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Jan Dismas Zelenka, the brilliant but elusive contemporary of Bach, musically served the Catholic chapel of the dazzling Dresden court during the first half of the eighteenth century. Research has uncovered biographical information, and reveals the remarkable music of a major figure of the Baroque era.
A Biographical Dictionary of Musicians by Theodore Baker Pdf
Originally published in 1900. BIOGRAPHICAL DICTIONARY OF MUSICIANS COMPILED AND EDITED by THEODORE BAKER, Text extracted from opening pages of book: PREFACE: CONCISE biogiaphical dictionaries of musicians are no longer a novelty; but their contents and tendency are too apt to be influenced by the immediate environment, the nationality, or the idiosyncrasies of the compilers. In the present lexicon it has been the editor's endeavor to give an impartial general view of musical biography, past and piesent, favoring no nation or period unduly. It has been his especial aim to make up foi the scant attention which leading English and American musicians have received at the hands of foreign biographers; in this point, no other work of similar scope can compaic with this in completeness, recentness, and accuracy. It will be noticed that living musicians have, in general, a somewhat larger relative space allotted them than those whose career is closed. The reasons which determined this course aie, firstly, that full and correct information about contemporaries is frequently unavailable for the general public, being either scattered in numerous periodicals and books of reference, or not published at all; secondly, that earlier lexica already contain the life-histories of most musicians of prominence. It is true, that in such published biographical sketches many errois of fact occm; in the difficult matter of dates, especially, much requires rectification. Hundteds of emendations are contained in the present work, which will, it is hoped, prove more trustworthy than its predecessors. A careful collation of the standard works of reference has resulted in a weeding-out of very many mistakes, due tocarelessness or inadvertence, in the biographical matter belonging to past epochs. A laige amount of reliable and valuable information has been obtained by direct correspondence with musicians and writers of note, though many inquiries icmained unanswered. The comparative bievity of sketches of certain prominent contemporaries is due to the impossibility of gathering sufficient and reliable data. A feature of j ) eculiar interest and value is presented in the three hundred accompany ing pen-and-ink vignettes, by the Russian artist Gribayedoff, after authentic portraits or recent photographs. In their selection, again, a preponderance of contemporary over deceased musicians will be observed, the general plan having been, to portray individuals in whom a personal interest is felt. It was impossible to make the list as complete as projected, owing to the difficulty of procuring originals. Despite all vigilance, many of the statements made in the neaily six thousand biographies given in the Dictionary doubtless require correction.
The Origins and Ascendancy of the Concert Mass by Stephanie Rocke Pdf
The mass is an extraordinary musical form. Whereas other Western art music genres from medieval times have fallen out of favour, the mass has not merely survived but flourished. A variety of historical forces within religious, secular, and musical arenas saw the mass expand well beyond its origins as a cycle of medieval chants, become concertised and ultimately bifurcate. Even as Western societies moved away from their Christian origins to become the religiously plural and politically secular societies of today, and the Church itself moved in favour of congregational singing, composers continued to compose masses. By the early twentieth century two forms of mass existed: the liturgical mass composed for church services, and the concert mass composed for secular venues. Spanning two millennia, The Origins and Ascendancy of the Concert Mass outlines the origins and meanings of the liturgical texts, defines the concert mass, explains how and why the split occurred, and provides examples that demonstrate composers’ gradual appropriation of the genre as a vehicle for personal expression on serious issues. By the end of the twentieth century the concert mass had become a repository for an eclectic range of theological and political ideas.
Frederick the Great and his Musicians: The Viola da Gamba Music of the Berlin School by Michael O'Loghlin Pdf
After decades of stagnation during the reign of his father, the 'Barracks King', the performing arts began to flourish in Berlin under Frederick the Great. Even before his coronation in 1740, the crown prince commenced recruitment of a group of musician-composers who were to form the basis of a brilliant court ensemble. Several composers, including C.P.E. Bach and the Graun brothers, wrote music for the viola da gamba, an instrument which was already becoming obsolete elsewhere. They were encouraged in this endeavour by the presence in the orchestra from 1741 of Ludwig Christian Hesse, one of the last gamba virtuosi, who was described in 1766 as 'unquestionably the finest gambist in Europe'. This study shows how the unique situation in Berlin produced the last major corpus of music written for the viola da gamba, and how the more virtuosic works were probably the result of close collaboration between Hesse and the Berlin School composers. The reader is also introduced to the more approachable pieces which were written and arranged for amateur viol players, including the king's nephew and ultimate successor, Frederick William II. O'Loghlin argues that the aesthetic circumstances which prevailed in Berlin brought forth a specific style that is reflected not only in the music for viola da gamba. Characteristics of this Berlin style are identified with reference to a broad selection of original written sources, many of which are hardly accessible to English-speaking readers. There is also a discussion of the rather contradictory reception history of the Berlin School and some of its composers. The book concludes with a complete thematic catalogue of the Berlin gamba music, with a listing of original manuscript sources and modern publications. The book will appeal to professional and amateur viola da gamba players as well as to scholars of eighteenth-century German music.
