French Music Publishers' Catalogues of the Second Half of the 18th Century . Cari Johansson .

1958 ◽  
Vol 11 (1) ◽  
pp. 62-64
Author(s):  
Jan LaRue
Keyword(s):  
18Th Century ◽  
French Music ◽  
Music Publishers

scholarly journals Melodic ornamentation from Muffat to Telemann

2021 ◽  
Author(s):  
◽  
Megan Ward
Keyword(s):  
19Th Century ◽  
Large Volume ◽  
18Th Century ◽  
Vocal Music ◽  
Primary Sources ◽  
Musical Culture ◽  
French Music ◽  
Stringed Instruments ◽  
German States ◽  
And Performance

<p>Writers on 18th-century musical ornamentation have traditionally focused on the execution of notated ornaments, and on certain disputes arising from ambiguous and contradictory primary sources. Less attention has been given to the addition of ornaments where not prescribed by the composer. Such ornaments can be short, defined, patterns such as trills, turns, and mordents, or larger measured or unmeasured additions known as diminutions, divisions, or passaggi.  Additions of this nature are only in the rarest of cases compulsory. However, the practice of more or less spontaneous embellishment by the performer was so integral to pre-19th-century musical culture that this must have had a significant effect on composition.  The scope of this thesis is loosely defined by its titular composers, covering the period between Georg Muffat‟s later publications in the last years of the 17th century and G.P. Telemann‟s death in 1767. Both lived and worked in the German states, a region which had traditionally looked to Italian models of composition and performance. This period saw a flowering of German composition into its own unique and diverse genre which integrated aspects of various styles, most prominently Italian and French music.  This thesis centres on stringed instruments, but is directly relevant to woodwind players. Many aspects are also transferrable to the keyboard and to vocal music; however, these musicians will find a large volume of more targeted research elsewhere.</p>

French Music Publishers' Catalogues of the Second Half of the Eighteenth Century

Notes ◽  
1960 ◽  
Vol 17 (2) ◽  
pp. 234
Author(s):  
Donald W. Krummel ◽  
Cari Johansson
Keyword(s):  
Eighteenth Century ◽  
French Music ◽  
Music Publishers

Through the Spectrum: The New Intimacy in French Music (I)

Tempo ◽  
2000 ◽  
pp. 12-21
Author(s):  
Tristram Pugin
Keyword(s):  
18Th Century ◽  
European Context ◽  
French Music ◽  
Late 18Th Century ◽  
French Composers ◽  
The Right ◽  
Revolutionary Period

The image of French music from the late 18th century to the present day in its European context is less clear in most people's minds, even most French people's minds, than one could reasonably expect. Yet it has a decisive bearing on what one makes of contemporary developments. There are too few names involved, for one thing, and the lines of influence drawn do not always point in the right direction. In particular, historical ascendancy is blurred, not least because too many musicologists who ought to know better base their work on that shakiest of grounds, ‘accepted repertoire’. Manuals repeat uncritically the opinions of Grimm and Rousseau on the shortcomings of le style français without bothering to uncover the influence of Rameau and Armand-Louis Couperin on Schobert – and through him on the young Mozart. Beethoven's ‘heroic’ manner is most often thought to be the outcome of an instinctively ‘romantic temperament’ exploding Viennese classicism from inside, when in fact it was largely prompted by French composers of the revolutionary period such as Méhul and Gossec (something altogether natural in a composer born in the Rhine–Palatinate). The beginning of a new contrapuntal spirit in French music is often credited to Gounod and his discovery of Bach, to detriment of Böely both as composer and performer.

scholarly journals Pojedynki dźwiękiem pisane. Pietro Antonio Locatelli versus Jean-Marie Leclair

2020 ◽  
pp. 71-104
Author(s):  
Ewa Chamczyk
Keyword(s):  
Short Story ◽  
Instrumental Music ◽  
18Th Century ◽  
Ancient Greece ◽  
Main Subject ◽  
Violin Concerto ◽  
French Music ◽  
Violin Music ◽  
Antonio Vivaldi ◽  
A Minor

