eighteenth-century opera posters and concert programmes in Leipzig
and the Indice de' teatrali spettacoli, an almanac of Italian
singers and dancers, this study examines the annual schedules,
recruitment networks, casting policies and repertoire selections of
this important company. Ian Woodfield shows how Italian-language
performances of Figaro, Don Giovanni, Cosi fan tutte and La
clemenza di Tito flourished along the well-known cultural axis
linking Prague in Bohemia to Dresden and Leipzig in Saxony. The
important part played by concert performances of operatic arias in
the early reception of Mozart's works is also discussed and new
information is presented about the reception of Josepha Duschek and
Mozart in Leipzig.
When Joseph II placed his opera buffa troupe in competition with
the re-formed Singspiel, he provoked an intense struggle between
supporters of the rival national genres, who organized claques to
cheer or hiss at performances, and encouraged press correspondents
to write slanted notices. It was in this fraught atmosphere that
Mozart collaborated with librettist Lorenzo da Ponte on his three
mature Italian comedies-Figaro, Don Giovanni, and Cosi fan tutte.
In Cabals and Satires: Mozart's Comic Operas in Vienna, Ian
Woodfield brings the fascinating dynamics of this inter-troupe
contest into focus. He reveals how Mozart, while not immune from
the infighting, was able to weather satirical attacks, successfully
negotiate the unpredictable twists and turns of theatre politics
during the lean years of the Austro-Turkish War, and seal his
reputation with a revival of Figaro in 1789 as a Habsburg festive
work. Mozart's deft navigation of the turbulent political waters of
this period left him well placed to benefit from the revival of the
commercial stage in Vienna-the most enduring musical consequence of
the war years.
Music of the Raj provides a colourful portrait of daily musical life in the late eighteenth century. Based on unpublished Anglo-Indian correspondence, Woodfield illustrates in fascinating detail the musical activities of a group of English employees of the East India Company, in Calcutta and London, at that time.
The Italian opera company in Prague managed by Pasquale Bondini and
Domenico Guardasoni played a central role in promoting Mozart's
operas during the final years of his life. Using a wide range of
primary sources which include the superb collections of
eighteenth-century opera posters and concert programmes in Leipzig
and the Indice de' teatrali spettacoli, an almanac of Italian
singers and dancers, this study examines the annual schedules,
recruitment networks, casting policies and repertoire selections of
this important company. Ian Woodfield shows how Italian-language
performances of Figaro, Don Giovanni, Cosi fan tutte and La
clemenza di Tito flourished along the well-known cultural axis
linking Prague in Bohemia to Dresden and Leipzig in Saxony. The
important part played by concert performances of operatic arias in
the early reception of Mozart's works is also discussed and new
information is presented about the reception of Josepha Duschek and
Mozart in Leipzig.
In this study, Ian Woodfield explores the cultural and commercial
life of Italian opera in late eighteenth-century London. It was a
period when theatre and opera worlds mixed, venues were shared, and
agents and managers collaborated and competed. Through primary
sources, many analysed for the first time, Woodfield examines such
issues as finances, recruitment policy, the handling of singers and
composers, links with Paris and Italy, and the role of women in
opera management. These key topics are also placed within the
context of a personal dispute between two of the most important
managers of the day, the woman writer Frances Brooke and the actor
David Garrick, which influenced the running of the major venues,
the King's Theatre, Drury Lane and Covent Garden. Woodfield has
also uncovered new information concerning the influential role of
the eighteenth-century music historian and critic Charles Burney,
as artistic advisor to the King's Theatre.
This book traces the development of the viol from its late medieval
Spanish origins to the sixteenth century, when it became the most
widely played bowed instrument in western Europe. Ian Woodfield
examines the two most important ancestors of the instrument, the
Moorish rahab and the vihuela de mano. From these two instruments
emerged an early form of viol, the Valencian vihuela de arco, which
spread rapidly across the Mediterranean during the papacy of
Rodrigo Borgia. The viol was enthusiastically accepted by the
d'Este and Gonzaga families and other Italian arbiters before
migrating across the Alps and into the rest of Europe. The author
discusses all aspects of the viol during its Renaissance hey-day:
the growing perfection of viol design at the hands of Italian
craftsmen; the gradual evolution of tuning systems; the development
of advanced playing techniques and the wide range of music, both
solo and consort. The final chapter examines the growth of a viol
playing tradition in sixteenth-century England, in particular in
the London choir-schools. Dr Woodfield brings iconographic evidence
and an interesting approach to this study which will be of interest
to musicologists, iconographers, organologists and viol players.
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