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Music at German Courts serves to illustrate the extraordinary
diversity of eighteenth-century German court music establishments
without losing sight of what these Kapellen had in common. What was
musical life at German courts really like during the eighteenth
century? Were musical ensembles as diverse as the Holy Roman
Empire's kaleidoscopic political landscape? Through a series of
individual case studies contributed by leading scholars from
Germany, Poland, the United States, Canada, and Australia, this
book investigates the realities of musical life at fifteen German
courts of varied size (ranging from kingdoms to principalities),
religious denomination, and geographical location. Significant
shifts that occurred in the artistic priorities of each court are
presented through a series of "snapshots"- in effect "core sample"
years - which highlight both individualand shared patterns of
development and decline. What emerges from the wealth of primary
source material examined in this volume is an in-depth picture of
music-making within the daily life of individual courts, featuring
acast of music directors, instrumentalists, and vocalists, together
with numerous support staff drawn from across Europe. Music at
German Courts serves to illustrate the extraordinary diversity of
eighteenth-century German court music establishments without losing
sight of what these Kapellen had in common. SAMANTHA OWENS is
Senior Lecturer in Musicology at the University of Queensland,
Brisbane, Australia. BARBARA M. REUL is Associate Professor of
Musicology at Luther College, University of Regina, Canada. JANICE
B. STOCKIGT is a Principal Fellow of the University of Melbourne,
Australia. Contributors: DIETER KIRSCH, URSULA KRAMER, MICHAEL
MAUL, MARY OLESKIEWICZ, SAMANTHA OWENS, RASHID-S. PEGAH, BAERBEL
PELKER, BARBARA M. REUL, WOLFGANG RUF, BERT SIEGMUND, JANICE B.
STOCKIGT, MICHAEL TALBOT, RUEDIGER THOMSEN-FUERST, ALINA
ZORAWSKA-WITKOWSKA, STEVEN ZOHN
Music at German Courts serves to illustrate the extraordinary
diversity of eighteenth-century German court music establishments
without losing sight of what these Kapellen had in common. What was
musical life at German courts really like during the eighteenth
century? Were musical ensembles as diverse as the Holy Roman
Empire's kaleidoscopic political landscape? Through a series of
individual case studies contributed by leading scholars from
Germany, Poland, the United States, Canada, and Australia, this
book investigates the realities of musical life at fifteen German
courts of varied size (ranging from kingdoms to principalities),
religious denomination, and geographical location. Significant
shifts that occurred in the artistic priorities of each court are
presented through a series of "snapshots"- in effect "core sample"
years - which highlight both individualand shared patterns of
development and decline. What emerges from the wealth of primary
source material examined in this volume is an in-depth picture of
music-making within the daily life of individual courts, featuring
a cast ofmusic directors, instrumentalists, and vocalists, together
with numerous support staff drawn from across Europe. Music at
German Courts serves to illustrate the extraordinary diversity of
eighteenth-century German court music establishments without losing
sight of what these Kapellen had in common. SAMANTHA OWENS is
Associate Professor in Musicology at the University of Queensland,
Brisbane, Australia. BARBARA M. REUL is Associate Professor of
Musicology at Luther College, University of Regina, Canada. JANICE
B. STOCKIGT is a Principal Fellow of the University of Melbourne,
Australia. Contributors: DIETER KIRSCH, URSULA KRAMER, MICHAEL
MAUL, MARYOLESKIEWICZ, SAMANTHA OWENS, RASHID-S. PEGAH, BAERBEL
PELKER, BARBARA M. REUL, WOLFGANG RUF, BERT SIEGMUND, JANICE B.
STOCKIGT, MICHAEL TALBOT, RUEDIGER THOMSEN-FUERST, ALINA
ZORAWSKA-WITKOWSKA, STEVEN ZOHN
John Sigismond Cousser, as performer and composer, was a pioneering
figure in the musical history of the European Baroque era. John
Sigismond Cousser - born Johann Sigismund Kusser in Pressburg,
Hungary in 1660 - was a pioneering figure in the musical history of
the Baroque era. Having worked professionally as a performer and
composer across Europe over the span of a fifty-year career, this
well-travelled and cosmopolitan musician was subsequently
acknowledged by Johann Mattheson as having played a key role in the
transmission of both the French and Italian musical styles
throughout the German-speaking lands. Following study in Paris,
Cousser was employed at a string of German courts, training
musicians in the newly fashionable French style. At the court of
Duke Anton Ulrich in Wolfenbuttel, he experienced at first hand
performances of opera by Italian virtuosos and subsequently
introduced countless German musicians and their audiences to the
Italian musical style. Yet with the onset of war in 1701, Cousser
was forced to seek his fortune elsewhere, moving to London in 1704
before settling permanently in Ireland. The Well-Travelled Musician
expands current knowledge of Cousser's early life and professional
career significantly, examining his particular role in the
dissemination of music and musical styles throughout the
German-speaking lands, as well as in early eighteenth-century
London and Dublin. Drawing upon a rich body of primary sources,
above all the unparalleled evidence contained in Cousser's
so-called commonplace book, it reveals the practicalities of early
modern musical exchange at a grass-roots level, from Pressburg (now
Bratislava) to Paris, Hamburg to Dublin, and beyond. SAMANTHA OWENS
is Associate Professor of Musicology at Victoria University of
Wellington, New Zealand
By the age of thirteen, vulnerable Sheffield teenager Samantha
Owens had fallen through the cracks in the care system. Bounced
around numerous foster carers after her home life became too
chaotic, Samantha thought she had found a friend in the streetwise
Amanda Spencer. The older girl bought her clothes, styled her hair
and found her places to stay. Samantha's welfare was the last thing
on Spencer's mind, however, as in reality she was grooming the
young girl for exploitation of the worst possible kind. Over the
course of the next few months, Samantha was plied with alcohol and
drugs and pimped out to over fifty men for Spencer's gain. Raped,
abused, and with no chance of escape, Samantha was at the mercy of
the calculating, ruthless and intimidating Spencer. It took a
police investigation of two years to bring her and a small gang of
cohorts to justice and, in 2014, Spencer was jailed for twelve
years. With her abusers in jail, and Samantha bravely rebuilding
her life, her shocking story is a stark warning to those who
believe child sexual abuse follows any set pattern.
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