Early Baroque Research Articles

Himene: A Hybrid Product of Intercontinental Cross-Relations

Some Considerations on the Relationship between Humanist Thinking and the Change in Texture in the Music of the Early Baroque Jorge A. Falcón ; Martin Herraiz Abstract This study aims to carry out some considerations about the changes that took place in music during the late 16th and early 17th centuries. We discuss Humanism as an intellectual, philosophical, and artistic movement, as well as its consequences in the way art was produced and in the techniques that express these changes. Painting and literature serve as theoretical frameworks for the introduction of elements that help to understand more specific changes in the field of music, particularly the change in texture. Some studies in the field of cognition are also considered, so as to determine fundamentals of perceptual psychology that may justify such changes in musical texture. Full Text: PDF DOI: 10.15640/ijmpa.v4n1a4

“Some witless paraclete beleaguered with all limbo’s clamor”: On Violent Contagion and Apocalyptic Logic in Cormac McCarthy’s Outer Dark

Research Article| May 01 2015 “Some witless paraclete beleaguered with all limbo’s clamor”: On Violent Contagion and Apocalyptic Logic in Cormac McCarthy’s Outer Dark Markus Wierschem Markus Wierschem University of Paderborn, Germany Search for other works by this author on: This Site Google Contagion: Journal of Violence Mimesis and Culture (2015) 22: 185–202. https://doi.org/10.14321/contagion.22.1.0185 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Markus Wierschem; “Some witless paraclete beleaguered with all limbo’s clamor”: On Violent Contagion and Apocalyptic Logic in Cormac McCarthy’s Outer Dark. Contagion: Journal of Violence Mimesis and Culture 1 May 2015; 22 185–202. doi: https://doi.org/10.14321/contagion.22.1.0185 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectiveMichigan State University PressContagion: Journal of Violence Mimesis and Culture Search Advanced Search The text of this article is only available as a PDF. © 2015 Michigan State University Press2015 Article PDF first page preview Close Modal You do not currently have access to this content.

A Musical Fight between Soul and Body in 1600

Abstract The subject of this article is a discussion of Emilio de’ Cavalieri’s early Baroque music drama, Rappresentatione di anima, et di corpo (The Play of Soul and Body), performed in Rome in 1600 with a particular focus on the ambivalence apparent in this work between the text’s explicit pious plea for renouncing worldly pleasures on the one hand and, on the other hand, the theatrical, musical, and even textual means in the play intended to delight the audience, but also through this delight to bring about its religious message to the audience. This ambivalence may shed light on broader issues of cultural history connected to continuities and changes in Reform Catholicism in the sixteenth and seventeenth centuries. Although seemingly influenced by a general pessimism of the time, the Catholic world could draw on a devotional, aesthetically resourceful, tradition providing ambiguous relief in contemporary pious culture, including Cavalieri’s avant-garde music dramatic devotion.

Artystyczna fundacja kanonika Johanna Jakoba Brunettiego dla katedry wrocławskiej

ART FOUNDATION OF JOHANN JAKOB KANON BRUNETTI FOR THE WROCŁAW CATHEDRAL The text concerns the creation of the first Baroque chapel erected at the southern aisle of the Wrocław cathedral in 1672, and its interior. The founder of the chapel was Wrocław Canon Johann Jakob Brunetti (1629–1692), who came from Massa di Carrara, Tuscany and was laid to rest in the chapel’s crypt along with his brother Johann (1646–1703), the assistant bishop. Despite its modest size the work deserves attention for its preserved decor – the altar and two epitaphs made of Dębnik marble and rich acanthus frieze, contrasting with the dome’s vault, decorated with coffers and rosettes. The applied forms indicate good knowledge of both Italian Renaissance and early Baroque traditions displayed by the designer of the work, Carlo Rossi, who came from the vicinity of Como, Lombardy. It makes the chapel an interesting work of art of dual stylistic character, which along with the chapel of St. Cross at the Church of BVM on Piasek Island, initiated the erection of further works of this type at the cathedral and at the Dominican and Premonstratensian churches in Wrocław.

