User:Kosboot/sandbox: Difference between revisions
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[[Hugo Leichtentritt]] observed: "The singers tried their best without achieving a vocal effect that corresponded to the expenditure of resources. <nowiki>[The singers]</nowiki> were busy in the main roles, but due to the unsingable nature of their roles, they were only able to present themselves in the best possible light in places. The applause was friendly, but hardly reflected any enthusiasm or excitement on the part of the audience."<ref>{{sfn|Leichtentritt|1932|p=518}}: Die Sänger mühten sich nach besten Kräften, ohne zu gesanglichen Wirkungen zu kommen, die dem Aufwand an Mitteln entsprechen. <nowiki>[Sie]</nowiki> waren in den Hauptpartien beschäftigt, konnten aber durch das unsangliche Wesen ihrer Partien nur stellenweise sich in das günstigste Licht stellen. Der Beifall war freundlich, hatte aber kaum etwas von Begeisterung und Mitgerissenheit der Hörerschaft an sich.</ref> |
[[Hugo Leichtentritt]] observed: "The singers tried their best without achieving a vocal effect that corresponded to the expenditure of resources. <nowiki>[The singers]</nowiki> were busy in the main roles, but due to the unsingable nature of their roles, they were only able to present themselves in the best possible light in places. The applause was friendly, but hardly reflected any enthusiasm or excitement on the part of the audience."<ref>{{sfn|Leichtentritt|1932|p=518}}: Die Sänger mühten sich nach besten Kräften, ohne zu gesanglichen Wirkungen zu kommen, die dem Aufwand an Mitteln entsprechen. <nowiki>[Sie]</nowiki> waren in den Hauptpartien beschäftigt, konnten aber durch das unsangliche Wesen ihrer Partien nur stellenweise sich in das günstigste Licht stellen. Der Beifall war freundlich, hatte aber kaum etwas von Begeisterung und Mitgerissenheit der Hörerschaft an sich.</ref> |
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The unnamed critic in ''Der Auftakt'' wrote: "Unfortunately, the musician Windt only succeeds in very rare moments in capturing our attention through his score … What he writes is typical of the old music of excitement, without any structure, without formal consolidation, an exalted gesticulating music that differs from Strauss's Elektra only in its lack of substance and the exhaustion of the means that were revolutionary at the time. Windt uses a huge range of instruments. He wants to translate the mental struggles and convulsions of his characters into sound expression. But it remains a chaos that gives birth to no star."<ref>{{ |
The unnamed critic in ''Der Auftakt'' wrote: "Unfortunately, the musician Windt only succeeds in very rare moments in capturing our attention through his score … What he writes is typical of the old music of excitement, without any structure, without formal consolidation, an exalted gesticulating music that differs from Strauss's Elektra only in its lack of substance and the exhaustion of the means that were revolutionary at the time. Windt uses a huge range of instruments. He wants to translate the mental struggles and convulsions of his characters into sound expression. But it remains a chaos that gives birth to no star."<ref>{{harvnb|Andromache|1932|p=101-102}}: Leider gelingt es auch dem Musiker Windt nur in ganz seltenen Momenten, unsere am Drama innen Aufmerksamkeit durch seine Partitur zu fesseln…Was er schreibt, ist typisch die alte Erregungsmusik, ohne jede Gliederung, ohne formale Verfestigung, eine exaltiert gestikulierende Musik, die sich vom Strauß der Elektra nur durch den Mangel an Substanz und die Verbrauchtheit der damals revolutionären Mittelunterscheidet. Windt benützt ein riesiges Instrumentarium. Er will die Seelenkämpfe und Krämpfe seiner Figuren in Klangausdruck umsetzen. Aber es bleibt ein Chaos, das keinen St gebiert.</ref> |
||
Writing for De Muziek, {{Interlanguage link multi|Robert Oboussier|de}} opined: In style and attitude the work remains within the expressionism laid out by Richard Strauss' "Elektra" and the operas of Franz Schreker. This genre, that in its striving for monumental expression knows no boundaries and whose musical gestures go from one extreme to the other, expires without achieving an objective form and structure, and is completely outside our time...Only in some parts of the <nowiki>[opera]</nowiki>…in the more thoughtful arias and into the choral songs… do we feel that a personality that has something to say in his own form of expression, <nowiki>[and in those moment we recognize]</nowiki> that we are dealing with one serious musician with dramatic and lyrical talent.<ref>{{ |
Writing for De Muziek, {{Interlanguage link multi|Robert Oboussier|de}} opined: In style and attitude the work remains within the expressionism laid out by Richard Strauss' "Elektra" and the operas of Franz Schreker. This genre, that in its striving for monumental expression knows no boundaries and whose musical gestures go from one extreme to the other, expires without achieving an objective form and structure, and is completely outside our time...Only in some parts of the <nowiki>[opera]</nowiki>…in the more thoughtful arias and into the choral songs… do we feel that a personality that has something to say in his own form of expression, <nowiki>[and in those moment we recognize]</nowiki> that we are dealing with one serious musician with dramatic and lyrical talent.<ref>{{harvnb|Oboussier|1932|p=372}}: In stijl en geesteshouding en ook in de muzikale onderdeelen blijft het werk binnen de paden, die het expressionisme van Richard Strauss’ „Elektra” en de opera’s van Franz Schreker afgebakend hebben. Dit genre, dat in zijn streven naar monumentale uitdrukking geen grenzen kent en dat in zijn muzikale gesten van het eene uiterste in het andere vervalt zonder tot een eigen directe objectieve vormenstructuur te geraken, staat volkomen buiten onzen tijd. Alleen enkele deelen … waar deze zich in meer bezonken aria’s uit en in de koorliederen, welke in streng gesloten vormen zijn gehouden, voelen wij, dat een persoonlijkheid, die iets te zeggen heeft, naar een eigen uitdrukkingsvorm zoekt, dat wij te doen hebben met een ernstig musicus met dramatisch en lyrisch talent.</ref> |
||
Writing as the Berlin correspondent for the ''New York Times'' conservative music critic Herbert F. Peyser gave a very negative view of the opera. "One can scarcely imagine a work for the lyric theatre more dismally barren of either popular appeal or artistic reward. A two-and-one-half-hour yelling match carried on against an unmerciful racket of heavy orchestral artillery, darkened stage...From one end of the evening to the other the piece is as static as it is dour. Of action there is as good as none...A chorus of mourning women chants and wails lugubriously...[the lead singers] spout and shriek in jagged declamation yards upon yards of those verbose, mouth-filling speeches which the French call 'tirades.'"{{sfn|Peyser|1932|p=X8}} |
Writing as the Berlin correspondent for the ''New York Times'' conservative music critic Herbert F. Peyser gave a very negative view of the opera. "One can scarcely imagine a work for the lyric theatre more dismally barren of either popular appeal or artistic reward. A two-and-one-half-hour yelling match carried on against an unmerciful racket of heavy orchestral artillery, darkened stage...From one end of the evening to the other the piece is as static as it is dour. Of action there is as good as none...A chorus of mourning women chants and wails lugubriously...[the lead singers] spout and shriek in jagged declamation yards upon yards of those verbose, mouth-filling speeches which the French call 'tirades.'"{{sfn|Peyser|1932|p=X8}} |
||
Revision as of 17:02, 26 May 2024
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- http://notes.wikimediadc.org/p/timeline
- https://meta.wikimedia.org/wiki/IRC/wikipedia/Guidelines
- https://commons.wikimedia.org/wiki/Commons:Structured_data/Overview
Sutro: Women in Music and Law https://books.google.com/books?id=LGJIAAAAYAAJ&dq=sutro%20women%20and%20the%20law&pg=PA27#v=onepage&q=sutro%20women%20and%20the%20law&f=false
Andromache
Andromache is an opera in two acts with words and music by Herbert Windt. The opera is based on the play Andromache.by Euripides, as well as Racine's Andromache, Virgil's Aeneid with background material based on The Iliad by Homer.
Background
In an article published six months before the opera's premiere, Windt acknowledged that he had known the story of Andromache for many years. The appeal of writing an opera on the topic (his first) was based on "my idea of choosing events and characters that were as remote in time as possible, in order to be able to ascribe new contexts and new lives to these actions and characters that are well known in themselves, without changing or alienating the image that we have established too much."[1] Windt understood the challenge of making a modern audience relate to legendary characters:
"In order to bring an old subject to life, to awaken it from its dusty Sleeping Beauty sleep to new life, one must fill it with new life. And that can only happen if one tries to bring this past, which is several thousand years old, and our present closer together and bring them towards one another."[1]
In seeing the connection between Skamander and current times, Windt wrote: "I certainly did not want to write a political play; but if such political events form the basis of a plot such as the present one, then naturally one cannot ignore its politics when adapting it without having brought it into some connection with our present."[1] (Windt joined the Nazi Party in 1931, the year in which he wrote this.)
Roles
- Pyrrhus - about 25 years old[2]
- Andromache - is a little older than Pyrrhus; she is a full-blown beauty. Her costume .(and that of her entourage) differs significantly from that of the Greek women
- Hermione - about 20 years old with red hair. Ambitious, she deserts her cousin Orest to marry Pyrrhus, a marriage based on power, not love
- Orest - about 30 years old, brown hair. He bears the fate of the House of Atreus
- Theano - blonde, like Pyrrhus, age 17; she mirrors her brother's desires and wishes.
- Lamia - a little older than Hermione. She functions more as a confidant than as a servant.
- Phönix - in his late 50s with graying beard. He is always in uniform, aware of the dignity of his position.
- Skamander - a handsome dark-curled six-year-old boy.
- Place: Epirus, in front of the palace of Pyrrhus
- Time: After the Trojan War
| Role[3] | Voice type | Premiere cast, 16 March 1932 Conductor: Erich Kleiber |
|---|---|---|
| Pyrrhus, king of Epirus, son of Achills | tenor | Fritz Wolff |
| Theano, his sister | soprano | Else Fink |
| Andromache, Hector's widow | mezzo-soprano | Margarete Klose |
| Skamander | silent role | Käte Lore Schenk |
| Hermione, daughter of Helena and Menelaus | soprano | Moje Forbach |
| Lamia, servant to Hermione | contralto | Else Ruziczka |
| Orest, son of Agamemnon, cousin of Hermione | baritone | Herbert Janssen |
| Phönix, captain of Pyrrhus’s palace | bass | Walter Beck |
| Servant of Hermione | tenor | Marcel Noë |
| Trojan women, soldiers of Pyrrhus | ||
| Choral director | Alexander Curth | |
| Stage director | Franz Ludwig Hörth | |
| Set design | Emil Preetorius (Grafiker) | |
Synopsis
Music
Writing in 1931, Windt felt his score should enable a wide range of possible mediums: "For me it is self-evident that the greatest possible unity must exist between book and score, if the two are not to run parallel to one another. I therefore had in mind wide and rich possibilities of contrast in keeping with the style of the book and in this respect I pulled out all the stops that were available to me; from the more intimate chamber music style to the pathetic and pompous style of the "big orchestra."[4]
With regards to being modernistic, Windt wrote: "I will never be one of those innovators who want to be "modern" at any price; on the other hand, I am not reactionary enough to underestimate the extensions brought about by modernity and not to use them where I consider them appropriate and justified."[4]
Reception
Although the opera received generally negative reviews, a number of critics recognized Windt's talent.
Fritz Ohrmann, writing in Signale für die musikalische Welt, praised the quality of the performance which he felt was primarily due to Erich Kleiber's musical direction.[3] He noted that "singer and actress" Margaret Klose gave a magnificent performance and gave high praise for Fritz Wolff.[3] But Ohrmann had qualified words for the music. "Herbert Windt has not yet succeeded in creating an untouchable masterpiece on his first attempt. His first musical drama has undeniable, major weaknesses, but these cannot conceal the fact that behind him stands a full-blooded dramatist. But one who is only a promise whose creative powers - I believe - are far from being released because Windt was under the greatest psychological pressure for too long...Windt is the type of late-maturing composer, still internally unfree, who struggles with determination and maximum emotional commitment to realize his far-reaching artistic ideal. His themes do not always appear to have grown naturally, but often seem to have been forced upon him. They therefore lack a good deal of healthy drive. Above all, however, they lack the great breath to be able to swing out into a broad melody...This is how I explain the feverish restlessness of this music, which repeatedly pushes towards passionate outbursts, repeatedly towards new ecstasies and therefore too often lacks wise economy in the application of strong musical expressive powers... in the large ensembles and the effective choirs he demonstrates an extraordinary contrapuntal skill. He is thoroughly versed in the secrets of the diverse modern rhythms and handles the rich color palette of the orchestra with superior confidence.[5]
Hugo Leichtentritt observed: "The singers tried their best without achieving a vocal effect that corresponded to the expenditure of resources. [The singers] were busy in the main roles, but due to the unsingable nature of their roles, they were only able to present themselves in the best possible light in places. The applause was friendly, but hardly reflected any enthusiasm or excitement on the part of the audience."[6]
The unnamed critic in Der Auftakt wrote: "Unfortunately, the musician Windt only succeeds in very rare moments in capturing our attention through his score … What he writes is typical of the old music of excitement, without any structure, without formal consolidation, an exalted gesticulating music that differs from Strauss's Elektra only in its lack of substance and the exhaustion of the means that were revolutionary at the time. Windt uses a huge range of instruments. He wants to translate the mental struggles and convulsions of his characters into sound expression. But it remains a chaos that gives birth to no star."[7]
Writing for De Muziek, Robert Oboussier opined: In style and attitude the work remains within the expressionism laid out by Richard Strauss' "Elektra" and the operas of Franz Schreker. This genre, that in its striving for monumental expression knows no boundaries and whose musical gestures go from one extreme to the other, expires without achieving an objective form and structure, and is completely outside our time...Only in some parts of the [opera]…in the more thoughtful arias and into the choral songs… do we feel that a personality that has something to say in his own form of expression, [and in those moment we recognize] that we are dealing with one serious musician with dramatic and lyrical talent.[8]
Writing as the Berlin correspondent for the New York Times conservative music critic Herbert F. Peyser gave a very negative view of the opera. "One can scarcely imagine a work for the lyric theatre more dismally barren of either popular appeal or artistic reward. A two-and-one-half-hour yelling match carried on against an unmerciful racket of heavy orchestral artillery, darkened stage...From one end of the evening to the other the piece is as static as it is dour. Of action there is as good as none...A chorus of mourning women chants and wails lugubriously...[the lead singers] spout and shriek in jagged declamation yards upon yards of those verbose, mouth-filling speeches which the French call 'tirades.'"[9]
Publication
The vocal score was published by Universal Edition, copyright 1931, plate number U.E. 1118 ((317 pages).
References
- ^ a b c Windt 1931, p. 152.
- ^ Ewers 1932, p. 10-11.
- ^ a b c Ohrmann 1932, p. 274.
- ^ a b Windt 1931, p. 153.
- ^ Ohrmann 1932, p. 272: Herbert Windt im ersten Anlauf noch nicht gelungen. Sein musikdramatisches Erstlingswerk hat unleugbare, ,große Schwachen, die aber nicht verdecken können, daß hinter ihm ein ollblutdramatiker stehtt. Der aber erst eine Verheißung ist. Dessen schöpferische Kräfte —so glaube ich — aber noch lange nicht gelöst sind, weil Windt zu lange unter härtestem seelische Druck stand...Windt ist mir der Typus des Spätreifenden, des heute innerlich noch Unfreien, der mir Verbissenheit und seelischem Höchsteinsatz um die Verwirklichung seines weitgesteckten Kunstideals ringt. So erscheinen seine Themen nicht immer natürlich Gewachsen, sondern oft gewaltsam aufgetrieben. Es fehlt ihnen darum ein gut Teil gesunder Triebkraft. Vor allem aber auch der große Atem, um sich in breitem Melos ausschwingen zu können...So erkläre ich mir auch weiter die fiebernde Unruhe dieser Musik, die immer wieder zu leidens schaftlichen Ausbrüchen, immer wieder zu neuen Ekstasen drängt und darum zu oft die weise Oekonomie in der Anwendung starker musikalischer Ausdruckskräfte vermissen läßt...in den großen Ensembles und den wirkungsvollen Chören beweist er ein ausserordentliches kontrapunktisches Können. In den Geheimnissen der vielgestaltigen modernen Rhythmik weiß er gründlich Bescheid und behandelt die reiche Farbenpalette des Orchesters mit überlegener Sicherheit.
- ^ : Die Sänger mühten sich nach besten Kräften, ohne zu gesanglichen Wirkungen zu kommen, die dem Aufwand an Mitteln entsprechen. [Sie] waren in den Hauptpartien beschäftigt, konnten aber durch das unsangliche Wesen ihrer Partien nur stellenweise sich in das günstigste Licht stellen. Der Beifall war freundlich, hatte aber kaum etwas von Begeisterung und Mitgerissenheit der Hörerschaft an sich.
