Keyboard Concertos Research Articles

Sara Levy i jej muzyczna kolekcja. Koncerty klawiszowe Carla Philippa Emanuela Bacha z Biblioteki Narodowej 1

ABSTRACT Sara Levy and Her Music Collection. Keyboard Concertos by Carl Philipp Emanuel Bach from the National Library ofPoland The paper discusses musical sources kept in the National Library of Poland, namely a collection of handwritten copies of ten keyboard concertos by Carl Philipp Emanuel Bach, made by Georg Amft based on materials that originated from the music collections of Sara Levy and Zippora Wulff. This paper primarily focuses on the Concerto in A Minor Wq 26. Amft’s copy of that piece was likely made based on a Bach’s autograph kept in the Royal Library in Berlin (Königliche Bibliothek). Seeing as Amft’s Vorlage is now lost, the Warsaw document appears to be an important indirect source for an early version of Wq 26.

Sara Levy i jej muzyczna kolekcja. Koncerty klawiszowe Carla Philippa Emanuela Bacha z Biblioteki Narodowej 1

ABSTRACT Sara Levy and Her Music Collection. Keyboard Concertos by Carl Philipp Emanuel Bach from the National Library ofPoland The paper discusses musical sources kept in the National Library of Poland, namely a collection of handwritten copies of ten keyboard concertos by Carl Philipp Emanuel Bach, made by Georg Amft based on materials that originated from the music collections of Sara Levy and Zippora Wulff. This paper primarily focuses on the Concerto in A Minor Wq 26. Amft’s copy of that piece was likely made based on a Bach’s autograph kept in the Royal Library in Berlin (Königliche Bibliothek). Seeing as Amft’s Vorlage is now lost, the Warsaw document appears to be an important indirect source for an early version of Wq 26.