Investigation of Cheb relief intarsia and the study of the technological process of its production by micro computed tomography

Abstract Cheb relief intarsia is one of the most significant artistic techniques used in the early and middle baroque furniture manufacturing. The origin of this exceptional technique is closely tied to the city of Cheb and in a wider perspective, similarly to rondocubism or cubism applied in architecture; it is a branch of decorative arts distinctive just only for Czech lands. Here we report on the findings made on the basis of non-destructive X-ray micro computed tomography (μCT) analysis for determination of the condition and characteristics of the inner structures of an original plate of Cheb relief intarsia. The results of this analysis not only helped to clarify the manufacturing process itself, but also contributed to aim the future actions of the effective intarsia conservation in regard to the spreading internal cracks and defects in the plate discovered by μCT analysis.

The Kyries of J. S. Bach's B-minor Mass and Gottlob Harrer's D-major Mass (Harwv 32): Between Late Baroque and the "Style Galant"

The Kyries of J. S. Bach's B-minor Mass and Gottlob Harrer's D-major Mass (Harwv 32): Between Late Baroque and the Style Galant Jordi Rifé i Santaló JrhichIcomposer'soneohannheoftheSebastiancomposedzenithsownwork.Bach'sinthetheKyrieItshistoryMassconception1andinofBmusictheminorGloriaisasdated(BWVwellfor1733,as232)perhapsthetherepresentsCourtyearintheofin oneofthezenithsinthehistoryofmusicaswellasperhapsinthe Icomposer'sownwork.Itsconception1isdated1733,theyearin hichhecomposedtheKyrieandtheGloriafortheCourtof Dresden,undertheruleofFrederickAugustusII,ElectorofSaxony (andKingofPolandasAugustIII).WhiletheSanctushadalready beencomposedin1724,therestoftheMass-Credo,2Sanctus, Benedictus,andAgnusDei-wascompletedbetween1748and1749.3 'ChristophWolff,JohannSebastianBach:HIMúsicosabio,vol.2(Barcelona:Robinbook, 2003),146.SeealsoChristophWolff,JohannSebastianBach.Messeinh-Moll(Kassel: Bärenreiter,2009),10-15.1wouldalsoliketothankProf.Dr.ChristophWolfffor thekindness,generosity,andadvicehehasgivenmeinmyresearch,andthankas wellthewholegroupofresearchersandlibrariansoftheBachArchiveinLeipzig. ChristophWolff,ť"Etincarnatus'and'Crucifixus':TheEarliestandtheLatest SettingsofBach'sB-MinorMass,"Eighteenth-CenturyMusicinTheoryandPractice:Essays inHonorofAlfredMann,ed.MaryAnnParker(Stuyvesant,NY:PendragonPress, 1994).TheCrucifixuswasbasedonthefirstvocalmovementinťťWeinen,Klagen, Sorgen,Zagen"BWV12,composedinWeimarin1714. ForallinformationaboutthecompositionoftheB-minorMass,seeWolff,(2003), op.cit.,221-25and(2009),op.cit.,13-20and134-35. BACH:JournaloftheRiemenschneiderBachInstituteofBaldwinWallaceUniversity Comparison of Bach and Harrer Kyries 69 Gottlob Harrer's4 Mass in D major (HarWV 32) was compos in December 1735 and was also created for the court in Dresden. Harrer wrote several works,5 but so far only two of his masses are known to have survived: the Mass in D major and the Mass in F major (HarWV 33). The two masses contrast in style and construction : the instrumental and vocal resources of the Mass in D major are clearly used in the style of a concert mass, whereas instruments play a lesser role in the Mass in F major, being absent in the Credo and Agnus Dei and appearing colla parte in the Kyrie, Gloria, and Sanctus. These aspects make the Mass in F closer in musical style to the masses of the early Baroque. Its Kyrie has therefore been discarded for the purposes of the present study. The reason for comparing the two Kyries (that of Bach's Mass in B minor and Harrer's Mass in D major) is based on seven common characteristics: 1) both works were intended for performance at a Catholic religious service, 2) both were written for the court in Dresden, 3) both were conceived as a Missa solemnis^ 4) the gap between the composition of the two Kyries is two years - 1733 and 1735 - close enough in time to make their distinctive features noteworthy; 5) Harrer was Bach's successor as Cantor at the Leipzig Thomaskirche (which in itself brings added interest that helps discern analogies and differences between the two works and, in the process, corroborates the aesthetic and stylistic changes already indicated by other scholars),6 6) they are similar in their timbrai and textural treatment, and 7) samples from the two Masses indicate that the Kyries present the generative material from which the other parts of the Masses are later developed (in a more or less recurrent manner). 4AI1 references to Harrer's music should be cross-referenced with Ulrike Kollmar, Gottlob Harrer (1703-1755), Kapellmeister des Grafen Heinrich von Brühl am sächschichpolnischen Hof und Thomaskantor in Leipzig (Beeskow and Berlin: Ortus Musikverlag, 2006). 5See Kollmar, 1 74-248, and Andreas Glöckner, "Handschriftliche Musikalien aus den Nachlässen von Carl Gotthelf Gerlach und Gottlob Harrer in den Verlagsangeboten des Hauses Breitkopf 1761 bis 1769," Bach-Jahrbuch (1984): 107-16. 6See, in this respect, Kollmar, op. cit., and Michael Maul, " Vero berühmbter Chor": Die Leipziger Thomasschule und ihre Kantoren ,121 2-1 804 (Leipzig: Lehmstedt Verlag, 201 2), 258-66. 70 Bach The objective of t compositions, with both the style and hypothesis that th music, which fluct My basic sources f editions of Johan 232) - and the Lateini musikJ Finally, the methodology used seeks to encompass the parameters of any musical analysis with regard to its timbrai or formal aspects, as well as those concerning the relationship between music and text. I believe that these parameters can give us indicators suitable for developing these objectives and this hypothesis. Comparative Analysis of the Kyries Table 1 below offers a detailed comparison between the Kyries of Bach's Mass in B minor and Harrer's Mass in D major, using various parameters that reveal the analogies and differences between the two composers: 7Both for study purposes and for the examples appearing in this work, I have based my references on Johann Sebastian Bach, Neue Ausgabe Sämtlicher Werke , Frühfassungen...