- ^ Andromache 1932, p. 101-102: Leider gelingt es auch dem Musiker Windt nur in ganz seltenen Momenten, unsere am Drama innen Aufmerksamkeit durch seine Partitur zu fesseln…Was er schreibt, ist typisch die alte Erregungsmusik, ohne jede Gliederung, ohne formale Verfestigung, eine exaltiert gestikulierende Musik, die sich vom Strauß der Elektra nur durch den Mangel an Substanz und die Verbrauchtheit der damals revolutionären Mittelunterscheidet. Windt benützt ein riesiges Instrumentarium. Er will die Seelenkämpfe und Krämpfe seiner Figuren in Klangausdruck umsetzen. Aber es bleibt ein Chaos, das keinen St gebiert.
- ^ Oboussier 1932, p. 372: In stijl en geesteshouding en ook in de muzikale onderdeelen blijft het werk binnen de paden, die het expressionisme van Richard Strauss’ „Elektra” en de opera’s van Franz Schreker afgebakend hebben. Dit genre, dat in zijn streven naar monumentale uitdrukking geen grenzen kent en dat in zijn muzikale gesten van het eene uiterste in het andere vervalt zonder tot een eigen directe objectieve vormenstructuur te geraken, staat volkomen buiten onzen tijd. Alleen enkele deelen … waar deze zich in meer bezonken aria’s uit en in de koorliederen, welke in streng gesloten vormen zijn gehouden, voelen wij, dat een persoonlijkheid, die iets te zeggen heeft, naar een eigen uitdrukkingsvorm zoekt, dat wij te doen hebben met een ernstig musicus met dramatisch en lyrisch talent.
- ^ Peyser 1932, p. X8.
Sources used
- "Andromache: Opern-Uraufführung in der Berliner Staatsoper". Der Auftakt: 101-102. 1932.
- Ewers, Hanns Heinz (1932). "Einführung in das Werk". Blätter der Staatsoper. 12. Jahrgang (Heft 8): 10–11.
- Leichtentritt, Hugo (1932). "Herbert Windt: Andromache (Berlin, Staatsoper)". Die Musik. 24 (7): 517–518.
- Ohrmann, Fritz (1932). "Herbet Windts "Andromache" in der Berliner Staatsoper". Signale für die musikalische Welt. 90 (12): 271–274.
- Oboussier, Robert (1932). "Correspondenties Buitenland: Uit Berlijn". De Muziek. 6: 372.
- Peyser, Herbert F. (April 17, 1932). "Andromache' a Dreary Opera". New York Times: 8.
- Strobel, Heinrich (1932). "Umgruppierung in den Berliner Theatern". Melos. 11. Jahr (Heft 4): 147–148.
- Windt, Herbert (1931). "Andromache". Anbruch. 13 Jahrgang (Heft 6-7): 152–153.
reprinted as:
- Windt, Herbert (1932). "Warum "Andromache"?". Blätter der Staatsoper. 12. Jahrgang (Heft 8): 5–6.
Categories: [[German-language operas [[Music dramas [[Operas [[1932 operas [[Opera world premieres at the Berlin State Opera [[Operas based on plays [[Operas based on classical mythology [[Operas based on works by Euripides
Kathi Meyer-Baer
Kathi Meyer-Baer was a musicologist, librarian and bibliographer, "arguably the most significant, and surely the most productive, female musicologist of her generation."[1]
Katharina Gertrud Meyer was born to a prosperous Jewish family in Berlin on July 27, 1892.[1] She attended a girls' gymnasium and later attened She studied piano with Frieda Kwast-Hodapp. She attended the University of Berlin studying in particular with Hermann Kretzschmar and Johannes Wolf. Her dissertation Der chorische Gesang der Frauen was initially rejected by Kretzschmar who provided no reason, so in 1915 she transferred to Leipzig University and submitted it to Hugo Riemann who accepted it immediately. As she had taken a second major in acoustics, she took exams with Johannes Wiener, who congratulated her upon passage of the exams.and was awarded the Ph.D. in 1916.[1]. Her dissertation was published the following year.
She was the first woman to earn a Ph.D. as a musicologist.[1]
She worked as the resident musicologist for bibliophile Paul Hirsch.[1]
"In the end, she had no choice but to live her life as an independent scholar. She did so with grace, courage, perseverance, and enormous productivity."[1]
References
- Josephson, David (2008). ""Why Then All the Difficulties!": A Life of Kathi Meyer-Baer". Notes. 65. JSTOR 27669837.
Notes
Luigi Bordese
Luigi Bordese (1815—1886) was an Italian composer who spent most of his career in Paris composing operas.
Luigi Bordese was born in Naples and was educated at the Naples Conservatory.[1] From 1834 he resided in Paris where he composed numerous operas.[1] When his operas no longer met with success, he directed his energies toward vocal pedagogy, publishing a number of vocal exercises.[2] Of his many operas, Fetis described his output as containing more craft than art.[2]
In RILM encyclopedias
Fetis
- BORDÈSE, Luigi By: Fétis, F. J., Pougin, Arthur M., Biographie universelle des musiciens et bibliographie générale de la musique, 1878 0101, Vol. 1, Issue Supplément et complément
- 30 leçons de chant à 2 voix (Choudens);
- 36 leçons de chant faciles et graduées (Gérard);
- L’Art de vocaliser, d’après Rossini (id.);
- Messe solennelle de Gloria, à 3 voix, chœur et orgue (Schonenberger);
- Messe du Saint Esprit, à 2 voix, chœur et orgue (id.);
- messe de Requiem à 2 voix (id);
- Messe complète à 3 voix (id.);
- La Semaine religieuse des demoiselles, 8 motets à 1 voix (id.);
- Nouveau mois de Marie, 12 prières à la Vierge, à 1 ou 2 voix (id.);
- 100 Chants sacrés à 4 voix d’hommes, avec accompagnement d’orgue ou d’harmonium (id.);
- Le Trésor musical des enfants, 90 chants et prières à 1 ou 2 voix (id.);
- Bouquet musical et religieux, 10 morceaux à plusieurs voix, pour le mois de Marie (id.),
- Solennités religieuses, 101 solos, duos et trios pour différentes voix, sur paroles latines, avec accompagnement d’orgue ou d’harmonium (id.);
- Fiori d’Italia, 14 chants (id.);
- Frère et sœur, Fais ce que dois, le Moulin des oiseaux, Oreste et Pylade, Fort comme un Turc, les Orphelines, Royal-Dindon, le Miracle des Roses, la Fête des Fleurs, les Deux Turennes, Assaut de Soubrettes, opérettes pour pensionnats; Noë, David chantant devant Saül, les rois Mages, Bethléem, la Prophétie, Judas, Jérusalem, l’Aveugle de Jéricho, scènes bibliques; le Pêcheur roi, Faust, Jocelyn, la Vision de Jeanne d’Arc, le Doigt de Dieu, l’Enfant égaré, la Jeune Martyre, Cora, la Jeune Négresse, Charlotte corday, la Vierge de Vaucouleurs, Chimène, Clotilde, reine des Francs, Jeanne Grey, le Songe de lady Macbeth, Jeanne d’Arc à Rouen, Sapho, scènes dramatiques et lyriques; les Fêtes bénies, album de *12 chants religieux à 1, 2 ou 3 voix; 3 hymnes
- Sacrées, pour 2 voix égales; 4 mélodies religieuses; 6 chœurs pour distributions de prix; 21 chants célestes, à 3 voix; les Femmes de la Bible, 12 morceaux à 1 voix. Enfin, à tout cela, il faut ajouter encore plusieurs centaines de mélodies, *Romances, chansons, airs, cavatines, duos, trios, chœurs, motets, morceaux de genre, etc. M. Bordèse avait fait recevoir en 1867, au Théâtre-Italien de Paris, un opéra semi-sérieux en 3 actes, la Fioraia, qui n’a pas été représenté.
Bio dict
- Biographical Dictionary of Musicians: With a Bibliography of English Writings on Music
- BORDÈSE (Luigi). Italian comp., Naples, 1815. S. at Naples Cons. Went to Paris, 1834. Resided there from 1834. He has composed a number of light operas, such as Zelimo e Zoraide, 1834; La Mantille, 1837; L’Automate de Vaucanson, 1840; Jeanne de Naples, 1840; Les Deux Bambins, 1848, which have achieved temporary popularity.
Stieger
- Opernlexikon / Opera catalogue / Lexique des opéras / Dizionario operistico. II: Komponisten 1977. p. 135-136 Language: German. ISBN: 978-3-7952-0203-3.
|| [Titel des Werkes] [Gattung des Werkes] [Anzahl der Akte] [Textautor(en)] [Nähere Aufführungsdaten]
- I promessi sposi || Oper || Checcherini, Gius. Checcherini || Neapel inv. 1830 t. Nuovo
- Zelimo e Zoraide = Il califo riconosciuto || für Turin1834, aber n.g.
- La mantille || Opéra comique ||1 || Planard u. Goubeaux, Hautefeuille || Paris || 31.12.1837 Op.com.
- L'automate de Vaucouson || Opéra comique || 1 || Leuven || Paris || 9.1840 || Op.com.
- La reine Jeanne (de Naples) || Oper || 3 || Leuven u. Brunswick (m.Monpou ) || Paris || 2.10.1840 Op.com.
- I Quindici || Oper || Tarantini, Leopoldo Tarantini || Neapel ||1842|| t.S.Carlo
- I Gemelli di Preston || Oper || 2|| Giacchetti, G. Giacchetti || Turin || 11.1842 t. Carignano
- Le Sultan Saladin || Opéra comique ||1 || Dupin || Paris || 8.2.1847 Op.com.
- Les deux Bambins ||Opéra comique ||1|| Leuven u. Brunswick || Paris || 4.12.1848 Op.com.
- Frère et soeur ||Operette ||Plouvier ||Paris ||1854 priv.
- Les deux comtesses ||Operette Flan, Marc Alex. Flan ||Paris ||1861 priv.
- La Fioraia ||Oper ||3 || ||1867für Paris, n.g.
- Les mensonges de la marquise || Operette ||1 ||Tourte, F. Tourte ||Paris ||1882
- Fais ce que dois || Operette || || ||
- Le moulin des oiseaux || Operette || Plouvier u.a. || in Nancy || 21.2.1898
- Oreste et Pylade ||Opéra comique ||1 ||Flan u.a. in ||Paris 23.10.1892 Rue de Turenne
- Fort comme un Turc ||Operette ||1 ||Flan u.a. ||in Le Havre ||16.5.1897
- Les orphelines || || || ||
- Royal Dindon ||Operette ||1 ||Flan u.a. in ||Paris ||5.6.1887 Salle Horticulture
- Le miracle des roses || || || ||
- La fete des fleurs Operette 1 Joly, A. Joly
- Les deux Turenne Operette 1 u.a. in Orleans 24.2.1887
- Assaut des Soubrettes Operette Flan
- Un concert chez les demoiselles de Saint-Cyr Operette
- L'esprit et le coeur Operette 1 Flan
- Fleur des champs Operette 1 Nac, Paul Nac 1888
- Le malade malgré lui Opéra comique 1 u.a. in Creuzot 6.7.1896
- Le marché aux domestiques(servantes) Operette 1 Trefeu u.a. in Creuzot 3.2.1889
- Chien et chat Operette
- Judith et Suzon Operette Tourte, F. Tourte
- La poule noire Operette Tourte, F. Tourte
- Le Sultan Aboul-Azor Operette
Dramatische und lyrische Szenen: [Titel des Werkes] [Gattung des Werkes] [Anzahl der Akte] [Textautor(en)] [Nähere Aufführungsdaten]
- Le pecheur roi
- Faust
- Jocelyn
- La Vision de Jeanne d'Arc
- Le Doigt de Dieu
- L'Enfant egaré
- La jeune Martyre
- Cora
- La jeune Negresse
- Charlotte Corday
- La vierge de Vaucoulais
- Chimène
- Clotilde reine de France
- Jeanne Grey
- Le songe de Lady Macbeth
- Jeanne d'Arc à Rouen
- Sapho
- Attila Camp, A. de Camp 1882
Biblische Szenen:
- Noé
- David chantant devant Saul
- Les rois mages
- Bethléem
- La Prophetie
- Judas
- Jérusalem
- L'aveugle de Jéricho
Drexel 5612
| Serial number | Modern pagination | Original pagination | Title | Composer | Scribe | Final | Printed source |
|---|---|---|---|---|---|---|---|
| 1 | 1 | 1 | The Princes Mask | Anonymous [Gibbons?] | 1 | Musica Britannica xx no. 44 | |
| [2] | 1 | 1 | A Masque | Anonymous [Gibbons?] | 1 | Fitzwilliam Virginal Book II p. 266 | |
| [3] | 1 | 1 | A Mask / The Jolly Sheapperd | Anonymous [Gibbons?] | 1 | G-C | Anne Cromwell's Virginal Book 1638 no. 30 |
| 4 | 2-3 | 2-3 | The Scotish Gigg | Anonymous | 1 | ||
| 5 | 4 | 4 | Captaine Pipers Pavion | [Based on Dowland] | 1 | ||
| 6 | 4 | 4 | The Galliard | [Based on Dowland] | 1 | ||
| 7 | 5 | 5 | Bates Mask | Anonymous | 1 | ||
| 8 | 5 | 5 | A Mask / The Jolly Sheapperd | /finis E | 1 | ||
| [9] | 6 | 6 | Coranto Doc:Bull | Finish [Bull] | 1 | Musica Britannica XIX no. 79 | |
| [10] | 7-13 | The Quadaran Pavion Doc:Bull | /Finish Doc:Bull | 1 | Musica Britannica xix no. 127b and 127c | ||
| [11] | 14 | Prelude Dr:Bull | [Bull] | 2 | Musica Britannica xix no. 120 | ||
| [12] | 15 | 11 | Paven | /Tho[mas] Weelke[s] | 2 | M.H. Glyn Weelkes, Pieces…p.6 | |
| 13 | 15 | 11 | Alman I | Anonymous | 2 | ||
| [14] | 16 | 12 | A Pavion | [Byrd] | 1 | Musica Britannica XXVIII no. 72a | |
| [15] | 17 | [End of the galliard] | /finis Mr Bird | 1 | Musica Britannica XXVIII no. 72b | ||
| [16] | 17-19 | -17 | A Pavion | /finis Doc:Bull | 1 | Musica Britannica xix no. 129a "Lord Lumley" | |
| [17] | 20-21 | 18-19 | The Galliard | /Doc:Bull | 1 | Musica Britannica xix no. 132a "Regina I" | |
| [18] | 22-27 | 20-25 | Mr Gibbons Peascod time | /finis Mr Gibbons | 1 | Musica Britannica xx no. 30 | |
