Der bislang unbekannte Immatrikulationseintrag Corellis aus dem Jahr 1672 wird für die Biographie ausgewertet. Die Annahme neuerer Biographen, dass Corelli eher 1670-1674 in Bologna war, erscheint ...wahrscheinlicher.
The Heartz RICE, JOHN A.
Music theory spectrum,
12/2014, Letnik:
36, Številka:
2
Journal Article
Recenzirano
Daniel Heartz has called attention to passages in eighteenth-century music with subdominant harmony over a tonic pedal, which convey a sweetness and tenderness characteristic of a certain strain of ...the galant style. These passages can be described as elaborations of a voice-leading schema in which a melody moves from the fifth scale degree to the sixth and then returns to the fifth, over a bass that sustains the first scale degree. I call this schema “the Heartz” and demonstrate how composers from Corelli to Mozart used it as an opening gambit and a riposte in vocal and instrumental music.
A manuscript score of two movements of Corelli's Concerti Grossi Op. 6 kept in the Staatsbibliothek in Berlin, taken to be the only preserved autograph of the composer's work, was most probably ...produced by an eighteenth-century South German or Austrian organist, who put together a set of parts.
Front Matter
The Journal of musicology (St. Joseph, Mich.),
10/2012, Letnik:
29, Številka:
4
Journal Article
Recenzirano
Christopher Hailey and Klra Mricz, Editors Marian Green, Founding EditorAnthony Newcomb and Kate van Orden, Issue Editors Alison Mero, Managing Editor Juliane Brand, Copy Editor Editorial Board Karol ...Berger Harris Berger Ko Agawu Graeme Boone Wendy Heller Tim Taylor Charles Atkinson John Ndas Ellen Rosand www.journalofmusicology.org The Journal of Musicology (ISSN 0277-9269, e-ISSN 1533-8347) is published four times a year ( January, April, July, October) by University of California Press, Journals and Digital Publishing, 2000 Center Street, Suite 303, Berkeley, CA 94704-1123. Authorization to copy article content beyond fair use (as specied in Sections 107 and 108 of the U.S. Copyright Law) for internal or personal use, or the internal or personal use of specic clients, is granted by The Regents of the University of California for libraries and other users, provided that they are registered with and pay the specied fee through the Copyright Clearance Center (CCC), http://www.copyright.com. Robert Holzer Margaret Notley Anthony Newcomb James Grier Anne Shrefer Advisory Board Jeffers Engelhardt Jeffrey Kallberg Philip Bohlman Ellie Hisama Steven Zohn Melanie Lowe Robert Gjerdigen Christopher Reynolds Stephen Hinton Albin Zak Emeritus Board Members James Haar Alejandro Planchart Submissions The Journal of Musicology welcomes articles in all areas of musical scholarship, including history, criticism, analysis, and performance practice.
Treatises, reports and iconographic documents testify to the great variety of violin techniques coexisting in Corelli’s lifetime. Cristofor Schor’s famous engraving of Corelli leading an orchestra at ...the Piazza di Spagna in 1687 shows Corelli holding his instrument against the chest. This technique is also documented for the Italian violinvirtuosiMatteis, Geminiani, Veracini, Locatelli and others and was, according to drawings by Pier Leone Ghezzi, widespread in the Roman milieu long after Corelli’s death. Taking sociological, functional, regional and chronological aspects into consideration, there is a strong evidence for the credibility of Schor’s document.
Although a violin hold against the chest complicates shifting at first,virtuosiof the time were able to manage the most difficult passages very well with this particular violin technique. While anecdotes report Corelli’s failure as a violinist in the highest hand positions, it was certainly not because of this hold, nor was this the reason for the fairly modest technical requirements of Corelli’s op. 5. In fact, it is not at all sure that Corelli intended to show his virtuosity with the sonatas of op. 5. Corelli’s playing was in fact praised by his contemporaries; his skill as a violinist lay not in the high left-hand positions, but rather in his complete control of the bow. Robert Bremner reports that this was a criterion for Corelli’s choice of violinists in his orchestras. The ability of Roman orchestras to play with nuanced dynamic control, as described by contemporary observers, confirms this feature of Corelli’s violin school.
Archangelo Corelli, who left 142 paintings at his death in 1713, was not the only musician collecting art in late-Baroque Rome. The violinist, amateur composer, and follower of Corelli, John ...Ravenscroft, alias Giovanni (Battista) Rederi (London, 1662/65-Rome, 12 October 1697)—about whose biography practically nothing was known till now — collected 44 paintings, and Bernardo Pasquini (1637-1710), who has been considered Corelli's equivalent at the keyboard, collected as many as 156. The inventory of Pasquini's collection is particularly important because it is the only document so far emerged proving the attribution of the famous portrait representing Pasquini at the harpsichord to Andrea Pozzo (1642-1709). The two musicians were also passionate instrument collectrs: Ravenscroft owned five violins by the well-known maker Mathias Albani, and Pasquini's apartment provided space for the same number of harpsichords and spinets. Collections left by the celebrated soprano castrato of the Cappella Sistina Bonaventura Argenti (1620/21-1697) and the maestro di cappella Angelo Olivieri (ca. 1636-1715) are also mentioned. Appendices provide lists of painters indicated in Ravenscroft's inventory (1697) and in Pasquini's inventory, drafted by Paolo Giussano (1710), as well as partial transcripts from Ravenscroft's will and inventory and Pasquini's inventory, both preserved at the Archivio di Stato, Rome.
In identifying the external musical influences on Buxtehude's preludes and toccatas scholars have rightly focused on the keyboard music of Frescobaldi and his German imitators. The increasing ...importance of Italian string writing in the second half of the 17th century has not been seen as relevant to Buxtehude but rather to subsequent generations of German organists. This article argues that the first glimpses of the Italian string style in north German organ music can be seen in Buxtehude's organ works, and that these probably stem from the sonata publications of the most influential string writer of the period, Arcangelo Corelli, whose music appears to have circulated both widely and rapidly after publication. Aspects of the Corellian style are not fully integrated into Buxtehude's music, as in the later case of Vivaldi and Bach, but appear as isolated outcrops. The evidence enhances our view of Buxtehude as seeking to keep abreast of the latest Italian styles right through to the end of his life, when his pupils included the young J. S. Bach. The identifications have implications for the vexed question of the dating of Buxtehude's organ works, and for issues relating to keys and performance practice.
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