On the Performance of "Quia respexit ... omnes generationes" from J. S. Bach's Magnificat

2001 ◽  
Vol 18 (3) ◽  
pp. 458-489
Author(s):  
Robert M. Cammarota
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
Dramatic Effect ◽  
Rhetorical Device ◽  
The Third ◽  
Musical Texture ◽  
Compositional Practice ◽  
Formed Part ◽  
Early 18Th Century

The modern-day custom of performing the 'omnes generationes' section from J. S. Bach's Magnificat twice as fast as the aria "Quia respexit" has its origins in Robert Franz's vocal and orchestral editions of 1864, the details of which were discussed in his Mittheilungen of 1863. Up until that time, 'omnes generationes' was inextricably connected to "Quia respexit" and formed part of the third movement of Bach's Magnificat. Moreover, when Bach revised the score in 1733, he added adagio to the beginning of "Quia respexit . . . omnes generationes," establishing the tempo for the whole movement. In this study I show that Bach's setting of this verse is in keeping with Leipzig tradition (as evidenced by the settings of Schelle, G. M. Hoffmann, Telemann, Kuhnau, and Graupner) and with early 18thcentury compositional practice; that he interpreted the verse based on Luther's 1532 exegesis on the Magnificat; that the verse must be understood theologically, as a unit; that the change in musical texture at the words 'omnes generationes' is a rhetorical device, not "dramatic effect"; and, finally, that there is no change in tempo at the words 'omnes generationes' either in Bach's setting or in any other from this period. An understanding of the early 18th-century Magnificat tradition out of which Bach's setting derives, with the knowledge of the reception of Bach's Magnificat in the mid 19th century, should help us restore Bach's tempo adagio for the movement.

TEISMINIŲ DOKUMENTŲ ĮVARDIJIMAI TREČIAJAME LIETUVOS STATUTE IR JŲ RAIDOS BRUOŽAI

2018 ◽  
Vol 2018/2 ◽  
pp. 31-53
Keyword(s):  
18Th Century ◽  
Open Letter ◽  
Power Of Attorney ◽  
The Third ◽  
Judicial Practice ◽  
Long Run ◽  
Single Term ◽  
Rapid Changes ◽  
Judicial Procedures ◽  
Early 18Th Century

DESIGNATION OF JUDICIAL DOCUMENTS IN THE THIRD STATUTE OF LITHUANIA AND THE ATTRIBUTES OF THEIR EVOLUTION ADAM STANKEVIČ The author of the article analyses the designation of documents drawn up and issued by the court, their conception, field of application, and place in the court procedure as presented in the Third Statute of Lithuania (TSL). In addition, an attempt is made to exhibit the changes that such documents and their designations underwent in later centuries (until the end of the 18th c.) by means of the example of the Lithuanian Tribunal. The research revealed that documents which in the sources from different periods were referred to by the same name meant different things or were simultaneously attributed several meanings. In the 17th-18th century, only part of the terms featured in the Third Statute of Lithuania were used in the judicial practice of the Lithuanian Tribunal, and with time some of them were replaced with other terms. Several terms denoting summonses (pozew, mandat, zakaz) can be identified in the TSL, and all of them were in use until the very end of the 18th century. However, a single term – dekret / decretum – was used to designate the judgement (actually, for some time there was a differentiation between the court judgement and its procedural summary, but later the generalized term for the judgement prevailed). A number of documents in the TSL are referred to as the “open letter”, however, later some of them acquired specialised names (e.g. the power of attorney). With time, there were certain changes in the context in which some of the terms were used (e.g. the term “cedule” which in the 18th century was already consistently used exceptionally in a particular situation, namely when a litigant refused to obey the order of the court and informed in writing a judicial officer of such refusal) or the terms themselves underwent certain changes (in the 18th century the term membran was substituted with the term blankiet). Part of the judicial documents mentioned in the TSL disappeared in the long run or there was a certain decrease in their significance (this is true of the reminder and adjournment documents as well as glejt (protection letter)). The examples above suggest that the Lithuanian Tribunal would sometimes issue reminders and guarantee documents, though legal acts did not explicitly provide for that. The TSL offered a number of terms hardly related with the investigation of a case, therefore in the early 18th century, with the improvement of judicial procedures, they underwent rapid changes. The procedure of the implementation of a court ruling, which underwent significant changes, is accountable for the introduction of new terms, for example, with time several terms pertaining to the notification of the litigants were used simultaneously (obwieszczenie, innotescencyja, list tradycyjny). Most probably due to the unification processes observed in the Polish-Lithuanian Commonwealth in the 18th century, a number of Latin origin terms were introduced in the judicial practice of the GDL, e.g. cytacyja, decyzyja, innotestencyja, plenipotencyja, obdukcyja, wizyja, inkwizycyja, weryfikacyja, kalkulacyja, tradycyja (all of them had been used in Poland but were not featured in the TSL).