Duels of the Sound: Pietro Antonio Locatelli Versus Jean-Marie Leclair The tradition of musical duels harkens back to the days of the ancient Greece. One of the earliest examples of a musical rivalry is the myth of Marsyas and Apollo, which ends tragically for the satyr. Without doubt, the battles of the ancients served as an inspiration for the next generations of musicians. In each era, they took a different form, tailored to the prevailing norms and customs. In the 16th century the singing competitions of the Meistersingers became extremely popular, and along with the development of instrumental music in 17th century, duels, in which the main subject-matter of the dispute was the superiority of one of the performers in terms of interpretation and fluidity in playing a given instrument, gained increased importance. A real boom of musical duels did not came along until 18th century, in which public concerts bloomed and along with it, the demand for virtuoso instrumentalists increased. During that era, musical duels were not only confrontations between specific musicians or their patrons, but also contributed to the exchange of experiences between the artists and the spread of musical news and the works themselves. Additionally, the battles symbolised a confrontation of musical styles, in particular the Italian and French styles. Jean-Marie Leclair, known as the French Corelli, is considered by many researches as the founder of the French violin school. Pietro Antonio Locatelli, an heir to the legacy of Arcangelo Corelli is justifiably considered the Paganini of the 18th century. Their music has shared roots in the tradition of the Italian violin school, yet it differs both in terms of its formality as well as expressiveness. At first glance the French music of J.M. Leclair bears the imprint of standards of the violin concerts of Antonio Vivaldi, whereas the typically Italian works of P.A. Locatelli significantly transcend the norms accepted at that time in terms of requirements imposed on violinists. We know that the first confrontation of the violinists took place on 22 December 1728 at the manor in Kassel. However, some speculate that it was not the only meeting of the musicians. The preserved information suggest that both of them stirred strong emotions among the audiences with their playing. The profiles of the aforementioned composers, despite their immense importance on the development of violin music, still remain underrated. This article outlines the short story of musical duels and sheds light on violin concerts in the first half of the 18th century. Additionally, the author made an attempt of a comparative analysis of selected violin concerts, i.e. Locatelli’s Violin Concerto in G major, Op. 3, No. 9 and Violin Concerto in A minor Op. 7, No. 5 by Jean-Marie Leclair’s from a similar artistic period of both composers and close in terms of the time of their creation to their famous duel.

scholarly journals Melodic ornamentation from Muffat to Telemann

2021 ◽  
Author(s):  
◽  
Megan Ward
Keyword(s):  
19Th Century ◽  
Large Volume ◽  
18Th Century ◽  
Vocal Music ◽  
Primary Sources ◽  
Musical Culture ◽  
French Music ◽  
Stringed Instruments ◽  
German States ◽  
And Performance

<p>Writers on 18th-century musical ornamentation have traditionally focused on the execution of notated ornaments, and on certain disputes arising from ambiguous and contradictory primary sources. Less attention has been given to the addition of ornaments where not prescribed by the composer. Such ornaments can be short, defined, patterns such as trills, turns, and mordents, or larger measured or unmeasured additions known as diminutions, divisions, or passaggi.  Additions of this nature are only in the rarest of cases compulsory. However, the practice of more or less spontaneous embellishment by the performer was so integral to pre-19th-century musical culture that this must have had a significant effect on composition.  The scope of this thesis is loosely defined by its titular composers, covering the period between Georg Muffat‟s later publications in the last years of the 17th century and G.P. Telemann‟s death in 1767. Both lived and worked in the German states, a region which had traditionally looked to Italian models of composition and performance. This period saw a flowering of German composition into its own unique and diverse genre which integrated aspects of various styles, most prominently Italian and French music.  This thesis centres on stringed instruments, but is directly relevant to woodwind players. Many aspects are also transferrable to the keyboard and to vocal music; however, these musicians will find a large volume of more targeted research elsewhere.</p>

Tempo 212 – Errata

Tempo ◽  
2000 ◽  
pp. 39-40
Keyword(s):  
18Th Century ◽  
French Music ◽  
Ultimate Responsibility ◽  
Pierre Bayle

Tristram Pugin has asked us to point out that Part I of his article ‘Through the Spectrum: The New Intimacy in French Music’ contained three avoidable errors. The composer Alain Bancquart's name is consistently misspelled as Banquart. Villiers de l'Isle-Adam's novel l'Eve future is mis-titled La nouvelle Eve. Pierre Bayle is not a composer of electro-acoustic music but an 18th-century philosopher: the composer is François Bayle. Although Tristram Pugin accepts ultimate responsibility for these errors, we consider he had had some right to expect they would be detected in editing; as they were not, the responsibility is also ours.

Sign in / Sign up

Export Citation Format

Share Document