Bach, Johann Sebastian, 1685-1750. Fugues, keyboard instrument.
This article examines a technique employed in a number of Bach's late keyboard fugues, some of his finest. A subsidiary thematic element—typically (though not always) a countersubject—established at the beginning is then dropped for a large section of the music, only to return near the end. 'Returns' of this sort, over and above returns of the subject itself, are far less strong than 'recapitulations', but they affect the formal dynamic in subtle ways. The most familiar example is in the Fugue in E major from The Well-Tempered Clavier, Book 2, where the distinctive countersubject used in the opening exposition, after disappearing in the successive stretto entries of this work, returns at the end with special prominence.
With the exception of some opera singers, portamento is avoided as far as possible by today's performers. It is an aspect of singing that even today's early music specialists have chosen not to recover from the past despite overwhelming evidence for its use. This paper examines the historical literature on portamento, first in the pregramophone era then in the context of recordings in the twentieth century (when the literature can be matched with actual performances). There is a short case study of portamento in twentieth-century performances of Schubert's 'Ständchen' from Schwanengesang. Finally, current performance practice is examined and explanations offer as to why something considered for several hundred years to be essential to good singing is now rarely taught or practised.
Stradella, Alessandro, 1639-1682 -- Appreciation -- France -- Paris -- History -- 19th century.
Performance practice (Music) -- France -- Paris.
Performance practice (Music) -- 19th century.
Romantic fascination with the seventeenth-century composer Alessandro Stradella began in Paris with the performance of a now notorious 'air d'église' at one of François-Joseph Fétis's innovative concerts historiques in 1833. The combination of romantic adventure and musical power embodied by the Stradella legend—in which the beauty of his singing dissuades two assassins from murdering him—was subsequently explored in a short story by Jules Janin for the Revue et Gazette musicale in 1836, and in two theatre works in 1837: a comédie-vaudeville with music arranged and composed by Friedrich Flotow, and a grand opera set by Louis Niedermeyer. Each work effectively reconstructs the myth, presenting an understanding of the power of song that is historically situated, yet aimed at a modern audience. Taken together, they present a complex reception model for early music in the 1830s that illuminates the interaction of modern and (various) historical idioms as well as popular and educated tastes, and literature and music, in a variety of media. They also reveal an increasing interest in imaginative reinterpretation rather than authentic pastiche in historical representation at this time.
Schumann, Robert, 1810-1856. Frauenliebe und Leben [music]
Chamisso, Adelbert von, 1781-1838 -- Musical settings -- History and criticism.
Chamisso, Adelbert von, 1781-1838 -- Criticism and interpretation.
In setting Chamisso's Frauenliebe und Leben, Schumann discovered in the poems a subtext that he reflected in the music. Although the heroine of the poems manifestly aspires to be humble and submissive, as was widely expected of women in her day, she emerges, to those who read closely, as more independent and spirited than she herself knows. By shaping details in his songs' vocal line, Schumann captures the heroine's independence of spirit, as well as her resentment when her husband proves unequal to her high expectations; and by casting the piano as the heroine's husband, Schumann gives voice to a man's inner fears of disappointing or injuring the woman he loves. Schumann's music thus offers a penetrating insight into the Frauenliebe poems, even while expressing the composer's own deep anxieties, on the eve of his marriage, about his worthiness to wed the prodigiously gifted Clara Wieck.
Kintzler, Catherine. Théâtre et opéra à l'âge classique: une familière étrangeté.
Theater -- France -- History -- 17th century.
Musikwissenschaft als Kulturwissenschaft damals und heute. Internationales Symposion (1998) zum Jubiläum der Institutsgründung an der Universität Wien vor 100 Jahren (review) [Access article in HTML][Access article in PDF] Subject Headings:
Antonicek, Theophil, ed. Musikwissenschaft als Kulturwissenschaft: damals und heute : internationales Symposion (1998) zum Jubiläum der Institutsgründung an der Universitä̈t Wien vor 100 Jahren.
Orlando, Susan, ed. Viola da gamba miscellanea: articles from and inspired by viol symposiums organized by the Ensemble baroque de Limoges, France.
Viola da gamba -- Congresses.
Fanning, David (David J.)
Sergej Prokofjew in der Sowjetunion: Verstrickungen--Missverständnisse--Katastrophen: Ein internationales Symposium, and: Sergej Prokofjews viersätzige Klaviersonaten: Studien zu Form und Gehalt, and: Schräg zur Linie des sozialistischen Realismus?: Prokofjews spätere Sonaten sowie Orchester- und Bühnenwerke: Ein internationales Symposium, and: Die Wahrheit über Prokofjew: Das Drama der letzten Jahre (review) [Access article in HTML][Access article in PDF] Subject Headings:
Kuhn, Ernst, ed. Sergej Prokofjew in der Sowjetunion: Verstrickungen, Missverständnisse, Katastrophen: ein internationales Symposium.
Goedicke, Ruth, 1967- Sergej Prokofjews viersätzige Klaviersonaten: Studien zu Form und Gehalt.
Kuhn, Ernst, ed. Schräg zur Linie des Sozialistischen Realismus?: Prokofjews spätere Sonaten sowie Orchester und Bühnenwerke: ein internationales Symposium.
Mendelson-Prokofieva, M. Wahrheit über Prokofjew: das Drama der letzten Jahre: ein Erinnerungstagebuch.