Improvisation in Vocal Contrapuntal Pedagogy: An Appraisal of Italian Theoretical Treatises of the Sixteenth and Early Seventeenth Century

The extemporaneous application of pre-assimilated compositional paradigms into musical performance retained a central position in the training of Medieval and Renaissance musicians, specifically within the context of Western polyphonic practice. Recent scholarship has shown the significance of memorization in the oral transmission of plainchant and early polyphony. Attention has been particularly directed to aspects of orality and literacy in relation to “composition” (the term here applies to both written and oral), and, at the same time, studies correlated to fifteenth and sixteenth century contrapuntal theory, have mainly focused on the works of single theorists. The information we possess regarding improvised vocal counterpoint rests almost entirely on theoretical treatises, which in spite of their simplistic nature, provide us with a relevant, even though partial, account of the subject. Through a close scrutiny of various unexamined theoretical sources, this investigation attempts to present a thorough historiographical account of the phenomenon. What emerges is the persistence of a long-standing didactic tradition and performance practice of improvised vocal counterpoint well trough the early Baroque era. As it will be shown, Italian treatises of this period, in addition to presenting more or less standardized contrapuntal rules, often provided students (in most cases amateurs) and singers with supplementary practical examples of basic interval progressions, cadential patterns and graphic illustrations, which were conceived as a mnemonic gamut of formulas to be incorporated into contrapuntal practice.