| [19] | 27 | 25 | A maske | Anonymous | 2 | C | Anne Cromwell's Virginal Book 1638 no. 21 |
| 20 | 28 | 26 | A Toy:I | Anonymous | 1 | ||
| 21 | 28-29 | 26-27 | A Toy | Anonymous | 1 | ||
| 22 | 29 | 27 | A toy | Anonymous | 1 | ||
| [23] | 30 | The Merie | Anonymous | 1 | English Pastime Music, 1630-1660 no. 72 | ||
| [24] | 31-33 | 29-31 | Dr. Bull Go from my window goe | [Bull] | 2 | Musica Britannica xix no. 123 | |
| 25 | 34-35 | -33 | The nine Muses:I | /finis Mr est | 1 | A | |
| 36 | The:2:muse | 1 | A | ||||
| 37 | 35 | The:3:muse | 1 | A | |||
| 38 | The:4:muse | 1 | A | ||||
| 39 | 37 | The:5:muse | 1 | A | |||
| 40 | The:6:muse | 1 | A | ||||
| 41 | 39 | The.7.muse | 1 | A | |||
| 42 | The 8 muse | 1 | A | ||||
| [26] | 43 | 41 | The Lord of Salisbury his Pavin | /finis Or Gibbons | 1 | Musica Britannica xx no. 18 | |
| [27] | 44-45 | -43 | The Galiardo | [Gibbons] | 1 | Musica Britannica xx no. 19 | |
| [28] | 46-49 | -47 | D; Bull Paven | [Bull] | 2 | A | Musica Britannica xix no. 86a "Fantastic" |
| 29 | 49 | 47 | Saraband [?] | Anonymous | 3 | ||
| 30 | 49 | 47 | Current price | [Anonymous: John Price?] | 3 | A | |
| 31 | 50 | The highlanders marche | [Anonymous] | 3 | F | ||
| [32] | 51 | 27 | Volluntarie 4 parts | [Anon: Weelkes?] | 1 | A | Glyn Weelkes pieces…p. 4 |
| [33] | 52 | 28 | Voluntarie 4 parts | /Mr Wilkes | 1 | A | Glyn Weelkes pieces…p. 2 |
| [34] | 53 | 29 | An Almayn | /G[e]orge Farnaby | 1 | Musica Britannica xxiv no. 22 | |
| 35 | 53 | 29 | An Almayn | /Mr Hoop[er] | 1 | ||
| [36] | 54 | 30 | Coranto | /Mr Gibbons | 1 | Musica Britannica xx no. 40 | |
| [37] | A Almayne | [Anon] | Partenia In-Violata no. 16 | ||||
| [38] | 55 | 31 | The thumping galliard | /Doc Bull | 1 | Musica Britannica xix no. 90 | |
| [39] | 56 | 32 | A Toy D B | /Doc:Bull | 1 | Musica Britannica xix no. 93 "The Duek of Brunswicks Alman" | |
| [40] | 56-57 | 32-33 | A Toy Mr Curch | /Finis mr Tompkins [Farnaby] | 1 | Musica Britannica xxiv no. 28 | |
| 41 | 57 | 33 | The Tobacco pipe | [Anon] | 1 | ||
| 42 | 58-59 | 34-35 | A Galliard mr Tompkins | /Mr Tompkins | 1 | Musica Britannica v no. 58 "Hunting Galliard" | |
| [43] | 59 | 35 | The man in the moone | Anon | 1 | English Pastime Music, 1630-1660 no. 18 | |
| [44] | 60 | 36 | A Coranto Doc:Bull | Doc:Bull | 1 | Musica Britannica xix no. 97 "The Duches of Brunswicks Toye" | |
| [45] | 60 | 36 | The [E]arle of [Sa]llisburis A Pavion | /Mr Bird | 1 | Musica Britannica xxvii no. 15a | |
| [46] | 61 | 37 | The Galliard | /Mr Bird | 1 | Musica Britannica xxvii no. 15b | |
| 47 | 61 | 37 | Mr Warwicks maske | [Anon] | 1 | ||
| [48] | 62-63 | 38-39 | A Pavion Mr Bird | Mr Bird | 1 | Musica Britannica xxvii no. 14a | |
| [49] | 64 | 40 | The Galliard | /Finis Mr Bird | 1 | Musica Britannica xxvii no. 14b | |
| [50] | 65 | 41 | The Ladie Folliotts Galliard | /Finis Mr Tompkins | 1 | Musica Britannica v no. 59 | |
| [51] | 66-67 | 42-43 | A Pavon Mr Bird | /Mr Bird [?] | 1 | S.D. Tuttle William Byrd, Forty-five pieces…p. 40 | |
| [52] | 68-69 | 44-45 | The Galliard Mr Bird | /Finis mr Bird [?] | 1 | S.D. Tuttle William Byrd, Forty-five pieces…p. 44 | |
| [53] | 70-71 | 46-47 | What if a day | /Finis Mr Tompkins | 1 | Musica Britannica v no. 64 | |
| 54 | 72-79 | 48-55 | O Lord in thee is all my trust | John Amner | 1 | ||
| 72 | 48 | Mr Amner:I | |||||
| 72-73 | 48-49 | Vers:2 | |||||
| 73 | 49 | Vers:3 | /Forward | ||||
| 74 | 50 | Vers:4: | |||||
| 75 | 51 | Vers:5: | /Forward | ||||
| 76 | 52 | Vers:6: | /forward | ||||
| 77 | 53 | Vers:7: | /forward | ||||
| 78-79 | 54-55 | Vers:8: | /Finis Mr Amner | ||||
| 55 | 79 | 55 | Voluntarie 3 parts | [Anon] | 1 | ||
| 56 | 80 | 56 | [No title, incomplete] | [Anon] | ? | D | |
| 57 | 80 | 56 | Voluntarie 2 parts | [Anon] | 1 | ||
| 58 | 81 | 57 | Volluntarie 3 parts | [Anon] | 1 | D | |
| 59 | 82 | 58 | the princes delight | [Anon] | 1 | C | |
| [60] | 82-85 | 58- | galliard mr tomkins | [Gibbons] | 2 | Musica Britannica xx no. 24 | |
| [61] | 86-89 | A paven by mr D:Bull | [Bull] | 4 | Musica Britannica xix no. 88a | ||
| [62] | 90-92 | The galliard | [Bull] | 4 | Musica Britannica xix no. 88b | ||
| [63] | 92-94 | Mr: Gibbons Ground | [Gibbons] | 2 | Musica Britannica xx no. 26 | ||
| 95 | 59 | blank | |||||
| [64] | 96-97 | 60-61 | A Pavion Mr Birds | [Byrd] | 1 | Musica Britannica xxvii no. 23a | |
| [65] | 98-99 | 62-63 | The Galliard | /finis Mr Bird | 1 | Musica Britannica xxvii no. 23b | |
| 66 | 99 | 63 | Alman | [Anon] | 2 | G-E | |
| [67] | 100-02 | 64-66 | Sr Wil: Peter A Pavion | [Byrd] | 1 | G | Musica Britannica xxvii no. 3a |
| [68] | 102-03 | 66- | Preludiū | /Or: Gib[bons] | 1 | Musica Britannica xx no. 2 | |
| [69] | 104-05 | Pav: D:Bull | [Bull] | 2 | G | Musica Britannica xix no. 128a "Trumpet Pavan" | |
| [70] | 106-10 | Galliard Doc:Bull [one continuous piece; the second half begins m. 41] | [Bull] | 2 | G | Musica Britannica xix no. 132b and 132 "Regina II" and "Regina III" | |
| 111 | 67 | blank | |||||
| [71] | 112 | 68 | [No title] | [Anon] | 1 | C | Anne Cromwell's Virginal Book 1638 no. 17 |
| 72 | 112 | 68 | Pritty Dolley:Re | [Anon] | 1 | C-D | |
| 73 | 113 | 69 | A Mask | [Anon] | 1 | ||
| 74 | 113 | 69 | Doe then | [Anon] | 1 | ||
| 75 | 113 | 69 | A Toy | [Anon] | 1 | ||
| 76 | 114 | 70 | A Mask | [Anon] | 1 | ||
| [77] | 114 | 70 | Mr Birds Gigg | [Byrd] | 1 | Musica Britannica xxvii no. 45 | |
| [78] | 115 | 71 | Ayre Mr Gibbons | [Gibbons] | 1 | Musica Britannica xx no. 35 | |
| [79] | 115 | 71 | A Toy Mr Gibbons | [Gibbons] | 1 | A | Musica Britannica xx no. 34 |
| [80] | 116 | 72 | A Mask Mr Gibbons | [Gibbons] | 1 | Musica Britannica xx no. 45 "The Temple Mask" | |
| [81] | 117 | 73 | A Galliard | [Gibbons] | 1 | Musica Britannica xx no. 25 | |
| [82] | 118-19 | 74-75 | The Queens Command mr Gibbons | [Gibbons] | 1 | Musica Britannica xx no. 28 | |
| [83] | 120-21 | 76-77 | The Itlian Grounde Mr Gibbons | [Gibbons] | 1 | Musica Britannica xx no. 27 | |
| 84 | 121 | 77 | Sarabran | /T. Holms | 1 | ||
| 85 | 122 | 78 | Allmaine | /Mr T Holmes | 1 | ||
| 86 | 123 | A Maske | [Anon] | 1 | |||
| 124-25 | blank | ||||||
| 87 | 126-28 | Misere[re] D:Bull ["William Jauncy of the Clos in Salbery"] | [Bull] | 2 | G | Musica Britannica xiv no. 34 | |
| 129 | BLANK | ||||||
| [88] | 130-31 | -79 | [No title] | [Anon: Bull] | 2 | G | Musica Britannica xiv no. 38 "Salvator Mundi" |
| [89] | 132-33 | 80-81 | A Pavion mr Birde | [Byrd] | 1 | Musica Britannica xxvii no. 29a | |
| [90] | 134 | 82 | The Galliard | [Byrd] | 1 | Musica Britannica xxvii no. 29b | |
| 135 | blank | ||||||
| [91] | 136-37 | 84-85 | Mr Bird a Pavion | /Finis Mr Bird | 1 | Musica Britannica xxvii no. 31a | |
| [92] | 138-39 | 86-87 | The Galliard | [Byrd] | 1 | Musica Britannica xxvii no. 31b | |
| [93] | 140-41 | 88-89 | A Pavion Mr Bird | [Byrd] | 1 | Musica Britannica xxvii no. 33a | |
| [94] | 142 | 90 | The Galliard M B | [Byrd] | 1 | Musica Britannica xxvii no. 33b | |
| 95 | 143 | 91 | /the virgyne | [Anon] | 5 | D | |
| [96] | 144-46 | 92-94 | [No title] | [Bull] | 6 | A | Musica Britannica xiv no. 42 "Veni Redemptor Gentium I" |
| [97] | 147 | The Nightingall | [Anon] | 1 | English Pastime Music, 1630-1660 no. 15, Elizabeth Rogers Virginal Book no. 20 | ||
| [98] | 148 | The Mock Nightingall | [Anon] | 1 | D | Elizabeth Rogers Virginal Book no. 47 | |
| [99] | 148 | A man had 3 sones | [Anon] | 1 | G | English Pastime Music, 1630-1660 no. 53 | |
| 100 | 149 | Almaine | [Mr: Mels] | 2 | Bb | ||
| 101 | 149 | /theSaraband Mr:Mels | Mels | 2 | Bb | ||
| 102 | 150-51 | 90-91 | the nightingall | [Anon] | 5 | ||
| 103 | 151 | 91 | the mock nightingall | [Anon] | 5 | D | |
| [104] | 152 | 92 | a french Ayr | [Anon] | 5 | D | Elizabeth Rogers Virginal Book no. 50 |
| 105 | 152 | 92 | An Almayne | [Anon] | 5 | G | |
| 106 | 153 | 93 | the mayde | [Anon] | 5 | ||
| 107 | 154 | 94 | My pleasur | [Anon\ | 5 | F | |
| 108 | 154-55 | 94-95 | mr lawes flat tune | [William Lawes] | 5 | G | |
| 109 | 155 | 95 | the Gentlewoman | [Anon] | 5 | G | |
| [110] | 156-57 | 96-97 | Mall Simes | [Anon] | 1 | Monumenta Musica Neerlandica III p. 69 | |
| 111 | 157 | 97 | A Toy | /E | 1 | ||
| 112 | 157 | 97 | Little Dick | [Anon] | 1 | ||
| [113] | 158 | 98 | Why aske you | [Bull] | 1 | Musica Britannica xix no. 63 | |
| 114 | 159 | 99 | Tom A Bedlam | [Anon] | 1 | ||
| [115] | 159 | 99 | Williams his Love | [Anon] | 1 | Songs and Dance for the Stuart Masque, 1601-41 p. 158 | |
| 116 | 160 | 100 | Barowfostus Dreame | [Anon] | 1 | ||
| [117] | 160 | 100 | A Mask | [Gibbons] | 1 | Musica Britannica xx no. 41 "Nann's Mask or French Allmaine" | |
| [118] | 161 | 101 | Almayne Mr Gibbons | [Gibbons] | 1 | Musica Britannica xx no. 33 | |
| 119 | 161 | 101 | Hay Makers Mask | [Anon] | 1 | ||
| [120] | 161 | 101 | A Mask | [Gibbons] | 1 | Musica Britannica xx no. 42 "Welcome Home" | |
| 121 | 162 | 102 | A Mask | [Anon] | 1 | ||
| 122 | 162 | 102 | A Toy | /Finis Tho Holmes | 1 | ||
| [123] | 163 | 103 | My Lady Hattons Galliard | [Gibbons] | 1 | Musica Britannica xx no. 20 | |
| [124] | 163 | 103 | A Mask | [R. Johnson] | 1 | English Pastime Music, 1630-1660 no. 95 | |
| [125] | 164 | 104 | A Mask | [Anon] | 1 | English Pastime Music, 1630-1660 no. 86 | |
| 126 | 164 | 104 | A Mask | [Anon] | 1 | ||
| 127 | 164-65 | 104-05 | An Allmaine Mr Hooper | [Anon] | 1 | ||
| [128] | 165 | 105 | A Mask | [Anon] | 1 | English Pastime Music, 1630-1660 no. 83 | |
| [129] | 165 | 105 | The pleasnt widdow | [Anon] | 1 | ||
| 130 | 166 | 106 | [No title] | [Anon] | 7 | ||
| 131 | 166 | 106 | The Mock Widdow | [Anon] | 1 | ||
| [132] | 167 | 107 | A Toy | [Anon] | 1 | Anne Cromwell's Virginal Book 1638 no. 41 | |
| 133 | 167 | 107 | A toy | [Anon] | 1 | ||
| [134] | 168 | 108 | [No title] | [Anon] | 1 | Anne Cromwell's Virginal Book 1638 no. 27 | |
| [135] | 168-69 | 108-09 | Mr Blithman innomi[ne] | [William Blitheman] | 2 | Musica Britannica I no. 93 | |
| [136] | 170-71 | 110-11 | 3 parts Mr:Gibbons = no. 168D | [Gibbons] | 2 | ||
| [137] | 171-73 | 111-13 | [No title] | [Bull] | 2 | Musica Britannica xix no. 66a "Pavana" | |
| 138 | 174 | 114 | Alman law | [Anon] | 2 | ||
| 139 | 174 | 114 | Corante | [Anon] | 2 | ||
| 140 | 174-75 | 114-15 | Almaine | [Anon] | 2 | ||
| 141 | 175 | 115 | [No title][Corante] | [Anon] | 2 | ||
| 142 | 175 | 115 | Mells Alman | [Anon] | 2 | ||
| 143 | 176 | 106 [116] | Cora[nte] | [Anon] | 2 | ||
| 144 | 176 | 106 [116] | Saraband [?] | [Anon] | 2 | ||
| 145 | 176 | 106 [116] | [No title] | [Anon] | 2 | ||
| 146 | 177 | 107 [117] | [No title] | [Anon] | 2 | ||
| 147 | 177 | 107 [117] | [No title] | [Anon] | 2 | ||
| 148 | 178 | 108 [118] | a mask | [Anon] | 2 | ||
| 149 | 178 | 108 [118] | A Toy | [Anon] | 2 | Bb | |
| 150 | 179 | 109 [119] | [No title] | [Anon] | 2 | ||
| 151 | 179 | 109 [119] | [No title] | [Anon] | 2 | A | |
| 152 | 180 | 120 | [No title] | [Anon] | 1 | ||
| 153 | 180 | 120 | [No title; but=no. 155 in different key] | [Anon] | 2 | F | |
| [154] | 180-81 | 120-21 | The milke maide | [Anon] | 2 | C | Anne Cromwell's Virginal Book 1638 no. 31 |
| 155 | 181 | 121 | Blewcapp | [Anon] | 2 | Bb | |
| 156 | 181 | 121 | the Twins | [Anon] | 2 | C | |
| 157 | 181 | 121 | The noble Shirve | [Anon] | 2 | ||
| [158] | 182 | 122 | The Boone Companion | [Anon] | 1 | Anne Cromwell's Virginal Book 1638 no. 18 | |
| 159 | 182-83 | 122-107 | [No title] | Lenord Mells | 1 | ||
| 160 | 183 | 107 | New hidd parke | [Anon] | 1 | ||
| 161 | 183 | 107 | [No title] | [Anon] | 2 | ||
| 162 | 184-85 | 108-09 | The Earle of Hartfords Muse A Pavion: Joh:Bartlet | [John Bartlet] | 1 | ||