Bach’s keyboard concertos on harpsichord and piano

Bach’s keyboard concertos on harpsichord and piano

Organization of <em>Carl Philipp Emanuel Bach: The Complete Works</em>

Organization of Carl Philipp Emanuel Bach: The Complete Works Cliff Eisen (bio) I. Keyboard Music (18 vols.) 1. “Prussian” and “Württemberg” Sonatas 2. Sonatas with Varied Reprises 3. “Probestücke,” “Leichte” and “Damen” Sonatas 4. “Kenner und Liebhaber” Collections (2 parts) 5. Miscellaneous Sonatas from Prints (2 parts) 6. Sonatas from Manuscript Sources (5 parts) 7. Variations 8. Miscellaneous Keyboard Works (2 parts) 9. Organ Works 10. Arrangements of Orchestral Works (2 parts) II. Chamber Music (7 vols.) 1. Solo Sonatas 2. Trio Sonatas (2 parts) 3. Keyboard Trios (2 parts) 4. Accompanied Sonatas 5. Quartets and Miscellaneous Chamber Music III. Orchestral Music (29 vols.) 1. Berlin Symphonies 2. Six Symphonies for Baron van Swieten 3. Orchester-Sinfonien mit zwölf obligaten Stimmen 4. Flute Concertos (2 parts) 5. Oboe Concertos 6. Violoncello Concertos 7. Keyboard Concertos from Prints 8. Sei concerti per il cembalo concertato 9. Keyboard Concertos from Manuscript Sources (15 parts) 10. Concertos for Two Keyboards 11. Keyboard Sonatinas from Prints 12. Keyboard Sonatinas from Manuscript Sources (2 parts) 13. Sonatinas for Two Keyboards [End Page 80] IV. Oratorios and Passions (24 vols.) 1. Die Israeliten in der Wüste 2. Die Auferstehung und Himmelfahrt Jesu 3. Passions-Cantate 4. Passions according to St. Matthew (6 parts) 5. Passions according to St. Mark (5 parts) 6. Passions according to St. Luke (5 parts) 7. Passions according to St. John (5 parts) V. Choral Music (20 vols.) 1. Magnificat (2 parts) 2. Quartalstücke (6 parts) 3. Einführungsmusiken (5 parts) 4. Bürgercapitainsmusiken 5. Works for Special Occasions (2 parts) 6. Miscellaneous Sacred Works (4 parts) VI. Songs and Vocal Chamber Music (4 vols.) 1. Gellert Songs 2. Cramer and Sturm Songs 3. Miscellaneous Songs 4. Arias and Chamber Cantatas VII. Theoretical Works (3 vols.) 1. Versuch über die wahre Art das Clavier zu spielen I 2. Versuch über die wahre Art das Clavier zu spielen II 3. Commentary to the Versuch VIII. Supplement (10 vols.) 1. Miscellanea Musica 2. The Polyhymnia Portfolio 3. Librettos (3 parts) 4. Portrait Collection (2 parts) 5. Historical Catalogues 6. Sources and Scribes 7. Indices Total estimated volumes: 115 Detailed contents of individual volumes, plus the introductions of published volumes and librettos for vocal works, can be found at www.cpebach.org. [End Page 81] Reviews Carl Philipp Emanuel Bach: The Complete Works (Los Altos, CA: Packard Humanities Institute, 2005–). If any collected works edition of a composer deserves the description “monumental,” it is surely Carl Philipp Emanuel Bach: The Complete Works, a joint undertaking of Harvard University, the Bach-Archiv Leipzig, and the Sächsische Akademie der Wissenschaften zu Leipzig, sponsored by the Packard Humanities Institute. Begun in 1998, the edition includes not only Bach’s music, but also facsimiles; free downloads of parts and ancillary material not always included in complete editions, such as a fascinating catalogue of Bach’s portrait collection, reconstructed by Annette Richards; and an excellent new edition of Bach’s Versuch über die wahre Art das Clavier zu spielen, edited and with commentary by Tobias Plebuch. To be sure, the C. P. E. Bach edition stands on the shoulders of other eighteenth-century monumental editions, including the Joseph Haydn Werke and the Neue Mozart-Ausgabe. But it surpasses these in its rigorous view of the sources, its thoughtful editorial philosophy and policies, the quality of the editing and the volumes’ forewords, and its broad view of Bach as a composer working within the context of particular locales at particular times or for particular—and sometimes diverse—audiences. It has the advantage, too, of having been undertaken only after many of the philological basics for dealing with eighteenth-century music have been more or less settled through the work of scholars like Wolfgang Plath, Alan Tyson, and Georg Feder, and after some vigorous debates concerning performance practice as well as the importance of the cultural context to a composer’s life and works. Finally, unlike the Mozart edition in particular, it has benefited from the recent recovery of sources previously thought to have been lost, especially, in 1999, the archives of the Sing-Akademie zu Berlin, which includes some unique copies of Bach’s...

New Sources from the National Library of Poland: Keyboard Concertos by Carl Philipp Emanuel Bach and Organ Chorales by Johann Jeremias du Grain

New Sources from the National Library of Poland: Keyboard Concertos by Carl Philipp Emanuel Bach and Organ Chorales by Johann Jeremias du Grain