Architektura i wyposażenie kościoła i klasztoru Karmelitów bosych w Wiśniczu

Ufundowany w Wiśniczu przez Stanisława Lubomirskiego (1582–1649) kościół Chrystusa Salwatora i klasztor Karmelitów bosych był dziękczynnym votum za zwycięstwo odniesione pod Chocimiem oraz szczęśliwe zakończenie wojny polsko-tureckiej w 1621 roku. Założenie klasztorne zostało wzniesione opodal rodowego zamku Lubomirskich w Wiśniczu wg planów Macieja Trapoli w latach 1622–1635. Konsekrowany 1 lipca 1635 roku kościół klasztorny pod wezwaniem Chrystusa Salwatora otrzymał bardzo bogate wyposażenie, podobnie jak i sam klasztor. Kościół wzniesiony wg reguł zakonu karmelitańskiego był budowlą murowaną, na rzucie krzyża łacińskiego, o zwróconym na południe dwuprzęsłowym prezbiterium oraz jednonawowym, także dwuprzęsłowym korpusie, otoczonym po bokach rzędem kaplic bocznych, połączonych ze sobą wąskimi przejściami i otwartych do głównej nawy arkadami ujętymi w archiwolty, wspartymi na filarach. Wnętrze ozdobiono bogatą dekoracją stiukową, wykonaną przez Jana Chrzciciela Falconiego, skomponowaną między innymi z panopliów o motywach tureckich, co bezpośrednio nawiązywało do zwycięstwa chocimskiego. Pod ramionami transeptu urządzono rodowe mauzoleum Lubomirskich z ołtarzem Ukrzyżowania. Niestety w wyniku zawieruch dziejowych nie przetrwało ani bogate wyposażenie kościoła, ani sama świątynia, zburzona przez niemieckiego okupanta w latach 1940–1942. Przylegający do kościoła od strony południowej i zachodniej klasztor był budowlą podpiwniczoną i murowaną. Wzniesiono go w stylu wczesnobarokowym na planie regularnego czworoboku o wymiarach 61 × 62 m, z trzema dziedzińcami wewnętrznymi i wnętrzami sklepionymi kolebkowo i krzyżowo. Budynek klasztoru po kasacie zakonu przez cesarza Józefa II w 1783 roku został zamieniony na więzienie.

A ‘once in a lifetime’ experience: ‘Conservation in action’ for Thornhill's wall paintings at Hanbury Hall, Worcestershire, UK

The National Trust owns and opens to the public historic houses containing an enormous quantity and range of decorative arts. Conserving these features in ways that enhance visitors' enjoyment through their experience of the conservation work is now as important an objective of conservation in the National Trust as improving these features' state of conservation. This paper takes as an example the conservation of the early eighteenth-century Baroque wall paintings decorating the staircase of Hanbury Hall (Worcestershire, UK) which presented considerable challenges not only in conservation but also in enabling the visiting public to experience the work. Evaluation of visitors' response is presented and discussed in the context of evaluations of other ‘conservation in action’ projects across the National Trust.

A CORNERSTONE IN ARCHITECTURAL HISTORY: THE DEDICATION OF ST. PETER'S ABBEY CHURCH, GHENT, 1629

Previous articleNext article No AccessA CORNERSTONE IN ARCHITECTURAL HISTORY: THE DEDICATION OF ST. PETER'S ABBEY CHURCH, GHENT, 1629Anne-Françoise Morel, and Dagmar GermonprezAnne-Françoise Morel Search for more articles by this author , and Dagmar Germonprez Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Source Volume 31, Number 2Winter 2012 Sponsored by the Bard Graduate Center, New York Article DOIhttps://doi.org/10.1086/sou.31.2.23208931 Views: 9Total views on this site Citations: 1Citations are reported from Crossref © 2012 Ars Brevis Foundation Inc.PDF download Crossref reports the following articles citing this article:Maarten Delbeke Religious Architecture and the Image in the Southern Netherlands after the Beeldenstorm : Shrines for Miracle-Working Statues of the Virgin Mary, (Mar 2017): 1–33.https://doi.org/10.1002/9781118887226.wbcha016