| [163] | 186-87 | 110-11 | Lacrimae A Pavion Jo:Do: | [Anon: Based on Dowland] | 1 | English Pastime Music, 1630-1660 no. 66 | |
| 164 | 188-89 | 112-13 | James his Galliard | [Anon: Based on Harding's Galliard] | 1 | ||
| [165] | 190-91 | 114-15 | The Princes Galliard. Doc Bull | [Bull] | 1 | Musica Britannica xix no. 113 | |
| [166] | 192-93 | 116-17 | Bonny sweete Robin mr Bird | [Bull or Barnaby] | 1 | Musica Britannica xix no. 65 Musica Britannica xxiv no. 35 [with a 5th seciton] | |
| [167] | 194-95 | 118-19 | Lulla by Mr Bird | [Thomas Byrd?] | 1 | E.H. Fellowes, Collected Works of William Byrd XX, part iii, p. 146 | |
| 168A-H | 196-206, 215 | 120-130, 131 | [No title: 8 fantasies out of 9 that appear elsewhere] | [Gibbons; the name added by a lter hand] | 6 | ||
| 168A | 196-97 | 120-21 | [Gibbons] | 6 | |||
| 168B | 197-98 | 121-22 | [Gibbons] | 6 | |||
| 168C | 198-99 | 122-23 | [Gibbons] | 6 | |||
| 168D | 200-01 | 124-25 | [= no. 136] | [Gibbons] | 6 | ||
| 168E | 201-02 | 125-26 | [Gibbons] | 6 | |||
| 168F | 202-04 | 126-28 | [Gibbons] | 6 | |||
| 168G | 204-05 | 128-29 | [Gibbons] | 6 | G | ||
| 168H | 206, 215 | 130, 131 | [Gibbons] | 6 | G | ||
| [169] | 199 | 123 | Hidd Parke | [Anon] | 1 | Monumenta Musica Neerlandica III p. 66 | |
| 170 | 207 | [No title; incomplete] | [Anon] | 3 | F | ||
| 171 | 207 | maske | [Anon] | 3 | A | ||
| 208 | 132 | blank | |||||
| 172 | 209 | A Pavion | [Anon] | 1 | |||
| 173 | 210 | [No title] | [Anon] | 1 | |||
| [174] | 211-12 | Pavin Mr Orlando Gibbons [letters cropped at the top] | [Gibbons] | 2 | G | Musica Britannica xx no. 16 | |
| 175 | 213 | [No title] | [Anon] | 3 | C | ||
| 176 | 213 | [No title] | [Anon] | 2 | C | ||
| 177 | 214 | [No title] | [Anon] | 2 | G | ||
| 178 | 214-15 | -131 | [No title] | [Anon] | 2 | G | |
| [179] | 216-17 | 132-33 | A Pavion | /Finis Mr Morlie [Byrd] | 1 | Musica Britannica xxviii no. 60a "Phillippa Tregian" | |
| [180] | 218-19 | 134-35 | The Galliard | /Frinis mr Morly [Byrd] | 1 | Musica Britannica xxviii no. 60b | |
| 181 | 219 | 135 | [No title; "John Jauncy" at the foot of p 219] | [Anon] | 3 | ||
| [182] | 220-22 | 136-38 | A Pavion | /Mr Bird [Morley] | 1 | Fitzwilliam Virginal Book II p. 209 | |
| 183 | 222-24 | 138-40 | A Pavion Solus com sola | [Anon: Based on Dowland] | 1 | ||
| 184 | 225 | 141 | Sweet Lusesina le[nd me thine ayde] | [Anon] | 1 | ||
| 185 | 225 | 141 | Coran[to] | [Anon] | 2 | D | |
| 186 | 226-27 | 142-143 | Amavitt | [Anon: Arr. From Christopher Tye] | 1 | A | |
| 187 | 227 | 143 | a mask | [Anon] | 2 | A | |
| 188 | 227 | 143 | [No title] | [Anon] | 2 | A | |
| 189 | 228 | 144 | [Example of a tuning system] | 5 | |||
| 190 | 228 | 144 | Coran[to] Gyles Tomkins | Gyles Tompkins | 2 | A | |
| 191 | 228 | 144 | [No title] | [Anon] | 2 | D |
List of music theory software
Programs
| Name | Developer | Operating system environment | Latest release | Features |
|---|---|---|---|---|
| Artusi | Artusi Inc. | web | N/A | Harmony, Fundamentals, Ear-training |
| Auralia | Rising Software | 6 | Ear-training | |
| Counterpointer | Ars Nova Software | 2.040 (June 28, 2014) | Counterpoint, both species and free | |
| EarMaster | EarMaster | Mac, Win | 7 | Ear-training; includes some theory |
| Harmonia | Illiac Software | Theory | ||
| Mastering Music | Datasonics | Learning areas include performing, composing, publishing and musicianship | ||
| Music Lessons | MiBAC | Ceased operations in 2012 | ||
| Music Theory Tutor | eMedia Music Corporation | Mac, Win | Theory | |
| Musition | Rising Software | 6 | Theory | |
| PicardyLearning | Picardy | Mac, Win | Theory and ear-training | |
| Practica Musica | Ars Nova Software | Mac, Win, Linux | 6 | Theory |
| Practical Music Theory Know-How | Groove3 | Theory; 12 videos | ||
| uTheory | uTheory.com | Theory and ear-training |
- Artusi - https://www.artusi.xyz
- Auralia - https://www.risingsoftware.com
- Musition6 - https://www.risingsoftware.com/musition
- Harmonia - https://harmonia.illiacsoftware.com/frontpage
- Music Theory Tutor - https://www.emediamusic.com/music-theory-software/music-theory-tutor-complete.html
- EarMaster - https://www.earmaster.com/
- Practica Musica -https://www.ars-nova.com/home6.html
- Counterpointer - https://www.ars-nova.com/home6.html - other programs
- PicardyLearning - https://picardylearning.com/
- uTheory - https://utheory.com/
- Groove 3 - www.groove3.com
- Music Lessons - www.mibac.com (obsolete)
- Mastering Music - https://datasonics.com.au/masteringmusic
Reviews - https://www.choraldirectormag.com/articles/technology/music-theory-ear-training-software-2/
- Essentials of Music Theory - https://www.alfred.com/alfreds-essentials-of-music-theory-ear-training-cds-1-2-combined-for-books-1-3/p/00-17254/ -SUPPLEMENTS BOOKS
Reviews
Joseph Muller
From Internet MUS document:
Born of German-Belgian parents, Joseph Muller (b. Frankfurt-am-Main, 1877?; d. Closter, NJ, May 9, 1939), who started collecting during his student days, studied violin at the Brussels Conservatory, where, as a student of Alexandre Cornélis, he won first prize (with distinction) in July 1895; but his love of travel led him to a career as a ship's steward. During his many travels he sought out print dealers worldwide, adding to his growing collection. He collected music manuscripts and letters in addition to portraits (not surprisingly he was especially attracted to those of string players). His interest in music and collecting led him to do extensive research, making him an authority on early music and early American music in particular. In his 1935 publication The Star-Spangled Banner: Words and music issued between 1814-1864 (New York: G. A. Baker & Co.), Muller compiled an annotated and richly illustrated bibliography, tracing variant early publications of the text and tune of our national anthem.
An amateur artist, Muller drew copies of prints and, to a lesser degree, made portraits from life (usually at the back of a concert hall). Some of these drawings are included in the Muller Collection as well.
Carmella Ponselle
Carmella Ponselle (June 7, 1892—June 13, 1977[3]) was a soprano. She was the elder sister of soprano Rosa Ponselle.
Born in Schenectady, New York. Together with her sister they appeared as the Ponzillo Sisters in 1916-1917. Her serious career began in 1923 singing Amneris in Aida at the Polo Grounds.[3] Her Metropolitan Opera debut began on with a Sunday evening concert on January 11, 1925 where she sang "O don fatale" and the Aida-Amneris duet.[4] Her role debut occurred on December 5, 1925 again in the role of Amneris. Other roles included Santuzza in Cavalleria Rusticana, Laura in La Gioconda in which she appeared with her sister Rosa.[5]
References
- ^ a b James Duff Brown, Biographical Dictionary of Musicians: With a Bibliography of English Writings on Music (Paisley and London: A. Gardner, 1886), p.
- ^ a b François-Joseph Fetis, Biographie universelle des musiciens et bibliographie génèrale de la musique, Supplément et complément (Paris: Firman-Didot, 1878), v.1, p. 109.
- ^ a b Kutsch 2003, p. 3729.
- ^ "Ponselle, Carmela," Metropolitan Opera Database (accessed 12 March 2020).
- ^ "Ponselle, Carmela," Metropolitan Opera Database (accessed 12 March 2020).
Sources
- Kutsch, K. J.; Riemens, Leo (2003). Großes Sängerlexikon (Vierte, erweiterte und aktualisierte Auflage ed.). München: K. G. Sauer. ISBN 9783598115981.
Herman Lieber
Rabbi and cantor. Held positions in Hamburg, Zurich and New York. Born and educated in Germany, immigrated to tthe United States in 1939.[1]
Was the first rabbi of Congregation Ahavath Torah (founded in 1938). Rabbi until 1959.[2]
Lieber died on February 27, 1981.[3]
Family: Wife: Sary, children Susie, Miriam, Esther.[3]
References
- ^ Zemiros Ashkenaz arranged and sung by Herman lieber, accompanied by Ottto Seyfert. Copyright 2007.
- ^ "History of the Shul, Ahavath Torah" website of Congregation Shaare Hatikva Ahavath Torah v'Tikvoh Chadoshoh (accessed March 4, 2020).
- ^ a b "Lieber, Herman," (paid obituary) New York Times (March 1, 1981), p. 36.
Dorothy Lawton
Auxiliary cadence
Drexel 5609
| Drexel 5609 |
|---|
Drexel 5609 is a British music manuscript. It is an eighteenth-century collection of seventeenth-century keyboard music compiled from various sources, including British Library Add. ms. 10337 (the Elizabeth Rogers' Virginal Book), Fitzwilliam Museum Music Ms. 168 (the Fitzwilliam Virginal Book), and Elizabeth Plume's Virginal Book. Also included are keyboard arrangements of works composed for other instruments or voices and instruments.[1]
Belonging to the New York Public Library, it forms part of the Drexel Collection, housed in the Music Division of the New York Public Library for the Performing Arts. Following traditional library practice, its name is derived from its call number.[2]
Physical description
The manuscript measures 30.5 x 24 cm.
From RISM: https://opac.rism.info/search?id=000105070&View=rism
Disbound ms., individual leaves separated at the folds and encapsulated in mylar sleeves; the sleeves have been bound into two albums with cloth-covered boards, fastened with screws, each laid into a four-fold conservation box. (A photocopy of the old case, dated September 17, 1936 and now discarded, is laid into the container of album 1.) The ms. contains principally pieces for keyb compiled from various sources, including Elizabeth Rogers Virginal Book, the Fitzwilliam Virginal Book, and Elizabeth Plume's Virginal Book. Also included are arrangements for keyb of pieces composed for other instruments or voices and instruments Score: 278p.
Dating
RISM: 1750-1799
Provenance
In the publication "Popular Music of the Olden Time," William Chappell makes reference to "This tune is in Sir John Hawkins's Transcripts of Music for the Virginals."[3] In a 1967 article John Ward quotes Chappell and adds that it is assumed that this work of Hawkins is Drexel 5609.[4]
It is not known how the manuscript came into the possession of Edward Francis Rimbault. A musicologist and a voracious collector of British manuscripts, it is not surprising that the manuscript would become one of Rimbault's holdings. After his death in 1876, the manuscript was listed as lot 1391 in the 1877 auction catalog of his estate.[5][6] Purchased for ₤75,[7] the manuscript was one of about 600 lots acquired by Philadelphia-born financier Joseph W. Drexel, who had already amassed a large music library. Upon Drexel's death, he bequeathed his music library to The Lenox Library. When the Lenox Library merged with the Astor Library to become the New York Public Library, the Drexel Collection became the basis for one of its founding units, the Music Division. Today, Drexel 5609 is part of the Drexel Collection in the Music Division, now located at the New York Public Library for the Performing Arts at Lincoln Center.
Historical context
- Organization
- Handwriting
- Musical content and style
- Significance
Other content
PMOT = Popular music of olden time
The version of Greensleeves in Drexel 5609 is one of two versions that include a romanesca for the form of both divsions of the song.[8][9]
John M. Ward noticed the resemblance between the untitled song on page 37 and the song "I would I were in my own country."[10]
Musicologist John Wendland noted that the Renaissance tune Madre non mi far Monaca is associated with many other titles, including The Queen's Almaine which appears in Drexel 5609, page 113.[11]
Issue of meaning of the word "thumpe." It is a form of pizzicato. The piece "Thumpe at my cousin" is in Drexel 56096, pages 134-135. The Queen of Bohemia's Dumpe, page 122.
List of songs
RISM entry for entire volume: https://opac.rism.info/search?id=000105070&View=rism
WooldridgeC 1893 = OEPM = Old English popular music by William Chappell, 1893.