Konzerte für Orgel (Cembalo) und Orchester by Joseph Haydn

Reviewed by: Konzerte für Orgel (Cembalo) und Orchester by Joseph Haydn Gregory Hand Joseph Haydn. Konzerte für Orgel (Cembalo) und Orchester. Edited by Armin Raab and Horst Walter in conjunction with Sonja Gerlach. (Joseph Haydn Werke, Series XV, Vol. 1). München: G. Henle Verlag, 2020. [xvi p.; score, 238 p. ISMN 979-0-2018-5412-0. $295.00] With this volume, the Haydn-Institut continues its difficult and important work presenting the complete works of Joseph Haydn (Joseph Haydn Werke, hereafter: JHW). This series is rapidly becoming the gold standard in complete editions, particularly with its updated publication guidelines that require stemmatic analysis of sources in the absence of autographs (an unfortunately common problem with Haydn's works). It is lucky indeed that the organ concertos were neglected until now by the JHW, since there is hardly a collection that needs this up-to-date musicological method more than this repertoire. Together, the new volume contains six works: a pair of smaller concertos in C major (Hob. XVIII:5 and Hob. XVIII:8); a pair of largerscale concertos (Hob. XVIII:1 in C major and Hob. XVIII:2 in D major); the organ and violin concerto in F major (Hob.XVIII:6), and the Concertino in C major (Hob. XVIII:10) in an appendix. Haydn's organ concertos occupy an odd niche. Lacking true bravura soloistic writing, they are rarely heard in the concert hall. Instead, the organ concertos represent a tradition of concerted music serving as an ornament to the Catholic liturgy in Austria, Southern Germany, and Italy, and they are just as rarely heard today in this sacred environment. These concertos are puzzling, even maddening, because they raise so many questions. What was the intended solo instrument: organ, harpsichord, piano—or does it even matter? To what extent was the soloist supposed to dominate the ensemble, since [End Page 274] the solo part is so often intertwined with the orchestra? What exactly were the accompanying forces, and were instruments outside the "Viennese church trio" included? Why do some of the copies diverge so much from each other? Is the soloist supposed to play continuo during the tutti passages, and if so, what should be played? And of course, since we are dealing with Haydn, we must ask if the attributions are even authentic. This edition brings together for the first time all the sources and copies for each concerto, which finally allows these questions to be satisfactorily addressed, if not always answered. It is the result of decades of intense scrutiny of the source material, and absent a discovery of further autographs, I expect that it will represent the final word on the state of this repertoire. As an entry in the JHW, it has certain natural limitations as a text for performance, but as a critical edition, it is truly outstanding. Interest in Haydn's organ concertos grew after Georg Feder reexamined the keyboard concertos in the Hob. XVIII series and realized that some of them must have been originally written for organ. Besides finding important instrumentation information found in Haydn's Entwurf-Katalog, he noted that the organ in Southern Germany and Austria had a very specific range and a short octave, and this allowed him to positively identify some concertos as originally composed for organ, since they rather consciously avoided those notes not found on the organ's keyboard. After Feder's article, however, only three new editions of any of the organ concertos have appeared, each with different editorial teams (in their review of modern editions, the editors of the present volume omitted Paul Tegel's 1997 doctoral essay that created a performance edition of Hob. XVIII:2). The present new edition provided the Haydn-Institut with an opportunity to collect all the source material, reexamine the repertoire as an integral unit, and apply clear musicological and editorial standards to each concerto. The inability of previous researchers to compare all the different copies meant that they were unable to rank the usefulness of each copy. This problem has been decisively solved by the JHW and with this new edition, we finally have a stemmatic assessment of the sources of each concerto...

Hidden Polyphony, Linear Hierarchy, and Scale-Degree Associations in Galant Schemata

Hidden Polyphony, Linear Hierarchy, and Scale-Degree Associations in Galant Schemata Gilad Rabinovitch (bio) This article examines the linear and hierarchical nature of galant schemata (Gjerdingen 2007).1 While Gjerdingen defines the schemata through multiple features sharing family resemblance, core scale degrees in the outer voices emerge as their principal feature. Subsidiary elements such as the High- and High- create a halo of polyphonic-melody projections that may accompany the core scale degrees of the schemata. I examine this subsidiary feature in detail, arguing that the typical mid-century hierarchy between the principal and subsidiary layers may orient us as music analysts as we decipher W. A. Mozart’s high-classical musicianship. My analytical explorations revolve around the opening phrases from Mozart’s aria “Dies Bildnis ist bezaubernd schön” from The Magic Flute and from his keyboard concerto K. 488/ii. I explore the associations that galant schemata create between principal and subsidiary scale degrees, metric position, and the layers of hidden polyphony. While these relations are most stereotyped in mid-century galant music, they may help us to unscramble Mozart’s ornate melodies. In order to explore this hierarchy, I revisit the diminution patterns for an adagio in skeletal notation offered by Quantz and speculate on the implicit knowledge encapsulated in them.2 I also compare the patterns of diminutions on a tritone-resolution (a recurring element in many galant schemata) as it is embellished [End Page 114] in Quantz’s treatise and in Francesco Durante’s Partimenti diminuiti (n.d.). I argue that galant schemata are not as fuzzy as Gjerdingen presents them. Articulating their hierarchy more clearly and charting the associations between principal and subsidiary scale-degree identities, meter, and compound melody is a requisite preliminary step before we can hope to revisit in earnest the needlessly thorny dialogues between schema theory and linear analysis. Introduction In discussing psychological accounts of a story schema, Robert Gjerdingen wonders rhetorically whether the formula “once upon a time,” omitted from a group of three woodcutter’s tales, is an integral part of the “woodcutter” schema. Gjerdingen suggests that familiarity with fairy tales in general affects the perception of the story despite the omission, which leads him to the following statements: First, it suggests that individual exemplars of a schema may not contain all the features that define the schema. Second, it demonstrates that a schema may have defining features that are not overt, in the sense of articulated words or phrases. Third, it indicates that defining features may specify a temporal location or other relational attributes. And fourth, it leads to the conclusion that the notion of levels of structure is an oversimplification. In particular, “Once upon a time” is both subordinate and superordinate to the sentence in which it may appear—subordinate as part of a particular sentence, but superordinate as an important feature of the entire repertory.3 Gjerdingen thus summarizes some of his main claims about schemata: they cannot be reduced to a defining essence or to a list of criteria, and they do not represent structural reduction.4 Human categorization is based on family resemblance involving multiple features, rather than [End Page 115] strict lists of necessary and sufficient conditions. Thus, Gjerdingen’s reliance on fuzzy definitions of categories is cognitively motivated.5 Yet Gjerdingen’s “core” scale degrees are de facto the central feature of the schemata and I will argue below that they are commonly associated with a secondary layer of scale degrees. By focusing on the multiplicity of features, Gjerdingen obscures general melodic behaviors. Gjerdingen eschews grand theoretical or historical explanations in favor of individual microhistories and microtheories of individual schemata, some of which may have different peaks in their prevalence and typicality. For instance, the schema peaks in the 1770s, whereas Vasili Byros’s Le–Sol–Fi–Sol peaks in the 1790s. Gjerdingen estimates that all schemata reach their zenith around 1765.6 My article takes a more macrotheoretical approach, speculating on scale-degree behaviors in eighteenth-century music across the family of galant schemata. As a schema theorist, I do appreciate the minutiae of the microhis-tories and microtheories of Gjerdingen and others.7 To be more precise, I particularly...