Functional modelling of musical harmony

Music theory has been essential in composing and performing music for centuries. Within Western tonal music, from the early Baroque on to modern-day jazz and pop music, the function of chords within a chord sequence can be explained by harmony theory. Although Western tonal harmony theory is a thoroughly studied area, formalising this theory is a hard problem. We present a formalisation of the rules of tonal harmony as a Haskell (generalized) algebraic datatype. Given a sequence of chord labels, the harmonic function of a chord in its tonal context is automatically derived. For this, we use several advanced functional programming techniques, such as type-level computations, datatype-generic programming, and error-correcting parsers. As a detailed example, we show how our model can be used to improve content-based retrieval of jazz songs. We explain why Haskell is the perfect match for these tasks, and compare our implementation to an earlier solution in Java. We also point out shortcomings of the language and libraries that limit our work, and discuss future developments which may ameliorate our solution.

Wstępna informacja o kaflach z Piotrkowa Trybunalskiego ze szczególnym uwzględnieniem zespołu pozyskanego w trakcie badań archeologicznych przeprowadzonych w 2005 roku

The present text contains essential information about a collection of stove tiles obtained during archaeological excavations conducted in the area of historical town of Piotrków Trybunalski and its suburbs. It consists of four parts. In the first the authors present the range of research works – both stationary ones and supervisions undertaken on the occasion of various earthworks – carried out in the area since 1962. The second part of the text is devoted to a concise presentation of research results in the area of the Jesuit church and monastery built on the turn of the 17th and 18th centuries. Whereas, the third part discusses collections of stove tiles found in Piotrków Trybunalski during older research works, and in the last, fourth part a preliminary characteristics of the collection obtained in the course of the works conducted in 2005, including nearly 13 000 tile fragments, mainly formed in matrixes was presented. However, it is very varied material, which presents technological and stylistic features commonly known and spread in tile-making in Poland, especially in the area of widely understood Great Poland province, covering proper Great Poland, Kuyavia and central Poland. In the collection tiles with Renaissance-mannerism and early Baroque stylistics prevail, however, there are also artifacts both older and younger, therefore the whole may be considered representative for the period from 15th/16th centuries to the 20th century.

O kaflach z Modliszewic czyli o piecach elity czasów wazowskich

The contents of the present paper are considerations concerning specicity of tiles and image (and possibilities of reconstruction) of stoves coming from the 1st half of the 17th century. The author begins with general observations using views of Maria Dąbrowska, and then comes to, published by the same author, stove of so-called Vasa castle in Warsaw. Next, he concentrates on discussing a stove from a manor-house in Modliszewice near Końskie. This stove in white-navy blue colouring, was built at suggestion of Jan Lipski (†1641)in the 30’s of the 17th century. Subsequently, the author discusses other similar stoves from the 1st half of the 17th century, relics of which or only collections of tiles were found during archaeological excavations of castles and other residences in: Nowe Miasto on Warta, Lubawa, Ujazd, Pińczów and Brudzew near Turek. Most of these stoves were built as a result of foundation actions of narrowly understood social elite of the Vasa times, concretely late phases of the reign of Sigismund III (†1632) and the rule of Vladislav IV (1632-1648). The author submits a proposition that in the times of the first ruler mostly white – navy blue stoves with green and yellow elements were built, and since the half of the 30’s of the 17th century only stoves with tiles with blue (navy blue) background and white relief. They represent typical of the early Baroque in Poland ornamentation. Probably therefore they should be treated as artifacts created in a circle of widely understood (in respect of time and space) court of Vladislav IV, or defined as “stoves of the Vasa times elite”.