scholarly journals On the variability of return periods of European winter precipitation extremes over the last five centuries

2006 ◽  
Vol 2 (2) ◽  
pp. 157-189 ◽  
Author(s):  
A. Pauling ◽  
H. Paeth
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
Winter Precipitation ◽  
Precipitation Extremes ◽  
Anthropogenic Influences ◽  
Return Periods ◽  
Before And After ◽  
Last 300 Years ◽  
The 19Th Century ◽  
Early 18Th Century

Abstract. We investigate the changes of extreme European winter (December–February) precipitation over the last half millennium and show for various European regions that return periods of extremely wet and dry winters are subject to significant changes both before and after the onset of anthropogenic influences. Additionally, we examine the spatial pattern of the changes of the extremes covering the last 300 years where data quality is sufficient. Over central and eastern Europe dry winters occurred more frequently during the 18th and the second part of the 19th century relative to 1951–2000. Dry winters were less frequent during both the 18th and 19th century over the British Isles and the Mediterranean. Wet winters have been less abundant during the last three centuries compared to 1951–2000 except during the early 18th century in central Europe. Although winter precipitation extremes are affected by climate change, no obvious connection of these changes was found to solar, volcanic or anthropogenic forcing. However, physically meaningful interpretation with atmospheric circulation changes was possible.

scholarly journals Original Varnish Recipes in Post-Byzantine Painting Manuals

Heritage ◽  
2021 ◽  
Vol 4 (4) ◽  
pp. 3572-3582
Author(s):  
Georgios P. Mastrotheodoros ◽  
Konstantinos G. Beltsios
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
Analytical Data ◽  
Primary Source ◽  
Analytical Investigation ◽  
Early 19Th Century ◽  
Panel Painting ◽  
Byzantine Icons ◽  
Early 18Th Century

During the last decades, manuscripts have become increasingly available through digitization and deposition in online repositories. This trend has very much facilitated primary source research, as scholars are no longer subjected to time- and effort-consuming processes such as travel, applications for photography permissions, and so on. In this framework, the authors set forth the results of research that deals with post-Byzantine panel-painting varnish recipes which were found in a hitherto unpublished Greek painting manual dating back to 1824. The recipes in consideration are compared to those existing in the renowned “Hermeneia” by Dionysios of Fourna (early 18th century) painter’s manual. A brief discussion dealing with various pertinent terms, along with a note on data deriving from the analytical investigation of varnish samples stemming from post-Byzantine icons are also included in this work. The study reveals a shift towards lean and intermediate varnish recipes during the early 19th century that might reflect the progression of resins and oleoresins, and the gradual replacement of oil-based varnishes. In addition, a unique recipe describing various methods of varnish application is transcribed and commented upon. Finally, the analytical data revealed an unexpected employment of a protein-based varnish in a mid-19th century icon.

scholarly journals Anton Weidinger and the Emergence of His Voice: The Keyed Trumpet

2015 ◽  
Vol 8 (1) ◽  
Author(s):  
Jeremy W. Sexton
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
Detailed Examination ◽  
Joseph Haydn ◽  
Early 19Th Century ◽  
Human Voice ◽  
The Third ◽  
Late 18Th Century ◽  
New Instrument ◽  
Johann Nepomuk Hummel