Carl Philipp Emanuel Bach. Keyboard Concertos from Manuscript Sources VII ed. by Mark W. Knoll, and: Carl Philipp Emanuel Bach ed. by Jason B. Grant and Elias N. Kulukundis

Reviewed by: Carl Philipp Emanuel Bach. Keyboard Concertos from Manuscript Sources VII ed. by Mark W. Knoll, and: Carl Philipp Emanuel Bach ed. by Jason B. Grant and Elias N. Kulukundis Simon P. Keefe Carl Philipp Emanuel Bach. Keyboard Concertos from Manuscript Sources VII. Edited by Mark W. Knoll. (C. P. E. Bach - the Complete Works‚ Ser. III, Vol. 9.7). Los Altos, CA: Packard Humanities Institute, 2018. [xv p.; score, 255 p. Cloth. ISBN 1933280654. $54.25] Carl Philipp Emanuel Bach. Keyboard Concertos from Manuscript Sources XI. Edited by Jason B. Grant and Elias N. Kulukundis. (C. P. E. Bach - the Complete Works‚ Ser. III, Vol. 9.11). Los Altos, CA: Packard Humanities Institute, 2017. [xvii p.; score, 134 p. Cloth. ISBN 1938325044. $38.50] The C. P. E. Bach Complete Works has emerged as one of the most important, extended scholarly ventures in current eighteenth-century musical scholarship. C. P. E. Bach (1714–1788) wrote around fifty concertos at all stages of his career. As General Editor Peter Wollny explains in a succinct preface to both volumes under review: "In addition to the increasingly refined interplay between solo and tutti, the development of Bach's concerto style manifests itself primarily through larger dimensions, higher compositional demands, and a more symphonic quality to the movements" (ix). On the first point, it can be noted that the influential German theorist Heinrich Christoph Koch (1714–1816), writing between 1782 and 1793, considered C. P. E. Bach concertos models of a well-worked concerto in which, during the solo, the accompanying voices are not merely there to sound this or that missing interval of the chord between the soprano and bass. There is a passionate dialogue (leidenschaftliche Unterhaltung) between the concerto player and the accompanying orchestra. He expresses his feelings to the orchestra, and it signals him through short interspersed phrases sometimes approval, sometimes acceptance of his expression, as it were. Now in the allegro it tries to stimulate his noble feelings still more; now it commiserates, now it comforts him in the adagio. (Koch, Versuch einer Anleitung zur Composition [Leipzig, 1782–1793; reprint Hildesheim: Georg Olms, 1969], trans. Nancy Kovaleff Baker as Introductory Essay on Composition: the Mechanical Rules of Melody, Sections 3 and 4 [New Haven: Yale University Press, 1983], 209, 211–212. In his later Musikalisches Lexikon [Frankfurt, 1802; reprint Hildesheim: Georg Olms, 1964], col. 854, Koch cited Mozart's concertos as the model.) Together, the two new volumes contain five keyboard concertos, Wq 21 in A minor, Wq 22 in D minor, Wq 23 in D minor (vol. 9.7, plus an early version of Wq 21), and Wq 34 in G major and Wq 35 in E major (vol. 9.11). The editors' introductions are informative and concise, skillfully explaining source issues and matters of compositional genesis. Wq 21 was initially written in 1747 (in Berlin) and "renewed" (erneuert) nearly thirty years later in 1775 [End Page 157] (Hamburg). We should be thankful to the editor, Mark W. Knoll, and publisher for providing both texts: "Wq 21 is unquestionably a rare case of a surviving original version of one of Bach's works prior to its revision" (vol. 9.7, xii). Wq 22, in contrast, originated as a flute concerto, only later being arranged by C. P. E. Bach for keyboard, a version for which two horn parts not in the flute concerto were also added. Wq 23, unlike Wq 21 and Wq 22, survives in autograph form. Wq 34 and Wq 35 (vol. 9.11) date respectively from 1755 and 1759, are contemporary with C. P. E. Bach's organ sonatas, and were conceived with organ as well as harpsichord in mind. Surviving autograph materials "indicate that Bach made alterations and improvements at a somewhat later time after the works were composed" (vol. 9.11, xi). Moreover, "more than a dozen contemporary copies of each work exist, indicating that they were both well-known and popular with the North German musical public" (vol. 9.11, xi). Wq 35, probably composed for Princess Anna Amalia, is the only C. P. E. Bach concerto written between 1755 and 1762, a fact attributable to the challenging conditions of the...