| Page | Title | Composer | Add. 10337 Fitzwilliam Virginal Book | Elizabeth Rogers' Virginal Book | Remarks and concordance |
|---|---|---|---|---|---|
| 1 | Sir Tho.s ffairfax Marche | John Tollett | no. 1 | ||
| 1 | Nanno maske | Orlando Gibbons | no. 2 | Differs only slightly from Orlando Gibbons' "French Alman" in Elizabeth Rogers' Virginal Book | |
| 2 | Almaygne | anonymous | no. 3 | ||
| 2 | or Mountains ever bred &c | anonymous | no. 4 | Another tune of "The fairest nymph [!] the valleys" published in WooldridgeC 1893 (section "The earlier ballads") v.1, p. 170-171 | |
| 3 | The Scots March | anonymous | no. 5 | ||
| 3 | Prince Ruperts March | anonymous | no. 6 | Not the same tune as "Prince Ruppert's march" published in WooldridgeC 1893 (section "Dance tunes") vol.1, p. 317 | |
| 4 | One of y.e: Symphonies | anonymous | no. 7 | ||
| 4 | One of the Symphonies | William Lawes | Transcription of one of the symphonies in Lawes' "Triumph of Peace" | ||
| 5 | Selebrand | anonymous | no. 9 | ||
| 5 | When the King enjoys his own again Maas: When ye Kinge Inioyeth his owne againe | anonymous | page 252 | no. 10 | Not the same tune as "When the king enjoys his own again" published in WooldridgeC 1893 (section "The earlier ballads"), where "Elizabeth Rogers Virginal Book" is given as source; see Wooldridge, v.1, p. 210-211 |
| 6 | Almaygne | anonymous | no. 11 | ||
| 6 | A Trumpet tune | anonymous | no. 12 | ||
| 7 | Essex last good night | anonymous | no. 13 | Entitled "Essex's last Goodnight" in Elizabeth Rogers' Virginal Book; At tail of 2nd system, p.7, outer margin: "Hawkin's Hist. / mentions this tune / vol. V p.17" ; ; Compare with tune "Essex's last good-night" published in WooldridgeC 1893 (section "The earlier ballads"), v.1, p. 132 | |
| 7 | Almaygne per Tho.s Strengthfield | Thomas Strengthfeild | no. 14 | ||
| 8 | The Corrant to y.e last Almaygne per Tho.s Strenthfield | Thomas Strengthfeild | no. 15 | ||
| 9 | Ruperts Retreat | anonymous | no. 16 | ||
| 10 | Almaygne per Tho.s Strengthfield | Thomas Strengthfeild | no. 17 | ||
| 10 | Corrente to y.e former Almaygne per Tho.s Strengthfield | Thomas Strengthfeild | no. 18 | ||
| 10 | [no title] | anonymous | no. 19 | ||
| 11 | The Nightingale | Henry Loosemore | At head of 1st system, p.11, inner margin: "See / the same / Tune in / [illegible] 21 / AA, 4 / 11" | ||
| 11 | Corrant Beare | anonymous | no. 21 | ||
| 12 | Selebrand Beare | anonymous | page 321 | no. 22 | |
| 12 | Corrant Beare | anonymous | page 337 | no. 23 | |
| 12 | Almaygne | anonymous | no. 24 | ||
| 12 | Maas: The Lady Hattens Allmaine | anonymous | page 252 | ||
| 13 | Corrant | anonymous | no. 25 | ||
| 13-14 | Corrant Beare | anonymous | no. 26 | ||
| 14 | Corran[t] Beare | anonymous | no. 27 | ||
| 14-24 | The Battaile | William Byrd | nos. 28-39 | p.14, outer margin: "Collated from D.r Burney's MS." ; At tail of p.14: "See Hawkin's Hist. Vol 4.th p./ some mention of a similar thing" ; At head of 1st system of The Marche of the horsemen, p.16: "treble octave lower / this part" ; At tail of 5th system, p.14: "the end of / the March to the / horsemen / to come" ; At head of Bagpipes & drone, p.19: "2 treble octave lower" ; At head of 1st system, p.20: "The Drum" ; 4th measure, p.20: "and Flute / tacet / treble" ; At head of 3rd system, p.20: "thus all / through this part [followed by music incipit]" ; At tail of 3rd system, p.24: "The Victory to come in her[e] / from th other / MS." ; At tail of p.24: "The End of y.e Battell" ; | |
| 25 | The Soldiers delight | anonymous | no. 40 | ||
| 26 | Corrant | anonymous | no. 41 | ||
| 26 | Selebrand | anonymous | page 335 | no. 42 | |
| 26-27 | A Maske | anonymous | no. 43 | ||
| 27 | Corrant | anonymous | no .44 | ||
| 27 | Selebrand | anonymous | , no. 45 | ||
| 28 | Corrant | anonymous | no. 51 | ||
| 28 | Corrant | anonymous | no. 52 | ||
| 29 | Maske | anonymous | no. 53 | ||
| 30 | Corrant | anonymous | no. 54 | ||
| 30-31 | Almaygne | anonymous | no. 55 | ||
| 31 | Lupus Ayre | Thomas Lupo | no. 56 | ||
| 32-33 | Almaygne M.r Johnson | Orlando Gibbons | no. 58 | ||
| 33 | Mock-Nightingale | ||||
| 34 | What if the King should come to y.e City | anonymous | no. 60 | ||
| 34-35 | The King’s Complaint | anonymous | no. 61 | ||
| 35 | Almaygne | anonymous | no. 62 | ||
| 35 | [no title] | anonymous | no. 63 | ||
| 36 | Selebrand | anonymous | no. 64 | ||
| 36 | My Delight | anonymous | no. 65 | ||
| 36 | A Selebrand | anonymous | no. 71 | ||
| 37 | The ffinex | anonymous | no. 72 | ||
| 37 | The spaynard | anonymous | no. 69 | ||
| 37 | [no title] | anonymous | no. 70 | ||
| 38 | An Irish toy | anonymous | no. 67 | ||
| 38 | Almayne | anonymous | no. 68 | ||
| 38-39 | A Scots tune | anonymous | no. 66 | Same tune as Prince Ruperts March - on page XXX | |
| 39 | The faithfull Brothers | anonymous | no. 73 | ||
| 39 | A Corrant | anonymous | no. 74 | from Musick's Handmaid (1678), no. 43 | |
| 40-41 | pipe | anonymous | no. 77 | ||
| 41 | Almayne | anonymous | no. 78 | ||
| 42 | Corrant per Tho.s Strengthfield | Thomas Strengthfeild | no. 79 | ||
| 42 | Selebrand | anonymous | no. 80 | ||
| 43 | Almaygne | anonymous | no. 83 | ||
| 43 | Almaygne | anonymous | no. 81 | ||
| 43 | Corrant [incomplete] | anonymous | no. 82 | ||
| 44 | [no title] | anonymous | no. 85 | ||
| 44 | Selebrand T.S. | Thomas Strengthfeild | no. 86 | ||
| 45 | Love is strange | anonymous | no. 87 | ||
| 45 | Glory of y.e North | anonymous | no. 89 | Compare with tune "The glory of the north" published in WooldridgeC 1893 (section "Dance tunes"), in which "Elizabeth Rogers Virginal Book" is mentioned as source - Wooldridge 1893, v.1, p. 323 | |
| 46 | Almayne Mercure | John Mercure | no. 88 | ||
| 46-47 | [no title] | anonymous | no. 90 | ||
| 47 | Merceur | John Mercure | no. 91 | ||
| 47 | Corrant | anonymous | no. 91 | ||
| 48 | Corrant | anonymous | no. 93 | ||
| 48 | Philli Porter's Lamentation | Philip Porter | no. 94 | ||
| 49 | As you like it | Henry Loosemore | |||
| 49 | [no title] | Arcangelo Corelli | |||
| 50-51 | The King's hunting Jigg | John Bull | From the "Fitzwilliam Virginal Book" the last variation missing | ||
| 52 | The Czar | anonymous | At tail of p.52, inner margin: "See this Tune / as it was sung in its [illegible] / of the 1.st vol. of vocal songs. / The Szar was introduced in the / opera called The Wonders in the Sun or the Kingdom / of Birds, in July 1706. Composed by Battista Drag[hi] / The Szar of Moscovy came to Englan[d] / A.d. 1697. [struck-through:] Q.ry [?] whether this tune / had any allusion & the Tune / seems to be called after him / [illegible] it bears in / according to [illegible] Country dance Book" | ||
| 53 | Barley Straw | anonymous | At tail of p.52: "Vide Hawkins Vol 4.th / p.427" | ||
| 53 | Packington's Pound | anonymous | Fitzwilliam Virginal Book no.178 , v.1, p. 259; Compare with tune "Packington's pound" published in WooldridgeC 1893 (section "Dance tunes"), where Fitzwilliam Virginal Book is mentioned as source | ||
| 56 | Punk's Delight | anonymous | |||
| 56 | The Phoenix | anonymous | At tail of p.56: "There was a - Theatre formerly in Drury Lane London / entitled the Phoenix. about A.D. 1630" | ||
| 57 | [no title] | anonymous | |||
| 57 | The rich Jew | anonymous | page 100 verso | ||
| 57 | Packington's pound | anonymous | page 101 recto | "Fitzwilliam Virginal Book", no.178; Compare with tune "Packington's pound" published in WooldridgeC 1893 (section "Dance tunes"), where "Fitzwilliam Virginal Book" is mentioned as source, v.1, p. 259 | |
| 58-59 | The Battell | William Byrd | At tail of 3rd system, p.63: "supleatur Bassus ad hunc modum / et c/ tempore + chordis lotem hanc / partem sine ulla pausa in Basso" ; p.63, outer margin: "Continue the same Bass all through to the pause" ; At tail of p.67, outer margin: "more to the horsemen / should be plaid after th[is] / *" ; At head of p.68, outer margin: "Corrected / from Dr. Burney MS. / from here / half of the next page" ; At tail of 3rd system, outer margin, p.69: "here ends / y.e Battel / by W.m Byrd" | ||
| 70-71 | Churchyards galliard | anonymous | page 100 recto | ||
| 71 | Green sleeves | anonymous | page 101 recto | at tail of p. 71, outer margin: "See Dancing Master / p. 186" | |
| 72-76 | [no title] | William Byrd | |||
| 77-78 | Galliard | Richard Clarke | page 104 verso | At tail of 6th and 7th measures, p.77: "vide hoc aliter supra ad / hanc nota L / see the same above at the mark L." ; At tail of 3rd system, p.78, inner margin: "Rich.d Clarke" | |
| 78-80 | Phillida | anonymous | |||
| 80 | [no title] | Richard Clarke | page 108 recto | At tail of 6th system, p.80, inner margin: "R. Cr:" | |
| 81-85 | Why aske you | John Bull | page 108 verso | At head of p.81: "D.r Bull See End X" ; At tail of 3rd systlem, p.85, outer margin: "D.r / Bull" ; Cf. entry no.156 in "Fitzwilliam Virginal Book" | |
| 85-87 | Why aske yee? Paulo aliter A little otherwise | John Bull | Some fingerings indicated (p.86) ; At tail of 1st system, outer margin: "D.r Bull" ; Cf. entry no.156 in "Fitzwilliam Virginal Book" | ||
| 87-88 | A Toy | John Lugge | At tail of 4th system, p.88: "John Lugge" | ||
| 88-89 | Lachryma | John Dowland | page 115 verso | At head of 5th system, p.88: "See / notes / to Shakespear / Copied"; At tail of 5th measure, p.89: "O.rg. By Dowland / See Hawkins Hist. Vol. III / page 325" | |
| 90 | The Spanish Pavan | John Bull | page 6 recto | "Fitzwilliam Virginal Book", no.139; Compare with tune "The Spanish pavan" published in WooldridgeC 1893 v.1, page 251 (section "Dance tunes"), where also the "Fitzwilliam Virginal Book" is mentioned as source; | |
| 90 | The Woode so wilde | William Byrd | Incomplete: Some variations from version in Fitzwilliam Virginal Book (no.67), especially changing the octave in left hand; At head of 3rd system, p.90: "This is in Queen Elizabeth's Book, with variations to it p.7A" | ||
| 90-91 | Excuse mee | anonymous | page 117 verso | ||
| 91 | Farewell deare love | anonymous | page 118 recto | ||
| 92 | Welladay | anonymous | page 118 recto | ||
| 92 | Mal Sims | Giles Farnaby | page 118 verso | At head of last measure, 3rd system, p.92: "vide hoc aliter / post" ; At head of 1st measure, 4th system, p.92: "secunda vice sic" ; At tail of 1st meausre, 4th system, p.92: "2.a vice sic / 2.nd time thus" ; At tail of measures 5-7 of 5th system, p.92: "vide hoc aliter post / see what follows differently" ; At tail of p.92: "2.a vice sic / 2nd time thus" ; Similar to Farnaby's "Mal Sims" in "Fitzwilliam Virginal Book" (no.271) | |
| 93 | Goe from my window | anonymous | Pencil annotations attribute the piece to John Munday, though there are too many differences from the Munday and Morely settings of this tune to justify the attribution; At head of p.93, outer margin: "In 2.nd Elizabeth's Book. / by John Munday"; Compare with tune "Go from my windows" published in WooldridgeC 1893 (section "The earlier ballads"), v.1, p. 146 | ||
| 94-95 | y.e Lady Layton's Allmaine | anonymous | page 120 verso | ||
| 96-97 | Little Pegge of Ramsie Dr. Bull | John Bull | At tail of 1st system, p.97, outer margin: "M.r / D.r Bull" | ||
| 97 | A Toy | Lugge, John | Some fingering indications; At tail of 6th system, outer margin: "M.r / Lugge" | ||
| 98-99 | The merry Cuckold | anonymous | page 123 verso | ||
| 99 | [no title] | anonymous | |||
| 100 | Williams his Allmaine | Williams | page 124 verso | ||
| 101 | Your shining eyes & golden hair | anonymous | |||
| 101 | Away with these self loving lads | John Dowland | |||
| 102 | Come away, come sweet Love | anonymous | |||
| 102 | Now is the Month of Maying | Thomas Morley | |||
| 102 | Good morrow Valentine | anonymous | page 15 recto | ||
| 103 | What if a day or a Month or a year | R. Cr. | page 15 recto | ||
| 103 | Wilsons Wilde | John Wilson | At tail of p.103: "See Page 11 of Playfords Musicks / Delight for y.e [illegible] it is / printed on [illegible] in [illegible]"; At tail of p.103, outer margin: "probably this was the composition / of D.r Wilson, a famous Lutist to / King Charles the first, about the year 1644" | ||
| 104 | Pepper | anonymous | |||
| 104 | Pepper's Black | anonymous | Not the same tune as "Pepper's black" published in WooldridgeC 1893 (section "Dance tunes"), v.1, p. 290 | ||
| 104-105 | A Scottish Jigg | anonymous | At tail of 4th system, p.104: "Suppleatur Bassus ad hunc modum ptotn [?]" | ||
| 106 | Thomas, You cannot | anonymous | page 18 verso | At head of p.106, inner margin: "See the same air in page 53 of this Book. / + in the book of Dances / p.263"; Compare with tune "Thomas, you cannot" published in WooldridgeC 1893, v.2, p.17-18 | |
| 106-107 | Barrow ffaustus dream | anonymous | page 19 recto | At head of 3rd system, p.106: "This is Tune 2.n Elizabeths Book. p.35 in 2A 1"; Fitzwilliam Virginal Book, no.18 | |
| 107 | The Skipping Jigg | anonymous | page 4 recto | Maas: The princes Jegg | |
| 108 | With my love my life was | anonymous | |||
| 108-109 | Tell me Susan | anonymous | page 23 recto | ||
| 109 | Fortune my foe | anonymous | At tail of p.109, outer margin: "2.d whether this is to / same tune call'd the / Tune of Fortune" | ||
| 110 | Johnson's Galliard | anonymous | page 25 recto | ||
| 110-113 | Welladay | anonymous | page 25 recto | ||
| 113 | Almaine | anonymous | |||
| 114-115 | A Pavine | anonymous | page 27 verso | ||
| 115 | Good Night good rest | anonymous | |||
| 115 | Go to bed & sleep | anonymous | |||
| 116 | April is my Mistress face | Thomas Morley | |||
| 116-117 | Since my Tears | anonymous | |||
| 117 | How is the gentle Season | anonymous | |||
| 118-119 | The fields a broad with spangled flowers | anonymous | |||
| 119 | Trench=more | anonymous | page 32 recto | At tail of p.119: "This is mentioned in Hawkins Vol. IV p.392: - Tune Trenchmore included in Playford's Dancing Master of 1698"; See dance tune "Trenchmore" published in WooldridgeC 1893, v.1, p. 226 | |
| 120-121 | A French Coranto | anonymous | page 33 recto | ||
| 121 | Another French Coranto | anonymous | page 34 recto | ||
| 122 | The Queen of Bohemia's Dumpe | anonymous | page 35 recto | Ward, John M. "he Dolfull Domps" in JAMS summer 1951, p. 111-121 | |
| 122-123 | The Nightingale | Henry Loosemore | page 35 verso | ||
| 123 | The Spanish Gypsie | anonymous | Not the same tune as "The Spanish Gypsy" published in WooldridgeC 1893 (section "The earlier ballads"), v.1, p. 186 | ||
| 123 | A Dance | anonymous | page 36 recto | ||
| 124 | [no title] | Acc. To Maas: 37 recto | |||
| 124-125 | The fairest Nymphs the Valleys | anonymous | page 36 verso | ||
| 125 | The Canaries | anonymous | page 37 verso | p.125, inner margin: "The Canaries is also in an old oblong Book called / Short Rules on the Treble Violin. 1679" ; At tail of p.125, outer margin: "There is a Tune called the / Canaries in H. Purcells opera of Diaclasain [?Theodosius?] / but this is not the same air" | |
| 126 | A Coranto | Henry Loosemore | page 38 recto | ||
| 126 | [no title] | anonymous | page 38 verso | ||
| 126 | Allmayne - acc. To Maas | page 2 recto | |||
| 127 | The fairest Nymphs the Valleys | anonymous | |||
| 127 | [no title] acc. To Maas | page 38 recto | |||
| 128 | [no title] | R. Cr. | At head of 1st system: "see these Bars better below / vide hoc melius infra / port finem ad hanc nota X .L." ; At tail of 3rd system, p.128: "R. Cr: Dec.m 17. / 1635 perge ut supra ad hanc nota .L" | ||
| 128 | Coranto | anonymous | |||
| 128 | Maas: Allmaine | page 336 recto | |||
| 128-129 | The Queens Maske | anonymous | |||
| 129 | The King's morisco | anonymous | At tail of 2nd system, p.129, outer margin: "This is / in 2.nd [illegible] / Book p.398 / See another / in [?illegible? Toellum?]/ MS" | ||
| 130 | [no title] | anonymous | page 46 recto | ||
| 130 | A Scottish Jigge | anonymous | page 46 verso | ||
| 130-132 | A Paven | anonymous | page 46 verso | ||
| 132-133 | The Galliard | anonymous | |||
| 134 | [no title] | anonymous | Almost identical to the beginning of the piece on p.126 of the same ms (entry no.146) | ||
| 134 | A Short Coranto | anonymous | |||
| 134 | Allmayne acc. To Maas | from Res. 1186bis | |||
| 134-135 | Dumpe at my Cozen | anonymous | page 52 verso | Maas call this "Jumpe at my Cozen" | |
| 135 | My Love Shee dwells not here | anonymous | page 52 verso | ||
| 136 | [no title] | anonymous | page 53 verso | ||
| 136 | [no title] | anonymous | |||
| 136 | Over the Mountains | anonymous | page 54 recto | At tail of p.136: "See, probably the words to the above tune in Ritsons p.t Vol. of Songs p.79" | |
| 137 | M:rs mine well may you fare | anonymous | page 54 verso | ||
| 137 | Admist the fairest Mountaine toppes | anonymous | page 54 verso | ||
| 138 | [no title] | anonymous | page 55 recto | ||
