scholarly journals Handel's use of plucked instruments

2013 ◽  
Vol 5 (2) ◽  
Author(s):  
Orlando Fraga
Keyword(s):  
18Th Century ◽  
Early Period ◽  
Vocal Music ◽  
17Th Century ◽  
Basso Continuo ◽  
Instrumental Color ◽  
Baroque Music ◽  
The Subject ◽  
Vocal Works ◽  
Early 18Th Century

Three central features of Baroque music encompass a large portion of questions about the performance of this particular repertory: its improvisatory aspect, the use of basso continuo, and the instrumental color and variety. Teorbo and lute solos, aside of playing a role as a continuo, filled in the intermissions of oratorios in Italy since late 17th century, while organ concertos provided the same function for English oratorios in the early 18th century. It is from Handel's early period ‒ his first trip to Italy in 1707 ‒ that teorbo and archiliuto start to appear in his vocal music. Handel employed either the teorbo or archiliuto (or simply liuto) in twelve vocal works and in one instrumental Ouverture.  A complete examination of the circumstances that involve this particular aspect of Handel's music is the subject this paper.  

scholarly journals Opera Dilogy der Beglückte Florindo (“Florindo Made Happy”) and Die Verwandelte Daphne (“Daphne Metamorphosed”) by G.F. Handel / Problem of Plot Formation

2020 ◽  
pp. 904-913
Author(s):  
Maria A. Kosheleva
Keyword(s):  
18Th Century ◽  
Early Period ◽  
Love Relationships ◽  
Unrequited Love ◽  
Fine Detail ◽  
Baroque Music ◽  
Performance Traditions ◽  
Baroque Opera ◽  
Early 18Th Century

In line with the interest of domestic researchers in libretto of vintage operas and Baroque music theatre, this article turns over a new leaf of the G.F. Handel’s operas of his early period, and also puts them into the context of the performance traditions of the Hamburg State Opera at the turn of the 17th and 18th centuries. Der beglückte Florindo (“Florindo made happy”) and Die verwandelte Daphne (“Daphne metamorphosed”) are the operas, which were performed on the stage of the Hamburg Theatre at the Gänsemarkt square (lit. Geese Market) and became not only the first G.F. Handel’s try on the genre of pastorals, but also a prime example of a Baroque opera dilogy. As the composer’s music sheets have been almost completely lost, the author is focused on the preserved texts of the libretto and sets an objective to identify their specificity in the context of plot formation of a Baroque opera. This article makes an attempt to analyze Handel’s opera dilogy in fine detail. Thus, the author reveals the underlying dramatic conflict between two gods – Phoebus and Cupid, determines the number of pairs of characters involved in the love dramaturgical line and provides schemes depicting their relationships. In addition, there are enlisted key plot motifs such as mutual/unrequited love motif, motif of suffering, death motif, hatred motif, revenge motif and guile motifs. The identification of the role of each of these motifs in the plot contributes to the confirmation of the hypothesis that Handel’s dilogy belongs to the traditional samples of the early 18th century operatic texts, which are distinguished by the complex intrigue, the intricate love relationships of characters, the typical plot and situational schemes

scholarly journals Findings of Early Hand Firearms from Southern Siberia

2019 ◽  
Vol 18 (5) ◽  
pp. 106-115
Author(s):  
A. P. Borodovsky ◽  
Yu. V. Oborin ◽  
S. L. Savosin
Keyword(s):  
Mass Production ◽  
18Th Century ◽  
Early Period ◽  
17Th Century ◽  
Armed Conflicts ◽  
Northern Asia ◽  
Southern Siberia ◽  
15Th Century ◽  
Different Origin ◽  
Written Sources