The early keyboard concertos in Ptuj: music composed for the Dornava court? / Zgodnji koncerti za glasbila s tipkami na Ptuju: glasba, napisana za Dornavski dvorec?

The 31 keyboard concertos now housed at the Knjižnica Ivana Potrča Ptuj represent a unique sample of early keyboard concertos in Central Europe, including works by the Viennese court composers Georg Christoph Wagenseil (1714–1777) and Wenzel Raimund Birck (1718–1763) as well as two musicians employed at the Graz parish church, Johann Michael Steinbacher (before 1710–after 1740) and Giovanni Antonio Sgatberoni (1708/09–1795). It is assumed that the Ptuj collection of keyboard music stems from the court of Count Joseph Bernhard von Attems, who resided at Dornava from 1754 to 1772. Considering the scribes and the paper quality of the sources, it seems possible that Steinbacher and Sgatberoni may have had a closer relationship to the Dornava court than has been assumed so far.

MUSICIANS MAKE MARKETS

ABSTRACT Arts markets are not ‘neutral’. Rather, they are inevitably coloured by socio-cultural practices and regularities, some of which are embedded in and afforded by aesthetic forms and the values and images associated with these forms. The stabilisation of distribution and consumption patterns over time may thus be linked to, and structured by, often tacitly delineated meanings, values and practices associated with artistic products (musical works and their performance, in this case). These associations afford emotional attachments and identity-stances that may become integral to artistic distribution and in ways that are socially consequential. To the extent that distribution and consumption are inflected in these ways, markets may be understood to be culturally inflected. Market processes, in other words, can be seen as structures that are both shaped by, and shape, the flow and exchange of passion, emotion and often unremarked forms of sensibility. I explore these themes through a case study of the production and distribution of Beethoven's keyboard concertos in early nineteenth century Vienna. I describe how the distribution of Beethoven's works offered gendered ‘object lessons’ about music producer/distributers (composer/performers) and music consumers. Through these lessons, the market for high culture music came to be associated with exhibitions of physical prowess, a heroic mien, and, almost exclusively, performances by men.