"Choral Repertoire is the definitive and comprehensive one-volume presentation of the most significant composers and compositions of choral music from the Western Hemisphere throughout recorded history. The book is designed for multiple uses-as a programming guide for practicing conductors, instructional resource for students and teachers of choral music, historic and stylistic reference for choral singers, and source of information about composers and compositions for choral enthusiasts-and as such, the book intends to further and make accessible important information relevant to the vast scope of choral music. Organized by era (Medieval, Renaissance, Baroque, Classical, and Modern), Choral Repertoire covers general characteristics of each historical era, trends and styles unique to various countries, biographical sketches of more than six hundred composers, and performance annotations of more than five thousand individual works. Of the composers, there is substantive coverage of women and composers of color, and of the repertoire, there is inclusion of lesser-known works as well as those works that are considered standard"--
Now available in paperback, this landmark biography was first published in 2000 to mark the 250th anniversary of J. S. Bach's death. Written by a leading Bach scholar, this book presents a new picture of the composer. Christoph Wolff demonstrates the intimate connection between Bach's life and his music, showing how the composer's superb inventiveness pervaded his career as a musician, composer, performer, scholar, and teacher.
The Chamber Cantatas of Antonio Vivaldi by Michael Talbot Pdf
Detailed survey of Vivaldi's unjustly neglected chamber cantatas, showing them to stand comparison with his more famous works. Vivaldi's chamber cantatas for solo voice, some forty in total, are steadily gaining in popularity: but because of their relatively small place in the oeuvre of a composer famed for his productivity, and also on account of the general scholarly neglect of their genre, they are little discussed in the literature. This book comprehensively explores their literary and musical background, their relation to the composer's biography, the chronology of their composition, and their musical qualities. Each cantata is discussed individually, but there is also a broader consideration of aspects concerning them collectively, such as performance practice, topical allusion, and the conventions of Italian verse. The author argues that while Vivalid's cantatas are not as innovative as his concertos and operas, he produced several masterpieces in the genre that rank with his best music. MICHAEL TALBOT is Emeritus Professor of Music at the University of Liverpool.
Polish Style in the Music of Johann Sebastian Bach by Szymon Paczkowski Pdf
Now appearing in an English translation, this book by Szymon Paczkowski is the first in-depth exploration of the Polish style in the music of Johann Sebastian Bach. Bach spent almost thirty years living and working in Leipzig in Saxony, a country ruled by Friedrich August I and his son Friedrich August II, who were also kings of Poland (as August II and August III). This period of close Polish-Saxon relations left a significant imprint on Bach’s music. Paczkowski’s meticulous account of this complex political and cultural dynamic sheds new light on many of Bach’s familiar pieces. The book explores the semantic and rhetorical functions that undergird the symbolism of the Polish style in Baroque music. It demonstrates how the notion of a Polish style in music was developed in German music theory, and conjectures that Bach’s successful application for the title of Court Composer at the court of the Elector of Saxony and King of Poland would induce the composer to deliberately use elements of the Polish style. This comprehensive study of the way Bach used the Polish style in his music moves beyond technical analysis to place the pieces within the context of Baroque customs and discourse. This ambitious and inspiring study is an original contribution to the scholarly conversation concerning Bach’s music, focusing on the symbolism of the polonaise, the most popular and recognizable Polish dance in 18th-century Saxony. In Saxony at this time the polonaise was associated with the ceremonies of the royal-electoral court in Dresden, and Saxon musicians regarded it as a musical symbol of royalty. Paczkowski explores this symbolism of the Polish royal dance in Bach’s instrumental music and, which is also to be found to an even greater extent, in his vocal works. The Polish Style in the Music of Johann Sebastian Bach provides wide-ranging interpretations based on a careful analysis of the sources explored within historical and theological context. The book is a valuable source for both teaching and further research, and will find readers not only among musicologists, but also historians, art historians, and readers in cultural studies. All lovers of Bach’s music will appreciate this lucid and intriguing study.
Contextualizing Melodrama in the Czech Lands by Judith A. Mabary Pdf
The mention of the term "melodrama" is likely to evoke a response from laymen and musicians alike that betrays an acquaintance only with the popular form of the genre and its greatly heightened drama, exaggerated often to the point of the ridiculous. Few are aware that there exists a type of melodrama that contains in its smaller forms the beauty of the sung ballad and, in the larger-scale works, the appeal of the spoken play. This category of melodrama is one that surfaced in many cultures but was perhaps never so enthusiastically cultivated as in the Czech lands. The melodrama varied greatly at the hands of its Czech advocates. While the works of Zdeněk Fibich and his contemporary Josef Bohuslav Foerster, a composer best known for his songs, remained closely bound to the text, those of conductor/composer Otakar Ostrčil reveal a stance that privileged the music and, given their creator’s orchestral experience, are more reminiscent of the symphonic poem. Fibich in his staged works and Josef Suk (composer/violinist and Dvořák’s son-in-law), in his incidental music reflect variously late nineteenth-century Romanticism, the influence of Wagner, and early manifestations of Impressionism. In its more recent guise, the principles of the staged melodrama reside quite comfortably in the film score. Judith A. Mabary’s important volume will be of interest not only to musicologists, but those working in Central and East European studies, voice studies, European theatre, and those studying music and nationalism.