| 138 | [no title] | page 55 recto | 2 untitled works acc. To Maas | ||
| 138-139 | When Daphne did from Phoebus flie | anonymous | page 55 verso | ||
| 139 | When all ye Gods had made a feast | page 56 recto | |||
| 139 | [no title] | anonymous | |||
| 140 | A 1000 Kisses winne my heart from me | anonymous | page 56 verso | ||
| 140 | What if I live for love of thee | anonymous | page 57 recto | ||
| 141 | With my Love my life was nestled | anonymous | page 57 recto | ||
| 141-142 | Troy towne | anonymous | page 57 verso | At tail of p.141, partially cut off: "See the above Song in D.r Wilson's p.t vol. / [illegible]" ; At tail of 7th measure: "vide alias supra / another way above" ; Not the same tune as "Troy town" published in WooldridgeC 1893 (section "The earlier ballads"), v.1, p. 183 | |
| 142 | John come Kiss me now | William Byrd | At tail of 4th system, p.142: "See this in John Playfords Musicks / Delight for the cithern Page 4 / it is a small oblong book + Printed / on 4 [illegible]" ; Fitzwilliam Virginal Book, no.70 | ||
| 142 | Now cease my wandering Eyes | anonymous | |||
| 143 | [no title] | anonymous | page 59 verso | ||
| 143 | In sad & ashie weeds | anonymous | page 59 verso | Compare with tune "In sad and ashy weeds I sigh I pine I grieve I mourne" published in WooldridgeC 1893 (section "The earlier ballads"), v.1, p. 156 | |
| 144 | [no title] | anonymous | |||
| 144-145 | The Nightingale | Henry Loosemore | page 62 verso | At head of 5th system, p.144, outer margin: "see p.21, / the same tune / p.11" | |
| 145 | The Mock=Nightingale | Silver [conjecture] | At tail of 6th system, p. 145: M.r Silver | ||
| 146 | The Lady Weston's Allmaine | anonymous | page 64 recto | ||
| 146 | Say pretty wanton | anonymous | page 64 recto | ||
| 146-147 | My Lord Willbee's welcome home | anonymous | x / in another / Copy" ; At tail of last measure, p.146, inner margin: "oct lower" ; Compare with tune "Lord Willoughby's welcome home" published in WooldridgeC 1893 (section "The earlier ballads"), v.1, p. 152 | ||
| 148 | A Coranto | Richard Leveridge [conjectured] | page 65 verso | At tail of 4th system, p.148: "M.r Lever [= Leveridge?]" | |
| 148 | A Lute Lesson | anonymous | page 66 recto | ||
| 149 | Who dare say y.t I lay with her | anonymous | |||
| 149 | Shee rould it in her Apron | anonymous | |||
| 150 | Can you not hitt it my good man? | anonymous | page 67 verso | ||
| 150 | The netherland | anonymous | page 68 recto | ||
| 150-151 | I gott y.e Coate | anonymous | page 68 verso | ||
| 151 | Tutte Venite ornati | anonymous | page 69 verso | transcription of Gastold, Balletti a cinque (1591) | |
| 152 | Vezzosette Nymphe belle &c. | R. Cr. | page 69 verso | At tail of 3rd system, inner margin: "R. Cr" | |
| 152 | [no title] | anonymous | page 70 verso | ||
| 153 | Thomas, you cannot | anonymous | page 71 verso | At head of p.153, outer margin: "See this amoung my Songs" ; Not the same tune as "Thomas, you cannot" published in WooldridgeC 1893, v.2, p. 17-18 | |
| 153 | Open y.e door to three | anonymous | page 71 verso | ||
| 154 | ffaire maide are you walking | anonymous | page 72 recto | At head of first system, p.154, outer margin: "Light's Love" | |
| 154 | [no title] | anonymous | page 78 recto | ||
| 155 | A Voluntaire M.r Gibbons | Christopher Gibbons [ascertained] | |||
| 155 | The revolto | anonymous | |||
| 156 | The Bells of Osney | anonymous | At head of p.156, inner margin: "See another in Book / with brown paper Cover" ; At tail of 2nd system, p.156: "Formerly the 6 Bells of Osney abbey near Ox[ford] / were very famous for their musical sound. Their names w[ere] / Douce, Clement, Austin, Hamtecter [?] (potius Hantcleri [?]) / Gabriel, & John. / Hearns Collection of Disco [?] / by Antic [?] names Numb XI. / + Hawkins Hist. Book IV, p.[illegible]" | ||
| 156 | The Bells of Osney | anonymous | At 3rd system, p.156, struck-through, outer margin: "in the County / of Oxford" | ||
| 156 | The Morris | anonymous | page 92 verso | ||
| 156 | Q. M. Dumpe | anonymous | Incomplete: Illegible inscription at head of 5th system, p.156, outer margin | ||
| 157 | Love lyes a bleeding | anonymous | At head of p.157: "all these are from a MS. Book of Elizabeth Plume Virginal Book dated July 20.th / 1695" | ||
| 157 | The King's trumpet tune | anonymous | At head of 3rd system, p. 157: "Delight" | ||
| 158 | The Duke of Yorkes hornepipe | anonymous | |||
| 158 | Gen: Moncks March | anonymous | |||
| 159 | Moncks Countrye-Daunce | anonymous | |||
| 159 | The Lady Carews Daunce | anonymous | |||
| 160 | Parthenia | anonymous | Caption title, struck though: "The Kind's Delight" ; Included in Playford's Musick's hand-main (1663, 1668, 1678) ; Compare with tune "Parthenia" published in WooldridgeC 1893 (section "Dance tunes"), v.1, p. 295 | ||
| 160-161 | Kin Charles his March from Dover | anonymous | At tail of p.160: "See a particular account of K. Charles 23.d Journey from / dover to Whitehall, in A.d. 1660, in the Harkian Miscellany / Volume III. p.357" | ||
| 161 | The Kings welcome to White Hall | anonymous | At head of 2nd system, p.161, outer margin: "Q.ry Charles the 2.nd" ; At tail of 5th system, p.161, outer margin: "See what Kings lived at / Whitehall / See Hawkins Hist. / Vol IV. P. 546" ; At tail of p.161: "Whitehall was the town residence of our princes / from Henry VIII. down to William + Mary" | ||
| 162 | The Nightingale | Loosemore, Henry | At head of first system, p.162, outer margin: "See / page 21. / 44 + p.11" | ||
| 163 | A Minuet | anonymous | |||
| 165 | Barrels Sabel | anonymous | At head of p.165, outer margin: "These are Copied from / a Quarto MS. without a Cover" | ||
| 165 | [no title] | anonymous | The piece has been struck-through | ||
| 166 | Finger's Sabel | anonymous | |||
| 167 | [no title] [Bonduca, excerpts; arr - The British heroine, Excerpts] | Henry Purcell | At tail of 4th system, p.167: "Io. Armes"; see Zimmermann, 574 / 3 | ||
| 168 | Cannary M.r Hen: Purcell | Henry Purcell | The music is a keyboard arrangement of the "Third act tune" in "The Indian Queen"; see Zimmermann, p. 360 | ||
| 168 | Rogadon | ||||
| 169 | Hornpipe | Henry Purcell | Arrangement of The Hornpipe in Abdelazer | ||
| 169 | Trumpet Minuet | Henry Purcell | Attrib to Purcell; see Zimmerman p. 426 | ||
| 173 | Jigge | William Lawes | |||
| 173 | Sir Edw. d Golding K.t. Almaine | At tail of p.173: "These two sheets are transcribed from the Court airs, printed by Playford in 1655" | |||
| 174 | Country Dance | Edward Golding | |||
| 174 | M.r W.m Laws Temple Mask | William Lawes | |||
| 175 | Jigg M.r W.m Gregory | William Gregory | |||
| 175-176 | [no title] | Silas Taylor | |||
| 176-177 | [no title] | Silas Taylor | |||
| 177 | Pavan Almaine M.r John Carwarden | John Carwarden | |||
| 178 | Almaine Mr. John Carwarden | John Carwarden | |||
| 178 | J. Carrwarden Coranto | John Carwarden | |||
| 179 | Coranto | John Carwarden | |||
| 179 | Saraband M.r John Carwarden | ||||
| 180 | Jigge M.r John Carwarden | ||||
| 181 | A Toy | Henry Loosemore | |||
| 182 | A Toy | Henry Loosemore | |||
| 182 | A Toy | Henry Loosemore | |||
| 184 | The Hurdy Gurdy | anonymous | Dance steps pasted in | ||
| 185 | The Scotch King’s March | anonymous | At head of p. 185: "Copied from an ancient MS. / written on a six lined staff" | ||
| 185 | The King of France’s Dance | anonymous | |||
| 187 | Excuse me | Page 187: “from a printed Country Dance Book” | |||
| 187 | Green sleeves | anonymous | page 101 | ||
| 188 | Mad Robin | anonymous | Probably the tune "Mad Robin" published in WooldridgeC 1893 v.2, p. 56 | ||
| 188 | Mad Moll | anonymous | Simliar to the tune "Mad Moll" or "The virgin queen" published in WooldridgeC 1893, v.2, p. 74 | ||
| 188 | Moll Peatly | anonymous | At head of 5th system, p.188: "See also the same tune in Durfey's Pills [?] Vol. 2 p.46" | ||
| 189 | Of Noble Race was Shinkin | anonymous | |||
| 189 | Parson upon Dorothy | anonymous | |||
| 189 | Rummer | anonymous | |||
| 190 | The Knott | anonymous | |||
| 190 | Buff Coat | anonymous | Compare with similar tune "The Buff Coat has no fellow" published in WooldridgeC 1893, v.2, p.1 | ||
| 191 | Bobbing Joe | anonymous | Compare with tune "Bobbing Joe" published in WooldridgeC 1893, v.1, p.312 | ||
| 191 | Cheshire Rounds | anonymous | |||
| 191 | Anfield Common | anonymous | |||
| 192 | Hunt the Squirrel | anonymous | |||
| 192 | Joan Sanderson, or the Cushion Dance | anonymous | Extensive notes: https://opac.rism.info/search?id=000105324 | ||
| 194 | Joan’s Placket | anonymous | |||
| 194 | Newmarket | anonymous | |||
| 195 | New Market (Second Part) | anonymous |
See also
Notes
- ^ RISM Online Catalog.
- ^ Resource Description and Access, rule 6.2.2.7, option c (access by subscription).
- ^ William Chappell, G.A. Macfarren, Popular music of the olden time : a collection of ancient songs, ballads, and dance tunes, illustrative of the national music of England : with short introductions to the different reigns, and notices of the airs from writers of the sixteenth and seventeenth centuries : also a short account of the minstrels (London: Cramer, Beale & Chappell, 1859?), vol. 2, p. 456.
- ^ Ward 1967, p. 47.
- ^ Catalogue of the Valuable Library of the Late Edward Francis Rimbault, Comprising an Extensive and Rare Collection of Ancient Music, Printed and in Manuscript ... which will be sold by auction, by Messrs. Sotheby, Wilkinson & Hodge ... on Tuesday, the 31st of July, 1877, and five following days (London: Sotheby, Wilkinson & Hodge, 1877), p. 92, lot 1391. OCLC 11988908
- ^ Bailey 2000, p. 51.
- ^ Catalog of the Music Library of Edward Francis Rimbault sold at London 31 July-7 August 1877 with the library of Dr. Rainbeau (Buren: Frits Knuf), 1975), p. 92.
- ^ Ward 1967, p. 45.
- ^ The other manuscript is PC Ms. Rés 1186, folio 101, in the Bibliothèque nationale de France.
- ^ Ward 1967, p. 48.
- ^ John Wendland, ""Madre non mi far Monaca": The Biography of a Renaissance Folksong," Acta Musicologica, Vol. 48, Fasc. 2 (Jul.-Dec., 1976), pp. 194, 202 url=https://www.jstor.org/stable/932314.
- ^ Chappell, William and Wooldridge, H. Ellis. Old English popular music (London: Chappell & Co.), [1893].
Works consulted
- Brookes, Virginia (1996). British Keyboard Music to c.1660: Sources and Thematic Index. New York: Oxford University Press. ISBN 9780198164258.
- Maas, Martha (1974). English Pastime Music, 1630-1660: an Anthology of Keyboard Pieces. Madison, WI: A-R Editions. ISBN 978-0-89579-049-1.
- Maas, Martha (1968). Seventeenth-Century English Keyboard Music (PhD). Yale University. OCLC 271103325.
- Mangsen, Sandra (2016). Songs Without Words: Keyboard Arrangements of Vocal Music in England, 1560-1760. Rochester, NY: University of Rochester Press. ISBN 978-1-58046-549-6.
- "RISM Online Catalog". opac.rism.info. Répertoire International des Sources Musicales. Retrieved 8 April 2018.
- Ward, John M. (1967), "Apropos "The British Broadside Ballad and Its Music"", Journal of the American Musicological Society, 20, no. 1, University of California Press on behalf of the American Musicological Society: 28–86
External links
{{Baroque music manuscript sources
[[Category:18th-century manuscripts [[Category:Baroque music manuscript sources [[Category:English manuscripts [[Category:Manuscripts in the New York Public Library [[Category:Music anthologies
Albert Mildenberg
Composite volumes
Marya Freund
Sources
- Kutsch-Riemens
- Alain Paris, Dictionnaire des interpretes : et de l'interpretation musicale au XX siecle. JMC 83-97 OFFSITE
- Jacques Burdet.
- Variety obits
- Algemene muziek encyclopedie JMN 80-24
- Kurzgefasstes Tonkunstler Lexikon JMM 77-37 OFFSITE
- Ruch Muzyczny *ZAN-*M185
- Zenei lexikon JMD 01-9 OFFSITE
Article
Marya Freund (12 December 1876—21 May 1966) was a German soprano.
She was born in Breslau. She studied violin with Pablo de Sarasate and with Ivan Zajc. She studied voice with Julius Stockhausen, Raimund von zur-Mühlen and Ernesto Colli. She made her debut in 1909. She made concert tours of Europe and the United States. She appeared with the Leipzig Gewandhaus under Artur Nikisch, the Concertgebouw under Willem Mengelberg, the Boston Symphony Orchestra under Pierre Monteux, as well as conductors Gabriel Pierne, Wilhelm Furtwängler, Hermann Scherchen and others. She was known for Lieder interpretations as well as for pioneering contemporary music. She was particularly tied to the music of Arnold Schoenberg. She created the part of the Waldtaube in the first performance of Gurre-Lieder and was well-known for her interpretation of Pierrot Lunaire as as The Book of the Hanging Gardens as well as the soprano solo in the String_Quartets_(Schoenberg)#String_Quartet_No._2. She sang the Waldtaube again in the Viennese premiere in 1914 as well as in the French premiere in 1927 (singing the part in French). She appeared in Spain, Italy, Denmark and Austria. She sang Erik Satie's Socrate in Paris in 1925. She also sang works by Ernest Bloch, Zoltan Kodaly, Darius Milhaud, Alfredo Casella, Karol Szymanowski, Francis Poulenc, Ildelbrando Pizzetti, Serge Prokofiev, Georges Auric and Gian Francesco Malipiero. For many years she taught singing in Paris where she taught a course in the interpreation of classic, romantic and modern music. She taught masterclasses at Lausanne. Her son was bass Doda Conrad (born in 1905).
Fred S. Stone
See fr. wikipedia.org
Tom Martelle
Drag performer - appears on 1923 sheet music.
Judson Hall
Judson Hall was a medium sized concert call located at 165 West 57th Street in New York City.
The former name of the hall was Carl Fischer Hall. The building was owned by the Carl Fischer publishing company. It was sold to Columbia Artists Management in 1959.[2] It was renamed Judson Hall in honor of Arthur Judson, long-time head of Columbia Artists Management.[3]
References
Drexel 5612
References
Drexel 5061
| Drexel 5061 |
|---|
References
Drexel 5469
| Drexel 5469 | |
|---|---|
| Also known as | Henry Loosemore's Organ-Book |
References
External links
Chirk Castle Manuscripts
References
Music Theory
- "An area of study that tends to focus on musical materials per se, in order to explain (and/or offer generalizations about) their various principles and processes. It investigates how these materials function (or, in a more speculative vein, how they might function), so that musical “structure” can be better understood. More broadly, in the United States, music theory refers to an academic discipline with a dual focus on research and pedagogy. Regarding the latter, especially at the undergraduate level (and earlier), theory is often coterminous with a program for teaching a variety of skills, from the rudiments of melody and rhythm, to harmony, counterpoint, and form (along with their attendant “ear training” or aural perception). Related to but standing apart from these fundamentals of praxis are the various research areas of modern theory, as described under §5 below. It should be noted that music analysis plays a major role in this agenda. Although conceptually separate from theory, in that analysis often focuses on the particulars of a given composition whereas theory considers the broader systems that underlie many such works, in practice the two have a reciprocal relationship." - David Carson Berry, Grove/Oxford Music Online.
- "Music theory is part of the written language of music. It is the written word of this aural art, music. It is not something only intended for music students. We don't have to use it only to analyze a Bach fugue. It is a living part of all music...Music is a language. It has its own vocabulary....One point I like to make to my students is that they need to have the ability to communicate with the rest of the free world. This means using the same nomenclature all musicians use." -- Harry Miedema. Intro to: Michael Miller, The Complete Idiot's Guide to Music Theory 2nd edition, New York: Alpha PUblishing/Penguin, 2005.
- Goethschius "the only well-known American music theorist of his generation. That was partly because music theory as a scholarly discipline did not establish itself in the United States until much later. Early twentieth-century college music majors studied "harmony" and "keyboard harmony" rather than theory; and sight-singing was taught as a separate course called "solfeggio."
-John David White, Guidelines for College Teaching of Music Theory (Metuchen, N.J.: Scarecrow Press, 1981), p. 2-3.
Enharmonic
from: Stefan Kostka, Dorothy Payne, Byron Almén, Tonal Harmony: With an Introduction to Twentieth-Century Music. 7th edition. New York: McGraw-Hill, 2013. ISBN 9780078025143
Page 647:
- Enharmonic: Notes that have the same pitch but are spelled differently. Keys can be enharmonic as well.