This paper examines Anton Weidinger, the 18th- and early 19th-century keyed trumpet player for whom Joseph Haydn and Johann Nepomuk Hummel composed their trumpet concerti. As the most successful of many attempts to chromaticize the trumpet in the late 18th century, during which the Baroque clarino style of trumpet-playing was waning, Weidinger’s keyed trumpet enjoyed a short-lived period of prominence from about 1800 to 1804, the period during which Weidinger premiered these two concerti. Subsequently, the keyed trumpet declined in popularity, and eventually it was replaced by the valve trumpet. Both concerti emphasize the chromatic capabilities of the new instrument. A detailed examination of some passages from the third movements of the two concerti suggests a deliberate attempt on the part of Hummel (perhaps under Weidinger’s influence) to “quote” and outdo the most virtuosic passages in the Haydn concerto and to cast the new instrument as capable of playing in a “singing” operatic style. Musical quotation from Luigi Cherubini’s opera Les Deux Journées further cements the implicit connection Hummel draws between the keyed trumpet and opera (and, by extension, the human voice). The paper concludes that Weidinger and Hummel sought, in Hummel’s concerto, to announce to the musical world that the trumpet was ready to move beyond its Classical status as a tutti instrument. Though the success of Weidinger and his keyed trumpet was transient, the two concerti composed for him today stand as cornerstones of the solo trumpet literature.

scholarly journals LANSKAP PERTAMBANGAN ORANG CINA DI MONTERADO, KALIMANTAN BARAT

2017 ◽  
Vol 29 (1) ◽  
pp. 1
Author(s):  
Ida Bagus Putu Prajna Yogi
Keyword(s):  
19Th Century ◽  
Cultural Landscape ◽  
Large Scale ◽  
Gold Mining ◽  
18Th Century ◽  
Mining Activities ◽  
Chinese People ◽  
West Kalimantan ◽  
The 19Th Century ◽  
Early 18Th Century

The arrival of Chinese People on a large scale in the early 18th century in West Kalimantan due to the presence of a large gold potential in the area. Monterado is one of the gold mining landscape in West Kalimantan. This cultural landscape shows the activity of big mining and technology owned by the Chinese miners. In addition to the ability to mine, it turns out the Chinese also formed an organization called "kongsi" to support the mining activities. Settlements and cities that grew as a result of gold mining Monterado appear in coastal areas, which is currently a Singkawang. The dissolution of the kongsi in Monterado in the middle of the 19th century, led to stop mining activities in Monterado Similarly, for mining authority was taken over by the colonial, but the miners did not agree with it and choose to stop mining.Kedatangan orang Cina di Kalimantan Barat dalam sekala besar terjadi pada abad ke 18 Masehi, dikarenakan adanya potensi emas di wilayah tersebut. Monterado adalah salah satu lanskap pertambangan emas terbesar di Kalimantan Barat. Lanskap budaya tersebut menunjukan aktifitas pertambangan yang besar dan teknologi yang dimiliki oleh para penambang Cina pada saat itu. Selain kemampuan untuk tambang, ternyata China juga membentuk sebuah organisasi yang disebut "kongsi" untuk mendukung kegiatan pertambangan. Pemukiman dan kota-kota yang tumbuh sebagai pengaruh dari pertambangan emas Monterado muncul di wilayah pesisir, yang saat ini menjadi Kota Singkawang. Data mengenai permukiman di lokasi tambang sangat minim, hal tersebut diperkirakan masyarakat tambang lebih memilih untuk menetap di daerah pelabuhan. Namun, beberapa kuburan Cina dan sisa tiang rumah ditemukan di lokasi tambang. Pembubaran kongsi di Monterado di pertengahan abad ke-19 menyebabkan berhentinya kegiatan pertambangan di lokasi tersebut. Setelah pertambangan diambil alih oleh pemerintah Belanda para penambang emas Cina tetap memilih untuk tidak menambang lagi sebab kegiatan menambang emas tersebut dianggap sudah tidak menguntungkan.

scholarly journals Armenian Amulets from the Collection of Armenian Orthodox Diocese in Baghdad