Purpose. This article is aimed at identifying early samples of hand firearms at different Siberian territories (Buriatia, the Upper Ob region). Such facts open new perspectives for studying and reconstructing the process of development and distribution of hand firearms in Northern Asia and helps identify regional peculiarities of this historic phenomenon. Results. One of the earliest firearms found on the territory of Southern Siberia is a bronze barrel of a Chinese hand firearms discovered in the valley of the Dzhida River in Buriatia, which refers to the Ming Epoch (the Yongle period). Judging by a serial number of the gun (50138), it was manufactured at the early period of mass production of hand firearms in China, i. e. in the first quarter of the 15th century. Currently, it is one of the earliest foreign samples of oriental firearms known in Siberia. In the Upper Ob region (in the surroundings of the Biysk Fortress (Ostrog), there was another tube of an early hand firearms found. It is of Russian origin and dates the second half of the 16th – beginning of the 17th century. These samples of Siberian firearms are archaic, which demonstrates a trend of using archaic weapons up to the beginning of the 18th century in the absence or lack of modern firearms. It is quite vividly demonstrated by the materials of the artillery treasure of the Umrevinsky Ostrog (1703). Conclusion. The buffer location of Southern Siberia between the growing territories of the Tsardom of Muscovy and Ming China starting from the 1500s A.D. determined the presence of foreign hand firearms of different origin. As evidenced by written sources, they were numerous on the territories where armed conflicts took place and defensive fortifications (Ostrogs) were subsequently constructed.

The first Russian dictionaries

2021 ◽  
pp. 36-43
Author(s):  
Н.Е. Касьяненко
Keyword(s):  
18Th Century ◽  
17Th Century ◽  
16Th Century ◽  
Alphabetical Order ◽  
14Th Century ◽  
15Th Century ◽  
History Of ◽  
The Subject

Статья посвящена истории развития словарного дела на Руси и появлению первых словарей. Затрагиваются первые, несловарные формы описания лексики в письменных памятниках XI–XVII вв. (глоссы), из которых черпался материал для собственно словарей. Анализируются основные лексикографические жанры этого времени и сложение на их основе азбуковников. В статье уделено внимание таким конкретным лексикографическим произведениям, как ономастикону «Рѣчь жидовскаго «зыка» (XVIII в.), словарям-символикам «Толк о неразумнех словесех» (XV в.) и «Се же приточне речеся», произвольнику, объясняющему славянские слова, «Тлъкование нεоудобь познаваεмомъ въ писаныхъ рѣчемь» (XIV в.), разговорнику «Рѣчь тонкословія греческаго» (ХV в.). Характеризуется словарь Максима Грека «Толкованіе именамъ по алфавиту» (XVI в.). Предметом более подробного освещения стал «Лексис…» Л. Зизания – первый печатный словарь на Руси. На примерах дается анализ его реестровой и переводной частей. Рассматривается известнейший труд П. Берынды «Лексикон славеноросский и имен толкование», а также рукописный «Лексикон латинский…» Е. Славинецкого, являющий собой образец переводного словаря XVII в. The article is dedicated to the history of the development of vocabulary in Russia and the emergence of the first dictionaries. The first, non-verbar forms of description of vocabulary in written monuments of the 11th and 17th centuries (glosses), from which material for the dictionaries themselves were drawn, are affected. The main lexicographical genres of this time are analyzed and the addition of alphabets on their basis. The article focuses on specific lexicographical works such as the «Zhidovskago» (18th century) the dictionaries-symbols of «The Talk of Unreasonable Words» (the 15th century). and «The Same Speech», an arbitrary explanation of slavic words, «The tlution of the cognition in the written», (the 14th century), the phrasebook «Ry subtle Greek» (the 15th century). Maxim Greck's dictionary «Tolkien names in alphabetical order» (16th century) is characterized. The subject of more detailed coverage was «Lexis...» L. Sizania is the first printed dictionary in Russia. Examples give analysis of its registry and translation parts. The famous work of P. Berynda «Lexicon of Slavic and Names of Interpretation» and the handwritten «Lexicon Latin...» are considered. E. Slavinecki, which is a model of the 17th century translated dictionary.