Exploring Bach's B-minor Mass by Yo Tomita,Robin A. Leaver,Jan Smaczny Pdf
The collection of essays represents a through and systematic study of Bach's B-minor Mass by leading scholars in the field and includes a range of discussions relating to the Mass's historical background and contexts, structure, sources and editions, and its reception in the late eighteenth and early nineteenth centuries.
A complete music appreciation course in one, 120-page, reproducible book/CD package. For each of the 22 featured composers there is a bio (focusing on his or her personal life), a portrait, a listing of the types of music he or she composed, composer factoids, and a timeline. The CD contains a listening example for each composer. The reproducible listening guide includes information about each listening example and a second by second what to listen for in the music." Also included are reviews (assessments) for each composer, plus more than two dozen pages of supplementary material. And it's all reproducible! Composers: Bach, Beethoven, Brahms, Copland, Debussy, Dvorák, Elgar, Handel, Haydn, Hensel, Hildegard, Ives, Joplin, Felix and Fanny Mendelssohn, Mozart, Schubert, Sousa, Stravinsky, Tchaikovsky, Verdi, Vivaldi, and Wagner. Reproducible PDFs included on the Enhanced CD, or purchase the Digital Download option to get a full PDF immediately. Great activities for remote teaching or distance learning!"
YEAR OF WONDER: Classical Music for Every Day by Clemency Burton-Hill Pdf
As featured in the Telegraph and on Radio 4's Today programme. 'A magnificent treasury . . . a fascinating tour de force.' Observer 'Year of Wonder is an absolute treat - the most enlightening way to be guided through the year.' Eddie Redmayne Classical music for everyone - an inspirational piece of music for every day of the year, celebrating composers from the medieval era to the present day, written by award-winning violinist and BBC Radio 3 presenter Clemency Burton-Hill. Have you ever heard a piece of music so beautiful it stops you in your tracks? Or wanted to discover more about classical music but had no idea where to begin? Year of Wonder is a unique celebration of classical music by an author who wants to share its diverse wonders with others and to encourage a love for this genre in all readers, whether complete novices or lifetime enthusiasts. Clemency chooses one piece of music for each day of the year, with a short explanation about the composer to put it into context, and brings the music alive in a modern and playful way, while also extolling the positive mindfulness element of giving yourself some time every day to listen to something uplifting or beautiful. Thoughtfully curated and expertly researched, this is a book of classical music to keep you company: whoever you are, wherever you're from. 'The only requirements for enjoying classical music are open ears and an open mind.' Clemency Burton-Hill Playlists are available on most streaming music platforms including Apple Music.
A Chord in Time: The Evolution of the Augmented Sixth from Monteverdi to Mahler by Mark Ellis Pdf
For centuries, the augmented sixth sonority has fascinated composers and intrigued music analysts. Here, Dr Mark Ellis presents a series of musical examples illustrating the 'evolution' of the augmented sixth and the changing contexts in which it can be found. Surprisingly, the sonority emerged from one of the last remnants of modal counterpoint to survive into the tonal era: the Phrygian Cadence. In the Baroque period, the 'terrible dissonance' was nearly always associated with negative textual imagery. Charpentier described the augmented sixth as 'poignantly expressive'. J. S. Bach considered an occurrence of the chord in one of his forebear's motets 'remarkably bold'. During Bach's composing lifetime, the augmented sixth evolved from a relatively rare chromaticism to an almost commonplace element within the tonal spectrum; the chord reflects particular chronological and stylistic strata in his music. Theorists began cautiously to accept the chord, but its inversional possibilities proved particularly contentious, as commentaries by writers as diverse as Muffat, Marpurg and Rousseau reveal. During the eighteenth century, the augmented sixth became increasingly significant in instrumental repertoires - it was perhaps Vivaldi who first liberated the chord from its negative textual associations. By the later eighteenth century, the chord began to function almost as a 'signpost' to indicate important structural boundaries within sonata form. The chord did not, however, entirely lose its darker undertone: it signifies, for example, the theme of revenge in Mozart's Don Giovanni. Romantic composers uncovered far-reaching tonal ambiguities inherent in the augmented sixth. Chopin's Nocturnes often seem beguilingly simple, but the surface tranquillity masks the composer's strikingly original harmonic experiments. Wagner's much-analyzed 'Tristan Chord' resolves (according to some theorists) on an augmented sixth. In Tristan und Isolde, the chord's mercurial