Never before the year of Igor Stravinsky’s eightieth birthday had I been privileged to speak publicly or to write about the music of Stravinsky. That I was then invited to do so, and that I accepted ...this invitation happily and proudly might have been construed by some simply as evidence that invitations to birthday celebrations are tendered in a spirit of generosity and forgiveness, but must certainly have been interpreted by some less credulous others as a further evidence of a sinister realignment of allegiances, which has attended and reflected certain aspects of Stravinsky’s compositional activity during the past decade.
The last cantata composed in Weimar (1716), its use on the Fourth Sunday of Advent was not suitable in Leipzig, so it was used for the feast of the Visitation of Mary to Elizabeth and performed in ...1723 in an extended version that included the chorale sung at the end of each half, the closing version using the text famously known as Jesu, joy of mans desiring. The DVDs are not distributed outside German-speaking countries, but I found seeing it was useful to get an idea of how the concert series has been functioning since 2006. No. 147, however, has enjoyed a number of splendid recordings since the first complete versions by Fritz Werner and Kurt Thomas, both recorded in March 1957, one in mono, the other in stereo, followed two months later by Geraint Jones on His Masters Voice, also in stereo. Besides the complete sets of cantatas, the most recent version came from the Thomanerchor (37:2) with treble soloists but modern instruments.
Presents the author's edition of the Italian cantata "Mi Palpita il Cor" with introductory commentary. Explains that the cantata form for soprano, solo instrument, and continuo is a genre which the ...composer exploited in a masterly way which is not as well known as it deserves to be since not many modern performing editions are generally available. Explains the editorial choices and makes some interpretive suggestions. Reproduces the sheet music for the arrangement, followed by notes and a facsimile of the last page of the composer's autograph manuscript.
Garden examines the musical structure and poetic design in Andre Campra's Cantata airs. In his first book, "Cantates francoises," the pride of place accorded da capo form reflects the enthusiasm with ...which French composers took up fashionable Italian styles at the end of the 17th century.
Interpretations of Doktor Faustus have been dominated by the assumption that Mann did not take Goethe's Faust but the medieval legend of Faust's damnation as his model. But Mann reopens the ...possibility of Faust's salvation by doubting the authority of the devil's pact. The devil's contract, ostensibly a bona fide promise of creativity to the composer Adrian Leverkühn, turns out to be a hoax. Moreover, Leverkühn's malevolence, exhibited in his diabolic music, is healed by the musician's love for his nephew Echo. It is Leverkihn's regeneration by love, not the devil's gift, that makes possible the musician's creative breakthrough, for genuine creativity is an act of love. The foundation for Leverkühn's salvation is the biblical fall and redemption, functioning as the grounding myth for the devil's connivance and the sinner's restitution. But divine grace is ironic-an unmerited and unexpected overturning of sin-and we cannot anticipate Leverkühn's redemption with certainty.
Attempts to document the current trends in Bach interpretation in contemporary Germany, using interviews, concerts, and contemporary recordings as a source. Topics discussed include the interpretive ...trends found under the East German communist dictatorship, Bach performance in contemporary Saxony, new Bach directions in Cologne, and Bach traditions in Munich and Stuttgart. Also looks at the different approaches among performers and musicologists towards Bach's work, treatment of Bach in contemporary media, and the religious dimensions of the composer's work.
The discovery of a new anthology of secular songs from Madrid fills an important lacuna in our understanding of secular music in seventeenth-century Spain. The Biblioteca Xeral of the University of ...Santiago de Compostela — near the romanesque cathedral for which the famous Codex Calixtinus was written — preserves a manuscript of 111 folios (E-SCu MS 265) which has hitherto escaped the attention of both musicological and literary scholars. It contains 100 anonymous songs, all but two for solo voice and continuo, and was copied by a certain José Miguel Guerra, scribe of the Spanish Royal Chapel. The manuscript is undated but, as we will argue later, it appears to have been compiled around 1680. If this estimate is correct, it would make this anthology the earliest collection of its kind, a significant missing link between the latest polyphonic
cancioneros
of the mid-seventeenth century and the numerous anthologies of solo songs and cantatas from the 1690s onwards. This article represents a preliminary investigation of the manuscript, its contents and the circumstances of its compilation, though many of the questions surrounding the collection will have to await further study.
BACH Cantatas: No. 206; No. 215 Masaaki Suzuki, cond; Hana Blazikova (sop); Hirya Aoki (ct); Charles Daniels (ten); Roderick Williams (bs); Bach Collegium Japan (period instruments) BiS 2231 (SACD ...70:23 Ш) This is Volume 8 of Masaaki Suzuki's exploration of Bach's secular cantatas. Bach's assembled secular cantatas are little like the United States Treasury's National Parks quarters.
Este trabalho consiste numa abordagem retórico-figurativa dos vinte e quatro prelúdios e fugas do primeiro livro do Cravo bem temperadode J.S. Bach à luz dum entendimento devocional advindo duma ...apurada análise do específico contexto cultural em que o compositor e a obra se inserem. A partir duma atenta análise da terminologia presente no seu título de frontispício será evidenciada, enquanto obra didáctico-pedagógica, a sua adequação aos aspectos devocionais ínsitos no conceito de instrução na cultura luterana. Desta forma será feita uma sua leitura, do ponto de vista simbólico-religioso, das figuras retóricas presentes nesta obra, justificada pelos frequentes paralelismos figurativos advindo da comparação do seu material temático com as obras de carácter explicitamente religioso. Os resultados deste trabalho pretendem ser uma ulterior contribuição para uma abordagem historicamente informada da interpretação do primeiro livro do Cravo bem temperado.