2021 ◽  
Vol 9 ◽  
pp. 42-79
Author(s):  
Lusine Sargsyan ◽  
◽  
Davit Ghazaryan ◽  
◽  
Keyword(s):  
Eighteenth Century ◽  
19Th Century ◽  
18Th Century ◽  
Point Of View ◽  
Innovative Approach ◽  
Western Art ◽  
The Third ◽  
The 19Th Century ◽  
The City ◽  
Selection Of

This study is dedicated to the Armenian manuscript and printed Amulet1 of the Armenian Diocese of Baghdad (DAOB). In this collection of early printings, there are two printed Amulets in scroll (Pr. n. 14, second half of the 19th century and Pr. n. 15, A.D. 1716). The third Amulet is a manuscript written in 1736 in the city of Erzrum (Karin) for a certain Ohan (Ms. n. 13). The scanned copies of these amulets are currently available through the website of Hill Museum and Manuscript Library (HMML).2 Since this paper is the first study of these amulets, it presents them in terms of codicology and bibliographical study and discusses their decoration. The study of some iconographic details will help to reveal the practice of using amulets and their meaning, considering them as a representation of Armenian “folklore-art”, since scribes and miniaturists were partly free to choose texts and decorate them, even they were mostly works of the priesthood.3 It should be noted that as artifacts of the same genre, having a purpose of protection of their owners using incantations and prayers, very often the content and decoration of these three Amulets have similarities. From this point of view, Ms. n. 13 (A.D. 1736) and Pr. n. 15 (A.D. 1716) are more relevant to each other both in content and, accordingly, in decoration. A selection of prayers and illustrations to them show almost the same structure, and for the printed Amulet, we can certainly argue that such structure was typical (but not limited) for the printed Amulets in the Armenian tradition from the 18th to 19th centuries. Despite some similarities with two previous Amulets, the Pr. n. 14 (19th century) represent another structure of content and its decoration. It is enriched with prayers and illustrations which does not exist in mentioned above two examples of the 18th century. E.g. engravings depicting the life of Christ (Annunciation, Birth of Jesus Christ, Baptism, Resurrection, etc.), or portraits of the evangelists, accompanied by the passages from their Gospels. Our research shows that the publishers of this Amulet had an eighteenth-century prototype and took an innovative approach using Western art engravings.

scholarly journals “A Quarter of an Hour before his Death, He Was Still Alive”: The Literary Character Image of La Palice and the Phenomenon of Nizy Style

2021 ◽  
Vol 6 (3) ◽  
pp. 72-95
Author(s):  
Konstantin V. Dushenko
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
Special Kind ◽  
17Th Century ◽  
Original Text ◽  
Literary Character ◽  
The 19Th Century ◽  
The Relationship ◽  
Early 18Th Century

La Palis is a literary character that appeared in anonymous couplets The Death of La Palis published in the early 18th century. The image of La Palis in songs is ambiguous: he is both a naive simpleton and a parodic counterpart of the panegyric image of Marshal Jacques de La Palice (1470–1525). The irony of these early verses about La Palis is usually explained by the simplicity of the soldiers who allegedly composed them in 1525 or by the further distortion of the original text. In reality, this irony bears the imprint of the 17th century burlesque poetry. In 1715, the literary image of La Palis was canonized by Bernard La Monnoy, the author of the term nizy style. The nizy style, also called the Lapalissade, is a special kind of tautology that, as Clement Rosset aptly put it, “for a moment causes a hallucination of difference.” In the 19th century, the typically Lapalissian formula “if they did not die, then they are still alive” is recorded in the tales of various peoples of Europe; the relationship between these national formulas remains unclear. The article also examines the mastering the nizy style by O. Goldsmith and Russian translators from the 18th century to the present day.