Statistical methods in animal breeding and Bach’s harpsichord concertos

Fil: Cantet, Rodolfo Juan Carlos. Consejo Nacional de Investigaciones Cientificas y Tecnicas; Argentina. Universidad de Buenos Aires; Argentina

Restoring Bach

Number seven in a series presented by the American Bach Society, this volume aims, according to the blurb, to ‘restore Bach's concertos to their rightful place of honour’. Out of the four chapters contained within, three deal with the provenance and composition history of particular concertos by Bach, while the fourth considers the idea of the concerto more generally. The first two essays—studies of the keyboard concertos BWV1053 by Gregory Butler and BWV1056 by Peter Dirksen—offer detailed examinations of sources, transcription errors and stylistic aspects in order to present revised scenarios regarding the original versions of the concertos and the chronology of initial composition and subsequent arrangement. According to Butler, BWV1053 was assembled from a variety of disparate sources, while Dirksen posits a violin concerto in G minor as the model for BWV1056. Their propositions add a range of interesting new possibilities to an area of research that has preoccupied Bach scholars from Philipp Spitta onwards, asking when, how and why Bach turned towards the genre of the keyboard concerto, and interrogating his pervasive tendency to reuse and rework his own inventions.

A Mozart survey

It is no surprise that the 250th anniversary of Mozart's birth last year was marked by the release of a plethora of recordings, old and new, on CD and DVD. One might even feel that saturation point has been reached, so huge has the output proved. Seven recordings sit on my desk for review—a tiny sample out of several hundred that in one way or another celebrated the Mozart Year. Chance dictates that what calls for attention amounts to three discs of chamber music, one of Lieder, a coupling of two keyboard concertos, and two of the stage works. Let us consider them in that order. Sigiswald Kuijken and Luc Devos have over the last decade and a half made their unhurried way through the Sonatas for fortepiano and violin (Accent ACC 20041, rec 1991–2005, 299′). These date from Mozart's last years in Salzburg, the months spent in Mannheim on the tour to Paris that ended his mother's life, and the Vienna years. On five CDs (one of them very short) they play 15 works; by comparison, the new DG set recorded by Anne-Sophie Mutter and Lambert Orkis includes 16 sonatas on one disc fewer, with no sense of overcrowding. Of course, the most obvious difference is that, whereas Mutter and Orkis play instruments in standard modern condition (and do so superbly), Kuijken and Devos favour period instruments: the former, a warm-toned Milanese violin of c.1700 by Giovanni Grancinoi; the latter, two fortepianos by the modern Brussels maker Claude Kelecom after a 1788 original by J. A. Stein of Augsburg (whom Mozart admired greatly). Presumably it was Kelecom's developing skills as a maker that led Devos, after the recording of the first three discs (in the early 1990s), to prefer a later instrument by him for the final two that were made in 2005; both produce fine tonal variation and reliable mechanism, though there is an occasional jangle at the extremes of the range. A drawback to my enjoyment of and admiration for this set is that all the sessions took place in the Vereengde Doopsgezinde Kerk at Haarlem, which has too cavernous an acoustic for this music and these instruments. This problem occurs most obviously on the two latest discs, containing five of the six sonatas dedicated to the Electress of the Palatinate, and K377, the big F major work with a theme-and-variation slow movement. Detail rarely gets lost in these thoughtful and stylish readings; both artists are happy to submerge their personalities in passages where the other (it is more often the keyboard-player) has the limelight. A possible criticism is that the playing at times feels rather undifferentiated, lacking the passionate commitment of other partnerships. Kuijken and Devos have a generous attitude to repeats and dynamic contrast, though this seldom extends beyond a literal-minded approach. A minor inconvenience: the gaps between movements and even works are sometimes needlessly brief. At present Kuijken and Devos seem to have the ‘period’ field to themselves; prospective purchasers might like to be reminded of the proven virtues of the partnerships of Henryk Szeryng and Ingrid Haebler, Szymon Goldberg and Radu Lupu, Itzhak Perlman and Daniel Barenboim, and, most recently, the DG album referred to above.

Did Handel Invent the English Keyboard Concerto?

Did Handel Invent the English Keyboard Concerto?