- Enharmonic Modulation: A modulation in which a chord common to both keys is reinterpreted enharmonically to fit into the new key. The chord can be spelled to fit into either key, and it must be able to be heard as a sensible chord in both keys.
- Enharmonic Reinterpretation: Technique of treating a chord as if it were spelled in a different key as part of a modulation.
- Enharmonic Spelling: Writing a note as its enharmonic equivalent. Technique used by composers to indicate clearly the direction in which a pitch will move, and to make the music easier for the performer to read.
- Enharmonically Equivalent Keys: Keys that sound the same but are spelled differently.
Page 393:
Drexel 5871
Drexel 5871 (called the Drexel Manuscript by a few CD releases) is a manuscript containing Karl Friedrich Abel's 27 pieces for viola da gamba (as well as other works). Belonging to the New York Public Library, it forms part of the Music Division's Drexel Collection, located at the New York Public Library for the Performing Arts. Following traditional library practice, its name is derived from its call number.[1]
Works consulted
- Catalogue of the valuable library of the late Edward Francis Rimbault, comprising an extensive and rare collection of ancient music, printed and in manuscript...which will be sold by auction, by Messrs. Sotheby, Wilkinson & Hodge ... on Tuesday, the 31st of July, 1877, and five following days, London: Sotheby, Wilkinson & Hodge, 1877, p. 89, item 1361
- Hughes, Charles W. (July 1944), "The Music for Unaccompanied Bass Viol", Music & Letters, 25 (3): 160
{{citation}}: CS1 maint: year (link) - Knape, Walter (1993), 27 pieces for the viola da gamba : New York Public Library MS Drexel 5871, Facsimile series for scholars and musicians, vol. 21, Peer, Belgium: Alamire, p. 3, ISBN 9068530798
Elizabeth Seguin
Elizabeth Seguin (10 July 1812—14 January 1870) was an English soprano opera singer.[2]
Sara Smythe[3]
Born Elizabeth Eleanor Seguin. Father was Ralph Arthur Seguin, mother was Sarah. baptised 2 October 1816 at Saint Mary-St Marylebone Road,St Marylebone,London[4]
birth/death dates and location.[5] She was born and died in London. Soprano. Sister of Arthur Edward Seguin, bass (wife: Anne Seguin-Childe) and William Henry Seguin, bass (wife: Miss Gooch).[2]
Seguin married the Wallachian boyar Demetrius Parepa, Baron Georgiades de Boyescu of Bucharest. Their daughter was Euphrosyne Parepa-Rosa who married Carl Rosa (1842-1889).[2]
Kutsch-Riemens: z
Seguin died at her home at 10 Warwick-crescent Paddington, Middlesex, London, leaving an estate of less than 4,000 pounds.[6]
References
- ^ Resource Description and Access, rule 6.2.2.7, option c (access by subscription).
- ^ a b c K.J. Kutsch and Leo Riemens, Grosses Sängerlexikon, vierte, erweiterte und aktualisierte Auflage unter Mitwirkung von Hansjörg Rost (München: K.G. Saur, 2003), Band 6, p. 4334.
- ^ Firth and Lovell Family Tree, Ancestry.com. (access by subscription)
- ^ "Elizabeth Eleanor Seguin in the England, Select Births and Christenings, 1538-1975," Ancestry.com. (access by subscription)
- ^ Brown, James Duff, Biographical Dictionary of Musicians with a Bibliography of English Writings on Music (London: Alexander Gardner, 1886), p. 555.
- ^ Elizabet Parepa in "England & Wales, National Probate Calendar (Index of Wills and Administrations), 1858-1966 on Ancestry.com (access by subscription)
External links
Cowden
| Cowden | Name | Title | Place | Publisher | Date | Remarks |
|---|---|---|---|---|---|---|
| 1 | Johannes Tinctoris | Terminorum musicae diffinitorium | Treviso | Gerardo de Lisa | Ca. 1473 | |
| 2 | John Hothby | [multiple manuscripts] | [n.p. | [n.p.] | Ca. 1430-1487 | |
| 3 | Bartolomeus Ramos de Pareia | Musica practica | Bologna | Enrico de Colonia | 1482 | |
| 4 | Nicolo Burzio | Musices opusculum | Bologna | Ugo Ruggeri [Benedetto] | 1487 | |
| 5 | Franchinus Gaffurius | Practica musice | Milano | Guillaume Le Signerre [G. Pietro da Lomzazzo] | 1496 | |
| 6 | Stapulensis Jacobus Faber | Musica libris demonstrata quattuor | Paris | Johann Higman & Wolfgang Hopyl | 1496 | |
| 7 | Gregor Reisch | Margarita philosophica | Freiburg | Johannes Schott | 1503 | |
| 8 | Arnolt Schlick | Spiegel der Orgelmacher und Organisten | [Speyer] | Peter Drach | 1511 | |
| 9 | Sebastian Virdung | Musica getutscht und auszgezogen | Basel | [M. Furter] | 1511 | |
| 10 | Andreas Ornithoparchus | Musicae activae micrologus | Leipzig | Valentin Schumann | 1517 | |
| 11 | Giovanni Spataro | Dilucide et probatissime demonstratione | Bologna | Hieronymus de Benedictis | 1521 | |
| 12 | Pietro Aaron | Toscanello de la musica | Venezia | Bernardino et Matheo de Vitale | 1523 | |
| 13 | Martin Agricola | Musica instrumentalis deudsch, ynn welcher begriffen ist, ... | Wittenberg | George Rhau | 1529 | |
| 14 | Lodovico Fogliano | Musica theorica | Venezia | G.A. [Nicolini] | 1529 | |
| 15 | Hans Gerle | Musica Teusch auf die Instrument der grossen unnd kleinen Geygen auch Lautten... | Nürnberg | Jronimus Formschneider | 1532 | |
| 16 | Giovanni Maria Lanfranco | Scintille di musica | Brescia | Lodovico Britannico | 1533 | |
| 17a | Sylvestro di Ganassi dal Fontego | Opera intitulata Fontegara | Venezia | [l'autore] | 1535 | |
| 17b | Sylvestro di Ganassi dal Fontego | Regola Rubertina | Venezia | [l'autore] | 1542 | |
| 18 | Heinrich Glarean | Dodecachordon | Basel | Heinrich Petri | 1547 | |
| 19 | Adrianus Petit Coclico | Compendium musices | Nürnberg | Johann Berg, Ulrich Neuber | 1552 | |
| 20 | Diego Ortiz | Trattado de glosas sobre clausulas y otros generos de puntos en la musica de violones | Roma | Valerio Dorico | 1553 | |
| 21 | Juan Bermudo | Comiença el libro llamado declaracion de instrumentos musicales | Ossuna | Juan de Leon | 1555 | |
| 22 | Nicola Vincentino | L'antica musica ridotta alla moderna prattica | Roma | Antonio Barre | 1555 | |
| 23 | Hermann Finck | Practica musica | Wittenberg | Georg Rhaus Erben | 1556 | |
| 24 | Gioseffo Zarlino | Le institutioni harmoniche | Venezia | [no publisher] | 1558 | |
| 25 | Tomás de Santa Maria | Libro llamado, arte de tañer fantasia | Valladolid | F. Fernandez de Cordova | 1565 | |
| 26 | Francisco de Salinas | De musica libri septem | Salamanca | Mathias Gast | 1557 | |
| 27 | Vincenzo Galilei | Diolog della musica antica | Firenze | Giorgio Marescotti | 1581 | |
| 28 | Girolamo Dalla Casa | Il vero modo di diminuir | Venezia | Angelo Gardano | 1584 | |
| 29 | Giovanni Maria Artusi | L'arte del contraponto ridotta in tavole | Venezia | Giacomo Vincenzi et Ricciardo Amadino | 1586 | |
| 30 | Orazio Tigrini | Il compendio della musica nel quale brevemente si tratta dell'arte del contrapunto, diviso in quatro libri | Venezia | Ricciardo Amadino | 1588 | |
| 31 | Thoinot Arbeau | Orchésographie et traité en forme de dialogue | Langres | Jehan des Près | 1588 | |
| 32 | Sethus Calvisius | Melopoeia sive melodiae condendae ratio | Erfurt | Georg Baumann | 1592 | |
| 33 | Ricardo Rognoni | Passaggi per potersi essercitare nel diminuire terminatamente con ogni sorte di instromenti, et anco diversi passaggi per la semplice voce humana | Venezia | Giacomo Vincenti | 1592 | |
| 34 | Lodovico Zacconi | Prattica di musica | Venezia | Girolamo Polo | 1592 | |
| 35a | Girolamo Diruta | Il Transilvano dialogo sopra il vero modo di sonar organi, & istromenti da penna | Venezia | Alessandro Vincenti | 1593 | |
| 35b | Girolamo Diruta | Seconda parte del Il Transilvano dialogo diviso in quattro libri | Venezia | Alessandro Vincenti | 1609 | |
| 36 | Ercole Bottrigari | Il Desiderio overo de' concerti di varii strumenti musicali, dialogo di Alemanno Benelli | Venezia | Ricciardo Amadino | 1594 | |
| 37 | Giovanni Battista Bovicelli | Regole, passaggi di musica, madrigali et motetti passerggiati | Venezia | Giacomo Vincenti | 1594 | |
| 38 | Thomas Morley | A Plaine and Easie Introduction to Practicall Musicke | London | Peter Short | 1597 | |
| 39 | Joachim Burmeister | Hypomnematum musicae poeticae | Rostock | Stephan Myliander | 1599 | |
| 40 | Giulio Romolo Caccini | Le nuove musiche | Firenze | Marescotti | 1601 | |
| 41 | Girolamo Mei | Discorso sopra la musica antica e moderna | Venezia | Gio. Battista Ciotti | 1602 | |
| 42 | Agostino Agazzari | Del sonare sopra'l basso con tutti li stromenti e dell'uso loro nel conserto dell'ill | Siena | Domenico Falcini | 1607 | |
| 43 | Johannes Lippius | Synopsis musicae novae omnino verae atque methodicae universae | Strasbourg | Carl Kieffer | 1612 | |
| 44 | Pietro Cerone | El Melopeo y maestro: Tractado de musica theorica y pratica | Napoli | Juan Batista Gargano y Lucrecio Nucci | 1613 | |
| 45 | Johannes Nucius | Musices poeticae sive de compositione cantus | Neisse | Crispinus Scharffenberg | 1613 | |
| 46 | Michael Praetorius | Syntagma musicum ex veterum et recentiorum ecclesiasticorum autorum lectione | Wolfenbüttel | Elias Holwein | 1614/1615 | |
| Wittenberg | Johann Richter | |||||
| 47 | Salomon de Caus | Institution harmonique divisée en deux parties | Frankfurt am Main | Jan Norton | 1615 | |
| 48 | Joachim Thüringus | Opusculum bipartitum de primordiis musicis | Berlin | Georg Runge | 1624 | |
| 49 | Adriano Banchieri | Armoniche conclusioni nel suono dell'organo | Bologna | Girolamo Mascheroni | 1626 | |
| 50 | Giovanni Battista Doni | Compendio del trattato de' generi de de' modi della musica | Roma | Andrea Fei | 1635 | |
| 51 | Marin Mersenne | Harmonie universelle, contenant la théorie et la pratique de la musique | Paris | Sébastien Cramoisy | 1636 | |
| 52 | Charles Butler | The principles of musik, in singing and setting: with the two-fold use thereof, (ecclesiasticall and civil) | London | John Haviland for the author | 1636 | |
| 53 | Johann Andreas Herbst | Musica practica sive instructio pro symphoniacis | Nürnberg | Jeremias Dümler | 1642 | |
| 54 | Marco Scacchi | Breve discorso sopra la musica moderna | Warszawa | Peter Elert | 1649 | |
| 55 | Athanasius Kircher | Musurgia universalis sive ars magna consoni et dissoni in X libros digesta | Roma | Eredi di Francesco Corbelletti | 1650 | |
| Ludovico Grignani | 1650 | |||||
| 56 | Marcus Meibom | Antiquae musicae auctores septem | Amsterdam | Ludovic Elzevir | 1652 | |
| 57 | John Playford | A breefe introduction to the skill of musick for song and violl | London | John Playford | 1654 | |
| 58 | Christoph Bernhard | Tractatus compositionis augmentatus | [only in ms.] | |||
| 59 | Giovanni d'Avella | Regole di musica, divise in cinque trattati | Roma | Francesco Moneta | 1657 | |
| 60 | Christopher Simpson | The division-violist: or, an introduction to the playing upon a ground | London | William Godbid [John Playford] | 1659 | |
| 61 | Giovanni Andrea Bontempi | Nova quatuor vocibus componendi methodus | Dresden | Seyffert | 1660 | |
| 62 | Lemme Rossi | Sistema musico overo musica speculativa | Perugia | Angelo Laurenzi | 1666 | |
| 63 | Leone Allacci | Drammaturgia di Leone Allacci, divisa in sette indici | Roma | Mascardi | 1666 | |
| 64 | Bénigne de Bacilly | Remarques curieuses sur l'art de bien chanter | Paris | L'auteur et [Robert] Ballard | 1668 | |
| 65 | Lorenzo Penna | Li primi albori musicali per li principianti della musica figurata | Bologna | Giacomo Monti | 1672 | |
| 66 | Thomas Mace | Musick's Monument; or a remembrancer of the best practical musick, both divine and vicil, that has ever been known, to have been in the world | London | T. Ratcliffe & N. Thompson | 1676 | |
| 67 | Wolfgang Caspar Printz | Phrynis (Mytilenaeus) oder Satyrischer Componist | Quedlinburg | Christian Okel | 1676-1677 | |
| 68 | Andreas Werckmeister | Orgel-Probe | Frankfurt und Leipzig | Theodor Philipp Calvisius | 1681 | |
| 69 | Daniel Speer | Grund-richtiger, kurtz, leicht und nöthiger Unterricht der musicalischen Kunst | Ulm | Georg Wilhelm Kühne | 1687 | |
| 70 | Matthias Henriksen Schacht | Musicus danicus eller Danske sangmester | [manuscript] | 1687 | ||
| 71 | Angelo Berardi | Miscellanea musicale | Bologna | Giacomo Monti | 1689 | |
| 72 | Giovanni Andrea Bontempi | Historia musica, nella quale si ha piena cognitione della teorica, e della pratica antica della musica harmonica | Perugia | I. Costantini | 1695 | |
| 73 | Thomáš Baltazar Janovka | Clavis ad thesaurum magnae artis musicae | Praha | Georg Labaun | 1701 | |
| 74 | François Raguenet | Paralèle des Italiens et des François, en ce qui regarde la musique et les opéra | Paris | Jean Moreau | 1702 | |
| 75 | Sébastien de Brossard | Dictionnaire de musique, contenant une explication des terms grecs, latins, italians, et françois les plus usitez dans la musique | Paris | Christophe Ballard | 1703 | |
| 76 | Jean Laurent Le Cerf de la Viélle | Comparison de la musique italienne et de la musique français | Bruxelles | François Foppens | 1704 | |
| 77 | Zaccaria Tevo | Il musico testore | Venezia | Antonio Bortoli | 1706 | |
| 78 | Jacques Bonnet | Histoire de la musique, et des effets, depuis son origine jusqu'à present | Paris | Jean Cochart, Etienne Ganeau, Jacque Quillau | 1715 | |
| 79 | François Couperin | L'art de toucher le clavecin | Paris | L'auteur | 1716 | |
| 80 | Bendetto Giacomo Marcello | Il teatro alla moda o sia metodo sicuro e facile per ben comporre | Venezia | Aldiviva Licante | [ca. 1720] | |
| 81 | Alexander Malcolm | A Treatise of Musick: Speculative, Practical and Historical | Edinburgh | For the author | 1721 | |
| 82 | Jean-Philippe Rameau | Traité d'l'harmonie réduite à ses principes naturels | Paris | Jean-Baptiste-Christophe Ballard | 1722 | |
| 83 | Pier Francesco Tosi | Opinionì de' cantori antichi, e moderni o sieno osservazioni sopra il canto figurato | Bologna | Lelio dalla Volpe | 1723 | |
| 84 | Johann Joseph Fux | Gradus ad Parnassum | Wien | Johann Peter van Ghelen | 1725 | |
| 85 | Johann David Heinichen | Der General-Bass in der Composition, oder, neue und gr:undliche Anweisung | Dresden | Bey den Autore [Freiberg: Christoph Matthaeus] | 1728 | |
| 86 | Johann Mattheson | Johann Matthesons Grosse General-Baß-Schule, Oder der exemplarischen Organisten-Probe | Hamburg | Johann Christoph Kissner | 1731 | |
| 87 | Johann Gottfried Walther | Musicalisches Lexicon oder musicalische Bibliothec | Leipzig | Wolffgang Deer | 1732 | |
| 88 | Michel Pignolet de Montéclair | Principes de musique. Divisez en quatre parties | Paris | Veuve Boivin | 1736 | |
| 89 | Johann Adolph Scheibe | Der Critische Musicus | Hamburg | Thomas von Wierings Erben | 1738 | |
| 90 | Johann Mattheson | Der Vollkommene Capellmeister. Das ist gründliche Anzeige aller derjenigen Sachen, die einer wissen, können und vollkommen inne haben muß, der einer Capelle mit Ehren und Nutzen vorstehen will | Hamburg | Christian Herold | 1739 | |
| 91 | Leonard Euler | Tentamen novae theoriae musicae ex certissimis harmoniae principiis dilucide expositae | Petropoli | Typographia Academiae scientiarum | 1739 | |
| 92 | Lorenz Christoph Mizler von Kolof | Neu eröffnete Musikalische Bibliothek oder Gründliche Nachright nebst unpartheyischem Urtheil von musikalischen Schriften und Büchern | Leipzig | Im Verlag des Verfassers und Brauns Erben | 1739 | |
