Early Music - Advance Access

Vivaldi in question

Leavis, R. — Tue, 10 Nov 2009 11:34:43 PST

The Chansonnier Cordiforme

Fitch, F. — Mon, 09 Nov 2009 05:25:06 PST

Johann Georg von Werdenstein (1542-1608): a major collector of early music prints

Leitmeir, C. T. — Wed, 04 Nov 2009 02:11:17 PST

Handel sonatas and concertos

Cross, E. — Wed, 04 Nov 2009 02:11:16 PST

Historically informed Haydn

November, N. — Wed, 04 Nov 2009 08:53:21 PST

'Gentility, ardour and bravura of execution' on viols

Robinson, L. — Wed, 04 Nov 2009 02:11:16 PST

A Byrd celebration: lectures at the William Byrd Festival, Portland, Oregon 1998-2008

Taylor, P. — Wed, 04 Nov 2009 02:11:15 PST

The power of love

Gordon-Seifert, C. — Tue, 03 Nov 2009 14:57:23 PST

Unequal temperaments circulate again

Lehman, B. — Tue, 03 Nov 2009 14:57:23 PST

'... so beautiful that I was almost beside myself': Vivaldi and the Basel Collegium Musicum

Kintzel, R. — Tue, 03 Nov 2009 14:57:24 PST

In his 1948 monograph on the composer, pioneering Vivaldi scholar Marc Pincherle made a brief reference to an 18th-century report of a performance of Vivaldi's famous violin concerto, La Primavera, RV269, which, however, he never discussed or presented in detail. Since that time, this actually rather significant—and very charming—contemporary account has remained unnoticed in somewhat obscure works by Swiss authors. Pincherle's particular reference came from an 1897 book by Swiss musicologist Karl Nef, Die Collegia Musica in der deutschen reformierten Schweiz, a historical study of the institution of the Collegium Musicum in Switzerland. Nef cites a rare surviving programme from a 1755 spring concert given by the Collegium Musicum of Basel that opened with a ‘Symphonie’ by Vivaldi. He then quotes from an anonymous work appearing in the same year, Die Reise nach dem Konzerte. Durch einen Vetter des Eidsgenossen, which he believes was written by the Basel poet and scholar Johann Jacob Spreng (1699–1768). This work takes the form of a travelogue given by an unnamed Swiss parson and includes a very vivid and detailed account by the narrator of a concert he attended (presumably in Basel) that began with a performance of Vivaldi's Spring Concerto. He is greatly moved by the music, which he discusses with a fellow concert-goer who regrets that the ‘old music’ of the masters Vivaldi and Corelli is too infrequently played by contemporary musicians. It is entirely possible that this report is based on the same concert given by the Basel Collegium Musicum. An account of this type, written 14 years after Vivaldi's death, is primarily significant as yet another indication that interest in his music in various parts of Europe did not disappear with the composer's demise—or even before then.

The Med-Ren at Utrecht

Filocamo, G. — Tue, 03 Nov 2009 14:57:22 PST

Italian Baroque instrumental music

Maunder, R. — Tue, 03 Nov 2009 14:57:22 PST

The earliest piano in London

Hunter, D. — Tue, 03 Nov 2009 14:57:22 PST

Telemann concertos and suites

Roche, E. — Tue, 03 Nov 2009 14:57:21 PST

Different Didos

Rose, S. — Tue, 03 Nov 2009 14:57:21 PST

Bach cantatas

Black, D. — Tue, 03 Nov 2009 14:57:21 PST

Cathedral choristers across the centuries

Harper, J. — Tue, 03 Nov 2009 14:57:20 PST

Handel's legacy

Leech, P. — Tue, 03 Nov 2009 14:57:20 PST

New approaches to Vivaldi

Talbot, M. — Tue, 03 Nov 2009 14:57:19 PST

Mind the crossing

Moody, I. — Tue, 03 Nov 2009 14:57:19 PST

Avison explored

Holman, P. — Tue, 03 Nov 2009 14:57:19 PST

Imagining Tallis

Allinson, D. — Tue, 03 Nov 2009 14:57:18 PST

Voices and instruments in Baroque Germany

Johnston, G. S. — Tue, 03 Nov 2009 14:57:18 PST

Sideways looks at Mozart's operas

Rushton, J. — Tue, 03 Nov 2009 14:57:17 PST

The worlds of the fortepiano

Wollenberg, S. — Mon, 12 Oct 2009 07:32:53 PDT

Music and minstrels

Ruiz Jimenez, J., Kreitner, K. — Thu, 03 Sep 2009 06:33:08 PDT

New light on Purcell's early overtures

Wollston, S. — Mon, 10 Aug 2009 04:17:47 PDT

Purcell's early overtures, found in the manuscripts Yale University, Beinecke Rare Book and Manuscript Library, Osborn 515 and London, British Library, r.m.20.h.9, are discussed within the context of a broader picture of violin-band music in London in the 1670s. It is suggested that Robert Smith may have been a source of influence for the harmonic style and unusual structure of the Staircase Overture, which is compared with the symphonies of anthems and odes by Humfrey and Blow. The presence in London of French composers and their music is explored and the scarcity of imitative writing in the second section of overtures by English composers is interpreted. A date around 1680 for Purcell's overture in G minor z772 is suggested, partly on the basis of its position within the manuscript Yale University, Music Library, Filmer 8, and the suggestion that the five-part writing reflects Italian influence is challenged. In the overture in D minor, Purcell's debt to Locke is examined; this includes echoes of a ‘viola-style’ of writing for the second part which Locke appears to have abandoned sometime after 1668.

The secrets of 'Jenamy'?

Lorenz, M. — Tue, 28 Jul 2009 04:50:21 PDT