The formation of an exceptional library: early printed music books at Valladolid Cathedral

Early Music ◽  
2009 ◽  
Vol 37 (3) ◽  
pp. 379-400
Author(s):  
S. Aguirre Rincon
Keyword(s):  
Music Books ◽  
Printed Music

The Nazi Confiscation of Wanda Landowska’s Musical Collection and Its Aftermath

2020 ◽  
pp. 429-449
Author(s):  
Carla Shapreau
Keyword(s):  
Musical Instrument ◽  
Music School ◽  
Music Books ◽  
Printed Music

This chapter discusses the Nazis' confiscation of Wanda Landowska's musical collection and how it was partly recovered after the war. It recounts Landowska's career before the Germans invaded France in May 1940 and describes her as an internationally renowned harpsichord and piano soloist and an accomplished scholar, writer, teacher, and composer. It also highlights Landowska's extensive music library, which included manuscripts, rare printed music, books, and an impressive antique musical instrument collection. The chapter recounts how the Nazis plundered Landowski's musical treasures in September 1940 after Landowska fled her home and music school at 88 rue de Pontoise, Saint-Leu-la-Forêt. It describes Landowska's library that contained approximately 10,000 objects, which reflected Landowska's intellectual and aesthetic sensibilities, her eclectic interests, and to some extent her heritage.

Tadeusz Zygfryd Kassern’s American Years

2020 ◽  
pp. 387-392
Author(s):  
Sławomir Dobrzański
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Musical Instruments ◽  
Foreign Languages ◽  
Cultural Milieu ◽  
Music Books ◽  
Printed Music ◽  
Source Of Information

This chapter examines the American career of Tadeusz Zygfryd Kassern. It recalls the personality of Kassern as a forgotten composer and one of the most neglected Polish composers of the twentieth century. It also references Violetta Kostka's book Tadeusz Zygfryd Kassern as the most substantial source of information about him. The chapter looks into Kassern's appointment as cultural attaché in the Polish consulate in New York in October 1945, of which the decision was based on his experience as a lawyer, familiarity with the Polish cultural milieu in Poland and abroad, and knowledge of several foreign languages. It recounts how Kassern organized shipments of printed music, books, musical instruments, and clothes and food to Poland as part of the Chopin Fund that was initiated by the pianist Artur Rubinstein.

Early French Keyboard Music, Books 1, 2

Notes ◽  
1982 ◽  
Vol 38 (3) ◽  
pp. 700
Author(s):  
Ruth S. Edwards ◽  
Eve Barsham ◽  
Gabor Kovats
Keyword(s):  
Keyboard Music ◽  
Music Books

TWO HUNTERS, A MILKMAID AND THE FRENCH ‘REVOLUTIONARY’ CANON

2018 ◽  
Vol 15 (2) ◽  
pp. 177-205 ◽  
Author(s):  
JULIA DOE
Keyword(s):  
Eighteenth Century ◽  
Large Scale ◽  
Stage I ◽  
Performance History ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
History Of ◽  
Printed Music

ABSTRACTLarge-scale programming studies of French Revolutionary theatre confirm that the most frequently staged opera of the 1790s was not one of the politically charged, compositionally progressive works that have come to define the era for posterity, but rather a pastoral comedy from mid-century:Les deux chasseurs et la laitière(1763), with a score by Egidio Duni to a libretto by Louis Anseaume. This article draws upon both musical and archival evidence to establish an extended performance history ofLes deux chasseurs, and a more nuanced explanation for its enduring hold on the French lyric stage. I consider the pragmatic, legal and aesthetic factors contributing to the comedy's widespread adaptability, including its cosmopolitan musical idiom, scenographic simplicity and ready familiarity amongst consumers of printed music. More broadly, I address the advantages and limitations of corpus-based analysis with respect to delineating the operatic canon. In late eighteenth-century Paris, observers were already beginning to identify a chasm between their theatre-going experiences and the reactions of critics: Was a true piece of ‘Revolutionary’ theatre one that was heralded as emblematic of its time, or one, likeLes deux chasseurs, that was so frequently seen that it hardly elicited a mention in the printed record?

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