| 93 | James Grassineau | A Musical Ditionary; being a collection of terms and characters, as well ancient as modern | London | J. Wilcox | 1740 | |
| 94 | Francesco Geminiani | The Art of Playing on the Violin: Containing all the Rules Necessary to attain to a perfection on that instrument | London | The author [printed by John Johnson[ | 1751 | |
| 95 | Johann Joachim Quantz | Versuch einer Anweisung die Flöte traversiere zu spielen | Berlin | Johann Friedrich Voss | 1752 | |
| 96 | Jean le Rond d'Alembert | Elémens de musique, théorique et pratique, suivant les principes de M. Rameau | Paris | David l'ainé, Le Breton, Durand | 1752 | |
| 97a | Carl Philipp Emanuel Bach | Versuch über die wahre Art das Clavier zu spielen, mit Exempeln und achtzehn Probe-Stücken in sechs Sonaten erläutert | Berlin | Christian Friedrich Henning | 1753 | |
| 97b | Carl Philipp Emanuel Bach | Zweyter Theil, in welchem die Lehre von dem Accompagnement und der freyen Fantasie abgehandelt wird | Berlin | George Ludewig Winter | 1762 | |
| 98 | Friedrich Wilhelm Marpug | Abhandlung von der Fuge, nach den Grundsätzen und Exempeln der besten deutschen und ausländischen Meister entworfen | Berlin | A. Haude, und J.C. Spener | 1753-1754 | |
| 99 | Friedrich Wilhelm Marpug | Historisch-kritische Beyträge zur Aufnahme der Musik | Berlin | J.J. Schützens Witwe [G.A. Lange] | 1754 | |
| 100 | Giuseppe Tartini | Trattato di musica secondo la vera scienza dell'armonia | Padova | Stamperia del seminario [Giovanni Manfrè] | 1754 | |
| 101 | Francesco Algarotti | Saggio sopra l'opera in musica | [n.p.] | [n.p.] | 1755 | |
| 102 | Leopold Mozart | Versuch einer gründlichen Violinschule, entworfen und mit 4. Kupfertafeln sammt einer Tabelle versehen | Ausburg | Verlag des Verfassers [Johann Jacob Lotter] | 1756 | |
| 103 | François Parfaict, Claude Parfaict | Dictionnaire des Théâtres de Paris | Paris | Chez Lambert | 1756 | |
| 104 | Giovanni Battista Martini | Storia della musica | Bologna | Lelio dalla Volpe | 1757 | |
| 105 | Jakob Adlung | Anleitung zu der musikalischen Gelahrtheit | Erfurt | J.D. Jungnicol | 1758 | |
| 106 | John Mainwaring | Memoirs of the life of the late George Frederic Handle. To which is added, a catalogue of his works, and observations upon them | Londond | R. & J. Dodsley | 1760 | |
| 107 | Georg Andreas Sorge | Anleitung zur Fantasie oder zu der schönen Kunst | Lobenstein | Verlag der Verfasser | 1767 | |
| 108 | Jakob Adlung | Musica Mechanica organoedi. Das ist: Gründlicher Unterricht von der Struktur, Gebrauch und Erhantung etc. der Orgeln, Clavicymbel, Clavichordien und anderer Instrumente | Berlin | Friedrich Wilhelm Birnstiel | 1768 | |
| 109 | Jean-Jacques Rousseau | Dictionnaire de musique | Paris | Vve. Duchesne | 1768 | |
| 110 | Giovanni Battista Mancini | Pnsieri, e riflessioni pratiche sopra il canto figurato | Wien | Stamparia van Ghelen | 1774 | |
| 111 | Antonio Eximeno y Pujades | Dell'origine e delle regole della musica, colla storia del suo progresso, decadenza e rinnovazione | Roma | Stamperia Michel'Angelo Barbiellini | 1774 | |
| 112 | Martin Gerbert | De cantu et musica sacra a prima ecclesiae aetate usque ad praesens tempus | Typis San Blasianis | 1774 | ||
| 113 | Vincenzo Manfredini | Regole armoniche o sieno precetti ragionati per apprendere I principi della musica | Venezia | Guglielmo Zerletti | 1775 | |
| 114 | Charles Burney | A General History of Music from the Earliest Ages to the Present Period. To which is prefixed, a Dissertation of the Music o the Ancients | Londond | For the aAuthor and sold by T. Becker, J. Robson, and G. Robinson | 1776, 1782, 1789 | |
| 115 | John Hawkins | A General History of the Science and Practice of Music | London | T. Payne and Son | 1776 | |
| 116 | François Bédos de Celles | L'art du facteur d'orgues | Paris | L.F. Delatour | 1766, 1770, 1778 | |
| 117 | Jean-Benjamin La Borde | Essaid sur la musique ancienne et modern | Paris | Ph.D. Pierres | 1780 | |
| 118 | Heinrich Christoph Koch | Versuch einer Anleitung zur Composition | Leipzig | Adam Friedrich Böhme | 1782, 1783, 1793 | |
| Rudolstadt | Löwe Erben und Schirach | 1782, 1783, 1793 | ||||
| 119 | Esteban de Arteaga | Le rivoluzioni del teatro musicale italiano della sua origine fino al presente | Bologna | Carlo Trenti | 1783, 1785, 1788 | |
| 120 | Johann Nicolaus Forkel | Allgemeine Geschichte der Musik | Leipzig | Im Schwickertschen Verlage | 1788, 1801 | |
| 121 | Ernst Ludwig Gerber | Historich-Biographiches Lexicon der Tonkünstler, welches Nachrichten von dem Leben und Werken musikalischer Schriftsteller, berühmter Compositen, Sänger, Meister auf Instrumenten, Dilettanten, Orgel- und Instrumentenmacher, enthält | Leipzig | Johann Gottlob Immanuel Breitkopf | 1790, 1792 | |
| 122 | Johann Nicolaus Forkel | Allgemeine Litteratur der Musik oder Anleitung zur kenntniß musikalischer Bücher, welche von den ältesten bis auf die neusten Zeiten bey den Griechen, Römern und den meisten neuern europäischen Nationen sind geschrieben worden | Leipzig | Schwickertschen Verlage | 1792 |
La solita forma
From the article
La solita forma (or multipartite form) is an operatic term used to define the formal design of scenes in 19th century Italian opera from the bel canto era of Rossini, Bellini, Gaetano Donizetti to the late operas of Giuseppe Verdi.[1] The English phrase "multipartite form" is most often used by American musicologist Philip Gossett, beginning with a 1974 essay,[2] where he refers to a general framework of melodramatic scene types, especially duets. Each scene gradually progresses from an opening static lyric moment to a finale through several standard musical tempos and set pieces, gradually adding characters and adding or unraveling complexity in the plot.
Because composers wrote operas in short spans of time, the standardized form of scenes ensured a time-tested dramatic and musical structure. The term itself comes from a work of criticism by Abramo Basevi[3]
Recomposed lead
Background
For each genre there developed certain rules about internal structure, rules that could be observed, bent, or broken, but which composers and librettists recognized.[4]
the most basic division was between poetry intended for recitative and that intended for formal numbers.[5]
Italian prosody
The most basic division was between poetry intended for recitative and that intended for formal numbers.[6] An Italian settenario is not really a “seven-syllable” line of verse, since it can have six, seven, or eight syllables, depending on whether the line is:
- (a) tronco (concluding with an accented syllable, a so-called masculine ending, hence six syllables);
- (b) piano (the form according to which the poetic meter is measured, concluding with an accented syllable and an unaccented one, a so-called feminine ending, hence seven syllables); or
- (c) sdrucciolo (concluding with an accented syllable and two unaccented syllables, hence eight syllables).[7]
Notice that, in Italian verse, the final vowel of one word and the first of the next elide and are considered a single syllable: hence “[fe]-ste al,” “Se i,” and “[gl̓oc]-chi il” are counted as single syllables. Similar considerations affect senari, ottonari, decasillabi, and endecasillabi verses (“six,” “eight,” “ten,” or “eleven” syllables, respectively, but which can normally exist in tronco, piano, or sdrucciolo forms).[8]
Verses for recitative were written in what is known as versi sciolti, poetry consisting of endecasillabi and settenari freely mixed, with only an occasional rhyme. A single line of poetry could be assigned to a single character, or divided among several characters, and grammatical units might well run on from one verse to the next.[9]
The division of a single line of verse among characters, the irregular (though not unplanned) changes in the length of lines, the occasional but not prevalent use of rhyme, all imply a musical setting in a freer, declamatory style, that is, recitative. Faced with such a text, composers usually set them accordingly.[10]
The division of a single line of verse among characters, the irregular (though not unplanned) changes in the length of lines, the occasional but not prevalent use of rhyme, all imply a musical setting in a freer, declamatory style, that is, recitative. Faced with such a text, composers usually set them accordingly.
That does not mean, however, that recitative verse, versi sciolti, can never be set lyrically. Indeed, one of the ways in which the operas of the generation of Bellini and Donizetti differ from those of Rossini and composers of his time is in the extent to which later composers pepper their recitative scenes with lyrical periods, even when the verse forms do not easily lend themselves to this practice.[11]
Verses intended for formal numbers are quite different. In the simplest case, solo arias, they consist of stanzas of rhymed poetry in a single meter, or first in one meter, then in another.[12]
Poetry in fixed meters was used not only for lyrical sections but also for dialogue falling within musical numbers (as opposed to the versi sciolti employed for dialogue falling between musical numbers). The difference is significant, and using the term “recitative” to refer indiscriminately to both kinds of music hides distinctions that are important for how we must hear and perform the passages in question. Within a musical number dialogue (or parlante as it was often called in the nineteenth century) was frequently organized into more regular rhythmic units, with the orchestra providing continuity and structure, while the vocal line fits itself into the texture more freely, following the implications of the dramatic situation.[13]
By purely poetic means, then (the use of different meters, the use of stanzas of verse for a single character, the use of dialogue, etc.), librettists—often in consultation with the composer—materially influenced the structure and character of both the entire opera and each individual piece. They provided composers with recitative verse and with formal numbers, so that the poetry shaped important musical decisions. For the most part, composers took the structural parameters implicit in the poetry, fashioning each composition accordingly and from those parameters developing the shape of the entire opera.[14]
Versi sciolti: "loose verse": an alternation of eleven- and seven-syllable lines - no stanzaic structure and only occsional rhymes.[15] Often set as recitative, with "kinetic" action - texts that moves the action forward.
Gossett's first example: "Ebben, a te, ferisci" from Rossini's Semiramide.
Four parts (as evidence by text).
- Part 1: parallel poetic stanzas; dialogue
- Part 2: cantabile: lyrical contemplation of the dramatic situation
- Part 3:arioso; short melodic phrases; simple chordal background
- Part 4: cabaletta; in aria consists of lyrical period, often concluding coloratura;
Donizetti accepts Rossini's formal model, though with different melodic style.[16]
Verdi was seeking new forms.[17] By mid 19th-century, the four parts had become two, the slow and lyrical cantabile followed by the contrasting cabaletta. Example from La Traviata, Alfredo-Violetta duet: [part one] Colpevol sono; [part 2] Parigi, o cara; [part 3] Ah non più; [part 4] Gran Dio! morir si giovine. Gossett: the text forces a change of the character of each section, although the four-part structure is maintained.[18] Despite ambivalence, Verdi maintained solita forma in Aida, example: Già i sacerdoti adunansi [part 1]; Morire! Ah! tu dei vivere! [part 2]; Di lei non più [part 3]; Chi ti salva, sciagurato [part 4; cabaletta].
Table
| Section | Name of section | Genre | Type of language | dramatic action |
|---|---|---|---|---|
| 1 | Primo tempo (Tempo d'attacco)[19] | recitative | versi sciolti (stanzas, dialogue) | kinetic |
| 2 | Pezzo concertato/Adagio | Adagio | versi lirici | static |
| 3 | Tempo di mezzo | Tempo di mezzo | versi sciolti | kinetic |
| 4 | Cabaletta / stretta | Cabaletta | versi lirici | static |
Bibliography
- Gossett, Philip (1974), "Verdi, Ghislanzoni, and "Aida": The Uses of Convention", Critical Inquiry, 1 (2): 291–334
References
- ^ Harold S. Powers, "La Solita Forma" and "The Uses of Convention" Acta Musicologia, Vol 59, Fasc. 1 (Jan–Apr 1987) pp. 65–90
- ^ Philip Gossett, "Verdi, Ghislanzoni, and Aida: The Uses of Convention", in Critical Inquiry 1, no. 2 (1974), pp. 291–334.
- ^ Basevi 1859, p. 191
- ^ Gossett, p. 43.
- ^ Gossett, p. 43.
- ^ Gossett, p. 43.
- ^ Gossett, p. 43.
- ^ Gossett, p. 44.
- ^ Gossett, p. 44.
- ^ Gossett, p. 44.
- ^ Gossett, p. 44.
- ^ Gossett, p. 45-46.
- ^ Gossett, p. 46.
- ^ Gossett, p. 48.
- ^ Basevi, p. xxvi.
- ^ Gossett, p. 306.
- ^ Gossett, p. 306.
- ^ Gossett, p. 308.
- ^ Gossett, Divas and Scholars, p. 567-68. Gossett disdains use of the idiom "tempo d'attacco" for the reason that in the 19th century Basevi was the only writer who used it. He prefers "primo tempo" because that was the term most often used by 19th century authors.
Come scritto
Drexel
- Passport application May 28, 1873: January 26, 1831
- Passport application: May q17, 1877 - illegible
Special Collections
Origins
From: Trends in Rare Book and Documents Special Collections Management. Primary Research Group Inc, 2008 ISBN 1574400959
- Collection background and scope
- Acquisitions and development
- Pre-screening procedures and security
- Outreach and publicity
- Exhibits
- Lending
- Cataloging
- Digitization and online exhibits
- Preservation
[Special Collections, Issue 57]
- http://www.ala.org/acrl/standards/comp4specollect
- http://www.arl.org/focus-areas/research-collections/special-collections
- http://www.arl.org/focus-areas/research-collections/special-collections/2482-statements-principles-and-reports-of-arl-special-collections-working-groups
- http://www.arl.org/storage/documents/publications/special-collections-task-force-final-status-report-july2006.pdf
Wikipedia articles to create related to NYPL-MUS
People's Music League
Infobox for manuscripts
| Drexel 4041 | |
|---|---|
| New York Public Library for the Performing Arts | |
 | |
| Type | Commonplace book |
| Date | Uncertain |
| Place of origin | England |
| Language(s) | English |
| Size | 144 leaves |
Other NYPL articles to create
- Drexel 5609, 5611, 5612
- Individual works listed in: Virginia Brookes, British Keyboard Music to c.1660: sources and thematic index (New York : Oxford University Press, 1996), p. 58-72.
- Hilda Gervers, "A manuscript of dance music from seventeenth-century England : Drexel Collection Ms. 5612," Bulletin of The New York Public Library 80, no. 4 (Summer 1977), p. 503-552.
- Candace Bailey, "New York Public Library Drexel MS 5611," Fontes Artis Musicae 47, no. 1 (Jan.-Mar. 2000), p. 51-67.
- Drexel 5061 - "Ayres for viols"
- Drexel 4300 - contents list and notes in Richard Charteris, "Correspondence" Music and Letters (2008), p. 698-700.
- Vladimir Heifetz
Merrill additions
Saturday Evening Post interview "Fannie Brice Tells Her Story" as told to Palma Wayne. Saturday Evening Post, November 21, 1925.
Publications
- Bulletin: bequest of Katherine Drexel Penrose: 23:11, 176 ; 24:130.
- Publications:
- Gibbons (Bulletin): 27:121
- Byrd: 28:5