The Bach family and the development of the keyboard concerto: studies in the evolution of a genre

The Bach family and the development of the keyboard concerto: studies in the evolution of a genre

The Durniz Thematic Catalogue: A Document of Courtly Taste

In the eighteenth century, life for music librarians must have been much harder than in earlier periods. The enormous increase in production and variety of genres--sacred and secular, manuscript and print, score and parts--demanded new solutions. Did the Enlightenment live up to its name in rationalizing problems such as size-grouping, shelving, uniform binding and marking, and organizing by specialized directories? The need for locational control of this complex mass of material alone must have produced a large number of catalogues, to judge from the surprising number that survive. That fewer catalogues from earlier periods have come down to us, may be the quite natural result of wear and tear, and (ultimately) loss. Also, a smaller total volume of music may have permitted reliance on human memory without formal listing. Furthermore, in certain respects the material was self-indexing, by the church year and the components of the liturgy; and for instrumental music, by the size and character of the group, though unfortunately not always by composer names. In the expanding situation after 1600, opera and its voluminous performance materials may have supplied the critical mass that triggered new thinking about the organization of musical storage. Even a small courtly establishment of the period required not only stage and church music, but a vastly increased production of chamber and concert repertory. How to control this mass? The library finding tool that provided the most effective answer to these problems was the a misnomer that no amount of scholarly protest has been able to correct.(1) These catalogues usually list in staff notation the opening bars of the first violin part, not necessarily the theme of the work, which often appears after conventional opening flourishes. Embarrassingly for scribes, after about 1790, composers do not always score for violins at the beginning, creating the anomaly of thematic rests while other instruments played. A more logical term, incipit catalogue, for some reason never took root in musical usage. With the growing concern for authentication in musicology, researchers always welcome the publication of such a whether just a few manuscript pages interleaved between orchestral parts or a solid facsimile publication such as the Durniz Catalogue, the full title being Freiherr Thaddaus yon Durniz und seine Musikaliensammlung.(2) This title is somewhat misleading, suggesting a fairly extensive monograph. Instead we find two and one-half pages of mainly biographical introduction and fourteen footnotes. This meagre preface, however, does supply useful material, since there is no entry for this aristocratic pianist, bassoonist, and composer in Gerber, Eitner, Riemann, MGG, Baker-Slonimsky, or the New Grove Dictionary. The editor hints at the importance of the Catalogue by noting the composers most frequently represented, including Mozart (74 entries), Pleyel (57), Haydn [J.] (43), Sterkel (37), and Clementi (33). Possibly even more important is the socio-musical documentation implied in this unusually complete record of a highly developed chamber tradition leaning heavily on works with keyboard involvement. Apart from solo sonatas, arrangements of operas (Benda's Medea), reductions of orchestral symphonies, and shorter works--even a Parthia--we find an unusually rich array of combinations: keyboard four hands; keyboard duos with violin, flute, and bassoon; collections for keyboard and voice; keyboard trios and quartets in many different mixtures and re-arrangements of strings and winds; and large representation of keyboard concertos, including a round dozen by the Baron himself and important works of Mozart and Haydn. With the sale in 1859 of Hienhart, the main residential estate, the collection seems to have disappeared entirely. Perhaps RISM will recover some of the most intriguing items, such as a for cemb: Primo e 2do by Schuster, and a possibly unique combination concerto a quattro mani by Bachschmidt, both works with normal eighteenth-century orchestral accompaniment (strings, oboes, horns). …

Unpremeditated Art: The Cadenza in the Classical Keyboard Concerto

Part 1: What is a cadenza? on the performance of cadenzas when is a cadenza not a cadenza? growth and decline. Part 2: late baroque cadenzas C.P.E.Bach and the cadenza other composers in Germany and Austria Mozart and the cadenza Haydn and the cadenza outside Germany and Austria viotti and the cadenza Beethoven and the cadenza the Virtuoso concerto.

Keyboard Concerto No. 38 in C Minor H.448

Keyboard Concerto No. 38 in C Minor H.448

Keyboard Concertos in E-Flat Major and F Minor

Keyboard Concertos in E-Flat Major and F Minor

The Life and Works of Joseph Anton Steffan (1726-1797): With Special Reference to His Keyboard Concertos

The Life and Works of Joseph Anton Steffan (1726-1797): With Special Reference to His Keyboard Concertos