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This book, the first of its kind, is a study of Bolognese instrumental music during the height of the city's musical activity in the late seventeenth century. The period?marked by a rapid expansion of the cappella musicale of the principal city church, San Petronio, by the founding of the Accademia Filarmonica, and by increasingly lavish patronage of musical events?witnessed the proliferation of repertory for instrumental ensembles. This music not only reveals crucial stages in the development of the sonata and concerto but also recalls the elaborate church rituals and the opulent public and private celebrations in which they figured prominently. Moreover, the late seventeenth century saw the heyday of Bolognese music publishing, whose output of sonatas and related instrumental genres easily surpassed that of the once-dominating Venetian presses. The approach taken here departs from composer- and genre-centered monographs on Italian instrumental music in order to illuminate an array of topics that center on the Bolognese repertory: the social condition of instrumentalist-composers; the acumen of music publishers in the creation of the repertory; the diverse contexts of the instrumental dances; the influence of liturgical traditions on sonata topoi; the impact of psalmodic practice on tonal style; and the innovative climate that led to experiments with scoring and form in the earliest instrumental concertos. In sum, this book not only illustrates the historically significant and defining features of the music, but also links the surviving repertory to the flourishing musical culture in which it was created.
This volume provides a full and careful history of what sonata meant and how the word was used from its first appearance as an instrumental title in the sixteenth century to the near end of the thorough-bass practice around 1750. The revised edition includes nearly three hundred new studies, editions, and other pertinent information. Originally published in 1966. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.
(Musica Strumentale, 16) XXII, 92 pp.; 21 x 29 cm Introduzione e apparato critico in italiano e inglese Le Tre sonate per cembalo o pianoforte con violino o flauto di Diego Zucchinetti appartengono al genere – assai diffuso nella seconda metà del Settecento – della sonata per tastiera accompagnata da uno strumento melodico. L’autore, uscito dal Conservatorio napoletano della Pietà de’ Turchini, pubblicò a Napoli queste sonate intorno al 1794 presso Marescalchi; l’editore parigino Nadermann le ristampò qualche anno dopo. Tutte e tre in tre movimenti, si collocano in una cospicua tradizione di musiche destinate al cembalo o fortepiano con violino o flauto e mostrano un’equilibrata distribuzione del materiale musicale fra i due strumenti, tanto da potersi considerare per certi aspetti un vero e proprio duo. Elementi teatrali e cantabilità melodica legano al contesto napoletano queste sonate, gradevole esempio del repertorio strumentale italiano di fine Settecento. *** Diego Zucchinetti's Three Sonatas for the harpsichord or pianoforte with violin or flute belong to a genre—keyboard sonata with an accompanying melodic instrument—that was quite common by the late 18th century. The composer was an alumnus of the Pietà de' Turchini Conservatory, Naples; a local publisher, Marescalchi, printed those sonatas by 1794. In Paris, Nadermann reissued them few years later. They are all cast in three movements and show such a balanced distribution of musical material between the instruments, they can be virtually regarded as duets. Operatic passages and cantabile melodies link these pleasing specimens of late-century Italian instrumental music to their Neapolitan roots.
Federico Maria Sardelli writes from the perspective of a professional baroque flautist and recorder-player, as well as from that of an experienced and committed scholar, in order to shed light on the bewildering array of sizes and tunings of the recorder and transverse flute families as they relate to Antonio Vivaldi's compositions. Sardelli draws copiously on primary documents to analyse and place in context the capable and surprisingly progressive instrumental technique displayed in Vivaldi's music. The book includes a discussion of the much-disputed chronology of Vivaldi's works, drawing on both internal and external evidence. Each known piece by him in which the flute or the recorder appears is evaluated fully from historical, biographical, technical and aesthetic standpoints. This book is designed to appeal not only to Vivaldi scholars and lovers of the composer's music, but also to players of the two instruments, students of organology and those with an interest in late baroque music in general. Vivaldi is a composer who constantly springs surprises as, even today, new pieces are discovered or old ones reinterpreted. Much has happened since Sardelli's book was first published in Italian, and this new English version takes full account of all these new discoveries and developments. The reader will be left with a much fuller picture of the composer and his times, and the knowledge and insights gained from minutely examining his music for these two wind instruments will be found to have a wider relevance for his work as a whole. Generous music examples and illustrations bring the book's arguments to life.
"The emergence of pieces designated for specific instruments marked a significant change in musical practice. The celebrated musicologist Willi Apel discusses virtually all the surviving printed works from the seventeenth century that are intended for the violin. He describes the music of some sixty Italian composers of this period, detailing the individual innovative aspects of the pieces, their form, and issues of performance practice." --
In recent years Gian Francesco Malipiero has been recognised increasingly widely as one of the most original and strangely fascinating Italian composers of the early 20th century. He was the teacher of Maderna and Nono, and was revered by (among many others) Dallapiccola, who even called him the most important (musical) personality that Italy has had since the death of Verdi . He was also a key figure in the revival of the long- neglected music of Italy's great past, and himself edited what remains the only virtually complete edition of the surviving compositions of Monteverdi. The present book not only provides the first monographic survey of Malipiero's life, times and music to appear in English, but covers the subject more comprehensively than any previous publication in any language. Dr Waterhouse draws on hitherto unpublished documents, and with the help of numerous musical examples, analyses the composer's works, style and idiosyncratic personality.
Research in the 20th and 21st centuries into historical performance practice has changed not just the way performers approach music of the 17th and 18th centuries but, eventually, the way audiences listen to it. This volume, beginning with a 1915 Saint-Sa? lecture on the performance of old music, sets out to capture musicological discussion that has actually changed the way Baroque music can sound. The articles deal with historical instruments, pitch, tuning, temperament, the nexus between technique and style, vibrato, the performance implications of musical scores, and some of the vexed questions relating to rhythmic alteration. It closes with a section on the musicological challenges to the ideology of the early music movement mounted (principally) in the 1990s. Leading writers on historical performance practice are represented. Recognizing that significant developments in historically-inspired performance have been led by instrument makers and performers, the volume also contains representative essays by key practitioners.