Amazonas del mar y sátiros acuáticos

The work of Luis de Góngora (1561–1627) arguably represents the peak of early Baroque poetic mythography, but even if myth is a recurring element in Gongorine poetry its appearance varies greatly. From the youthful poetry to the major works of the first decades of the 17th century and beyond we find important nuances and a recurring revaluation and redefinition of myth. Thus, starting off by the both moral and sensual interpretation characteristic of Renaissance literature in the early sonnets, passing through Ovidian aetiology in the Fábula de Polifemo y Galatea and the philosophical meditation on myth in the Soledades, the poet reaches the satirical-burlesque with a moral flavour in the Fábula de Píramo y Tisbe. However, underlying all these different phases we find a persistent ambiguity rooted in the ambiguous post-classical reception of Greco-Roman mythology. On the background of a brief survey of the ambiguous concept of classical mythology permeating Góngora’s work from beginning to end, the present article particularly explores the meditative phase of the Soledades, arguing its importance for our understanding of the Baroque period as well as for the origin of what may be termed the tradition of ’mythological literature’.

Johann Georg Werdenstein (1542-1608): A Major Collector of Early Music Prints. By Richard Charteris.

For a professor based in Australia, Richard Charteris has for decades been an unusually indefatigable investigator of European and American libraries in the course of his researches, which have been pursued mainly, though not exclusively, in the field of Renaissance and early Baroque music. For his latest publication, he has turned to the sixteenth-century bibliophile Johann Georg von Werdenstein, much of whose collection still survives at the Bayerische Staatsbibliothek in Munich. Werdenstein (1542–1608) came of an aristocratic family and entered the Catholic Church, becoming a canon of Augsburg Cathedral in 1563, and adding a further canonry at Eichstatt in 1567. Possessing both intellectual ability and financial means, he built up one of the largest private libraries of the time, running into tens of thousands of volumes, and including over 450 music editions. In 1592 Duke Wilhelm V of Bavaria persuaded him to sell 9,000 volumes, including the music, and they entered the Hofbibliothek, and hence today form part of the Bayerische Staatsbibliothek's collection. The duke had been steadily building up his own library, partly through acquisition of other collections, including that of Johann Heinrich Herwart, which had a similar number of music items. These two music collections together form a principal ingredient of the present library's magnificent array of sixteenth-century music prints.

Heinrich Scheidemann's Keyboard Music: Transmission, Style, and Chronology (review)