Yōga [洋画]

2018 ◽  
Author(s):  
J.M. Hammond
Keyword(s):  
Fixed Point ◽  
19Th Century ◽  
18Th Century ◽  
Full Scale ◽  
16Th Century ◽  
Oil Painting ◽  
Oil Paintings ◽  
Art Production ◽  
Pencil Drawing ◽  
Early 18Th Century

The term Yōga is used in Japan to refer to Western-style art. It is often used to specifically denote oil paintings but more widely can refer to a range of imported methods, such as watercolors, pencil drawing, etching and lithography. It is this concern with materials that has traditionally distinguished Yōga from Japanese methods of art production, rather than reference to Western pictorial devices such as fixed-point perspective. As a result of missions from Europe arriving in the 16th century, Japan’s earliest forays into Yōga were Christian paintings, at least until the religion was outlawed under the Tokugawa Shogunate, which also implemented a policy of national seclusion. But it lifted its ban on foreign books in the early 18th century, and a limited number of painters, notably Satake Shozan, Hiraga Gennai and Shiba Kōkan, turned their hand to oil painting. But the category of Yōga was not established until after the full-scale opening of Japan to the outside world in the mid-19th century. In 1856 the Shogun founded a bureau for research into Western studies, including art (the Bansho Shirabesho). One of its students, Takahashi Yuichi (1828–1894), later became a pioneer of Yōga.

Forward-Looking Retrospection: Enharmonicism in the Classical Era

2002 ◽  
Vol 19 (2) ◽  
pp. 332-373 ◽  
Author(s):  
Paula Telesco
Keyword(s):  
19Th Century ◽  
Large Scale ◽  
18Th Century ◽  
Central Place ◽  
The Other ◽  
Compositional Techniques ◽  
The Past ◽  
The 19Th Century ◽  
Early 18Th Century ◽  
Tonal System

Enharmonicism steps to the fore only occasionally in 18th-century music. Indeed, over the past two centuries, it has been commonly assumed that it was invoked only when a special affect demanded it (as in the much-discussed "Dance of the Furies" from Rameau's Hippolyte et Aricie). But a survey of 18th-century music refutes this perception and reveals that the enharmonicism of the 18th century can be broadly defined as belonging to one of two categories: simultaneous or immediate enharmonicism, and retrospective enharmonicism. Most early 18th-century examples restrict their usage to the simultaneous/immediate type, which consists of reinterpretations of enharmonic pivot chords. Retrospective enharmonicism, on the other hand, is less common than immediate enharmonicism but is remarkable because it presages the expansion of the diatonic tonal system into the chromatic tonal system of the 19th century. Retrospective enharmonicism does not involve the reinterpretation of an enharmonic pivot chord, nor is a reinterpretation perceived at any one point; it becomes clear only in retrospect that one must have occurred. Rather than a negation of some resolution tendency, as happens in the reinterpretation of a dominant seventh as an augmented sixth, there is a (typically large-scale) trajectory away from some tonic which is eventually regained through the enharmonic door. Some note or chord is respelled as its enharmonic equivalent, but without any aural clue. Drastic key changes of the sort typically encountered in instances of retrospective enharmonicism are for the most part proscribed in the writings of such composers and theorists as Rameau, Kirnberger, Koch, Heinichen, and Vogler, all of whom wrote in detail about staying within an orbit of closely related keys and rarely going directly from one key to another too far away. Nevertheless, this type of enharmonicism was a recognized compositional resource which, though used relatively infrequently in the 18th century, came to occupy a more central place in the realm of available compositional techniques in the 19th century.

scholarly journals The wooden architectural complex of the city and royal residence of the John III Sobieski in Kukizów

2020 ◽  
Vol 18 (4) ◽  
pp. 059-082
Author(s):  
Mykola Bevz
Keyword(s):  
Urban Planning ◽  
19Th Century ◽  
18Th Century ◽  
17Th Century ◽  
Art Historians ◽  
The 19Th Century ◽  
The City ◽  
Early 18Th Century ◽  
European Architecture

The palace in Kukizów of King of Poland John III Sobieski is known only to a narrow group of architecture and art historians. The palace and park complex ceased to exist in the 19th century. The architecture of the palace is known especially from the descriptions in the inventory documents from the early 18th century. Although the authorship of the palace design belongs to the well-known artists of the era – Augustyn Wincenty Locci and Piotr Beber, its architecture has not yet been reconstructed. A specific feature of the royal residence in Kukizów was the construction of royal buildings and town buildings in a wooden material. The intention to create a city complex and an entirely wooden residence was a unique experiment in the field of European architecture and urban planning of the 17th century. In the paper we present the results of our research on the architecture of the palace and town for the end of the 17th century.

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