Cello in the Baroque, part 1

2018 ◽  
Vol 1 (9) ◽  
pp. 9-42
Author(s):  
Jakub Kościukiewicz
Keyword(s):  
Performance Practice ◽  
18Th Century ◽  
Slope Angle ◽  
Popular Science ◽  
17Th Century ◽  
Basso Continuo ◽  
Viola Da Gamba ◽  
And Performance ◽  
Tuning Methods ◽  
Solo Instrument

The article was based on a fragment of the author’s doctoral dissertation entitled The birth of cello as a solo instrument – instruments, practice, and selected literature examples (Academy of Music in Łódź, chapter The evolution of cello in the 17th century) and consists of two parts. The first part outlines of the evolution of cello from its birth in the 16th century to the 18th century (the text is supplemented with illustrations), whereas the second part describes the role and use of cello in music of that period. The introduction to the article includes a critical reference to the list of academic and popular science publications therein, in Polish and other languages, touching on the cello issue in the 17th and 18th centuries. The historical part touches on the circumstances of how the violin family emerged with a special attention paid to bass representatives of that group of instruments. Following a detailed analysis of preserved instruments, their reliable copies, luthier publications, illustrations and treatises from that period, the author discussed the construction of the earlies cellos. Apart from data concerning sizes and scale length of these instruments, the article includes information about their body, neck, fingerboard (with slope angle), bridge and tailpiece, materials they were made of, and types and gauge of strings used at that time. It also describes cello tuning methods. Moreover, the author mentions different types of cello (piccolo, da spalla, basse de violon) and different ways of how it was held. A separate issue are the bows, especially types of bows, their evolution and ways of holding. This part of the article is concluded with a list of different names of bass variants of the violin used in the 16th and 17th centuries before the name cello/violoncello finally settled. The second part of the article elaborates on the most important functions of cello: as a consort instrument, a universal continuo instrument or a solo instrument. Cello (along with viola da gamba or dulcian/bassoon) managed especially well as a melodic instrument co-rendering the continuo parts, and the result was that the basso continuo became the most important domain of cello in the Baroque, having a significant influence on the shape of playing technique and performance practice of that instrument. As one of melodic bass instruments, cello performed an important role in shaping the concertante style, along with the violin, shawm/oboe, cornet or flute. It was that practice combined with the improvisation practice developed simultaneously (which also influenced the development of the instrument itself) that the idea to write first autonomous compositions for the cello (solo, chamber or with basso continuo) emerged from at the end of the 17th century. Continuation of this article, which shall be devoted to Baroque works for the cello and their composers, will be published in the following issue of “Notes Muzyczny”.

scholarly journals Stolen wealth, perpetrators and punishments in Moldova (17th century – early 18th century)

2020 ◽  
Vol 26 ◽  
pp. 105-129
Author(s):  
Cătălina Chelcu
Keyword(s):  
Justice System ◽  
18Th Century ◽  
17Th Century ◽  
Historical Period ◽  
Social Categories ◽  
Documentary Sources ◽  
The Social ◽  
History Of ◽  
Blood Money ◽  
Early 18Th Century

For the historical period we refer to, no proper inventories have been made containing the unjustly appropriated goods. They are just mentioned as such or listed, if that was the case, according to the size of the damage. There are also documentary sources in which the object of the theft is less represented, the justice system focusing in those cases rather on the wrongdoers, than on the wrong actions. That is why, the blood money “paid for some reason”, with no other specific details, is quite frequently cited. Rare or frequent, these documents are complaints addressed by the victim to the Prince and his officials, documents in which the perpetrators admitted their fault, or deeds issued by the judicial authority subsequent to the investigation of the criminal act. In discussing the theft of/from the wealth, i.e. from the whole amount of the available goods, we are interested in clarifying some aspects pertaining to a reality that the historian should reconstruct, with all the complexity of its evolution: the motivations of the theft and its circumstances, the types of theft, the social categories involved, the time and space of the misdemeanour, the perpetrators’ punishment. Briefly, the study is about starting to write a history of the reprehensible acts liable to punishments for theft and robbery in 17th and early 18th century Moldavia.

scholarly journals Johann Christian Heuson, a little-known auroral scholar of the early 18th century

2011 ◽  
Vol 2 (2) ◽  
pp. 89-95
Author(s):  
K. Schlegel ◽  
S. Silverman
Keyword(s):  
18Th Century ◽  
Natural Phenomenon ◽  
The Subject ◽  
Divine Wrath ◽  
Early 18Th Century