Heinrich Scheidemann's Keyboard Music: Transmission, Style, and Chronology. By Pieter Dirksen. Burlington, VT: Ashgate, 2007. [xxiii, 254 p. ISBN-10 0754654419; ISBN-13 9780754654414. $99.95.] Illustra - tions, maps, music examples, bibliographic references, index. Heinrich Scheidemann (ca. 1595-1663) has emerged in recent decades as perhaps the most important and original north German organist-composer of the early baroque. The author of the present volume has previously published a major study of Sweelinck, Scheidemann's teacher (The Key board Music of Jan Pieterszoon Sweelinck: Its Style, Significance, and Influence [Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 1997], reviewed by this writer in Notes 55, no. 1 [September 1998]: 95-97). Both books focus on the difficult questions of authorship and chronology that afflict works attributed to the two composers. This book presents a wealth of new information about sources, individual works, and certain issues of performance practice, and therefore will be appropriate not only for research collections but for those serving performers, especially keyboard players. Unfortunately, readers not already familiar with the music and previous relevant scholarship may be hard pressed to follow the author's dense, sometimes unidiomatic prose. Specialists will recognize that some of the inferences drawn about attribution and chronology are not clearly supported by the evidence cited. Dirksen makes little effort to situate Scheidemann and his music within their cultural-historical context, and he accepts without discussion the genre categories and analytical approaches to this music established by previous scholars, notably Werner Breig in the only previous monograph on the subject (Die Orgel - werke von Heinrich Scheidemann. Beihefte zum Archiv fur Musikwissenschaft, Bd. 3 [Wiesbaden: Steiner, 1967]). For many readers the most interesting matter may fall toward the end of the book, where a chapter on keyboard technique includes many music examples containing contemporary fingerings. Although there is no reason to think that these fingerings come from the composer, they reflect traditions distinct from what are now the betterknown English and Italian practices of the period. Also valuable is a chapter on the great organ of Hamburg's Katharinen - kirche, presided over by Scheidemann and his pupil Johann Adam Reincken, on which Bach played in 1722. Contributed by Ulf Grapenthin, this chapter shows that an existing Renaissance instrument had been essentially rebuilt early in the seventeenth century while Scheidemann's father David was organist. A fourth manual was not pres - ent until after Scheidemann's tenure, and the top note of the manuals remained a2 (without g#^sup 2^) until the 1670s; both points are relevant not only for organ registration and performance practice but for manuscript evaluation. A final chapter argues for the long retention of colorful reed-heavy, Dutch-influenced stoplists in seventeenthcentury north German organs. The remainder of the book attempts to establish a canon of works by Scheidemann and an approximate chronology through close study of their sources and texts. Preserved solely in manuscripts, the works attributed here to Scheidemann are often anonymous and without concordances. Dirksen identifies a number of copyists and provides dates for several sources, but many questions remain open in the view of this writer. Fundamental is Dirksen's view of two small tablature manuscripts in Wolfen - buttel as autographs; to these eyes the documentation for this is inconclusive (one must consult Katrin Kinder, Ein Wolfen - butteler Tabulaturautograph von Heinrich Scheidemann, Schutz-Jahrbuch 10 [1988]: 86-103, for the handwriting evidence). More over, one of the copies contains apparent errors that one would not expect from a pupil of Sweelinck (see note 71 in my review of Heinrich Scheidemann: Samtliche Werke fur Clavier (Cembalo), edited by Pieter Dirksen [Wiesbaden: Breitkopf und Hartel, 2000], Journal of Seventeenth-Century Music 11, no. …

초기 바로크 건반악기 즉흥연주 방법을 위한 실제적인 입문

초기 바로크 건반악기 즉흥연주 방법을 위한 실제적인 입문

Charles Bernstein's Shadowtime and faithful interpretation

‘With the legalization of gay marriage, faith has been violated and we've been forced to respond’, says Charles McVety, the president of Canada Christian College in Toronto.1 Following the logic of...

THE LIFE AND WORLD OF A SINGER: FINDING MY WAY

The subject of my research is the performing practice of so-called early music, particularly the vocal music of the Italian Early Baroque era (ca. 1600-1630). The central figure in my study is Claudio Monteverdi and I am focusing my attention on the recitatives in his early operas, especially in Orfeo (1607). Or, should I say, these were the subject, focus, and central figure of my research but they have been at least temporarily replaced by a more fundamental issue. Studying the performing practice of Italian Early Baroque vocal music1 made me realize how little has been revealed by research of the facts of performing practice and how much more I know from my own experience as a singer and as a teacher.

Annibale Carracci's Venus, Adonis & Cupid

Annibale Carracci was the great genius of early Baroque painting in Italy, blighted by melancholia at the end of his life but full of promise and invention in his prime. This book concentrates on one of his most ambitious early works, the Venus, Adonis and Cupid in the Prado Museum, Madrid. This is the English edition of a publication by the Prado specially dedicated to this painting, which has recently been cleaned and restored and is being displayed beside works by Veronese and Titian on the same subject with which Annibale was consciously competing. The subject, which is taken from Ovid's Metamorphoses, was regarded in the Renaissance period as offering the greatest possible scope for a painter's brush - a male and a female nude, strong emotion, pathos, heroism - and, since Adonis was a hunter, dogs as well. The Venus and Adonis, despite its importance in Annibale's oeuvre and its monumental size, has been comparatively little studied. This book reveals important new information about Annibale Carracci, technically, creatively, stylistically. The book is superbly produced and illustrated (in five-colour process) and is part of a series of Prado publications devoted to individual masterpieces in the Museum.