Abstract. Heuson published two booklets of observations of the aurora of 17/18 February, 1/2 March 1721, and 16/17 November 1729 together with contemporary thoughts about the subject. His work characterizes him as a well-educated scholar familiar with contemporary auroral observations and theories. Heuson rejects views of the aurora as an omen or portent of divine wrath, but explains the aurora as a natural phenomenon and is thus in line with other well-known auroral scholars of that time.

scholarly journals Ensalades en clausura: Una primera aproximació als cançoners del convent de les carmelites descalces de Santa Teresa de Vic

2016 ◽  
Vol 7 (7) ◽  
pp. 187
Author(s):  
Aurèlia Pessarrodona
Keyword(s):  
Present Article ◽  
18Th Century ◽  
17Th Century ◽  
The Other ◽  
Literary Creation ◽  
Music Theater ◽  
Modern Age ◽  
Early 18Th Century

Resum: La recent troballa de dos cançoners al convent de Santa Teresa de Vic, datables al segle XVII, ve a ampliar i enriquir de manera considerable el que ja se sabia sobre la creació literària conventual i la presència de música, cants i altres manifestacions performatives dins de la clausura del Carmel descalç femení durant l’Edat Moderna. En aquest article es fa una primera aproximació a aquests cançoners, que posa de manifest les diferències entre ambdós: un recull repertori forà més antic, del segle XVI i inici del XVII, entre el que hi destaca la curiosa presència de moltes de les ensalades editades per Mateu Fletxa el Jove a Praga l’any 1581; i l’altre és un excel·lent exemple de la creació literària de les pròpies monges, amb obres que abarcarien tot el segle XVII i inicis del XVIII. A més de descriure els manuscrits i apropar-se al seu contingut situant-lo en el seu context, en el present article es reflexiona sobre la possible praxi performativa del repertori, especialment sobre les ensalades.   Paraules clau: carmelites descalces, clausura, cançoners, ensalades, Mateu Fletxa   Abstract: The recent finding of two songbooks in the convent of Saint Therese in Vic (Barcelona), dated to the 17th century, broadens and enriches strikingly what was already known about the literary creation in monasteries and performative manifestations —music, theater, dance— in the enclosed life of female discalced Carmel during the Modern Age. This article provides a first approach to these songbooks, that shows significant differences between them. The first one collects a foreign and older repertory, from 16th and early 17th centuries, that includes the unusual presence of ensaladas edited by Mateu Fletxa the Youger in 1581. The other one is an excellent example of literary creation of the nuns, with works dated from 17th to early 18th century. As well as a description of the manuscripts, an approximation to their content and placing them in their context, the article includes some reflections concerning the performative practice of this repertory, above all of the ensaladas.   Keywords: discalced carmelites, cloister, songbooks, ensaladas, Mateu Fletxa

scholarly journals »Strafspiel« und satirische Stilmittel in musikdramatischen Gattungen des frühen 18. Jahrhunderts

2020 ◽  
Author(s):  
Livio Marcaletti
Keyword(s):  
Case Studies ◽  
18Th Century ◽  
Johann Sebastian Bach ◽  
Italian Opera ◽  
Opera Seria ◽  
Opera Buffa ◽  
Vocal Works ◽  
Early 18Th Century

The tendency of today’s historiography to portray early 18th-century Italian opera as a dichotomy between opera seria and opera buffa takes too little account of the existence of genera mixta. However, contemporary composers and authors sometimes referred to a tripartiton. In his treatise Der vollkommene Capellmeister (1739), Johann Mattheson distinguishes between tragedy, comedy and satire. His description of the melodies from a satirical opera is limited to the statement that they are “ridiculous, poseuristic and prickly”. This definition can be applied to the analysis of dramatic vocal works with the help of Gérard Genette’s category of “burlesque travesty” which describes the stylistic degradation of a tragic-heroic subject as a satirical function. This stylistic mixture is achieved by the use of specific musical devices, which are shown in this article on the basis of case studies on music by Francesco Bartolomeo Conti, Johann Sebastian Bach and Georg Friedrich Händel.

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