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British Music and Literary Context
Despite several recent monographs, editions and recordings devoted to the reassessment of British music in the late nineteenth and early twentieth century, some negative perceptions still remain--particularly a sense that British composers in this period somehow lacked literary credentials. British Music and Literary Context counters this perception by showing that these composers displayed a real confidence and assurance in refiguring literary texts in their music. The book explores how a literary context might offer modern audiences and listeners a 'way in' to appreciate specific works that have traditionally been viewed as problematic. Each chapter of this interdisciplinary study juxtaposes a British composer with a particular literary counterpart or genre. Issues highlighted in the book include the vexed relationship between words and music, the refiguring of literary narratives as musical structures, and the ways in which musical settings or representations of literary texts might be seen as critical 'readings' of those texts. Anyone interested in nineteenth-century British music, literature and Victorian studies will enjoy this thought-provoking and perceptive book.
Musical Creativity in Restoration England
Musical Creativity in Restoration England is the first comprehensive investigation of approaches to creating music in late seventeenth-century England. Understanding creativity during this period is particularly challenging because many of our basic assumptions about composition - such as concepts of originality, inspiration and genius - were not yet fully developed. In adopting a new methodology that takes into account the historical contexts in which sources were produced, Rebecca Herissone challenges current assumptions about compositional processes and offers new interpretations of the relationships between notation, performance, improvisation and musical memory. She uncovers a creative culture that was predominantly communal, and reveals several distinct approaches to composition, determined not by individuals, but by the practical function of the music. Herissone's new and original interpretations pose a fundamental challenge to our preconceptions about what it meant to be a composer in the seventeenth century and raise broader questions about the interpretation of early modern notation.
The Bassanos
In the 1530s, five Bassano brothers, who were outstanding wind players and instrument makers, emigrated from Venice to England. Dr Lasocki?s authoritative new book, the first to be devoted to the family, is a minutely researched account of these brothers, their sons (and a daughter) and their grandsons. The first half of the book discusses the everyday affairs of the family - their relationships, religion, property, law suits, finances, and standing in society. Two chapters, one written by Roger Prior, are devoted to Emilia Bassano, whose identification as the ?dark lady? of Shakespeare?s sonnets is supported by a wealth of evidence. The second half of the book discusses the family?s musical activities. At the English Court the Bassanos made up a recorder consort that lasted 90 years; they also played in the flute/cornett and shawm/sackbutt consorts. As instrument makers their fame was spread throughout Europe. The book?s appendixes present information on the Venetian branch of the family and the musical activities of the English branch since 1665.
Frederick the Great and his Musicians: The Viola da Gamba Music of the Berlin School
After decades of stagnation during the reign of his father, the 'Barracks King', the performing arts began to flourish in Berlin under Frederick the Great. Even before his coronation in 1740, the crown prince commenced recruitment of a group of musician-composers who were to form the basis of a brilliant court ensemble. Several composers, including C.P.E. Bach and the Graun brothers, wrote music for the viola da gamba, an instrument which was already becoming obsolete elsewhere. They were encouraged in this endeavour by the presence in the orchestra from 1741 of Ludwig Christian Hesse, one of the last gamba virtuosi, who was described in 1766 as 'unquestionably the finest gambist in Europe'....
Incidental Music, Part 3
John Eccles’s active theatrical career spanned a period of about sixteen years, though he continued to compose occasionally for the theater after his semi-retirement in 1707. During his career he wrote incidental music for more than seventy plays, writing songs that fit perfectly within their dramatic contexts and that offered carefully tailored vehicles for his singers’ talents while remaining highly accessible in tone. This edition includes music composed by Eccles for plays beginning with the letters R–W, along with secular songs and catches by Eccles that were not associated with plays. These plays were fundamentally collaborative ventures, and multiple composers often supplied the music; thus, this edition includes all the known songs and instrumental items for each play. Plot summaries of the plays are given along with relevant dialogue cues, and the songs are given in the order in which they appear in the drama (when known).
Alien Day
"An original, engaging, wonderfully complex alien world. Very highly recommended." —Julie E. Czerneda, author of the Web Shifter's Library series Set on a near-future Earth and on the alien homeworld of S'hudon, Rick Wilber's Alien Day explores murderous sibling rivalries, old-school mercantile colonialism, ambition, greed, and the saving strength that can emerge from reluctant heroes called to do the right thing despite the odds. Will Peter Holman rescue his sister Kait, or will she be the one to rescue him? Will Chloe Cary revive her acting career with the help of the princeling Treble, or will the insurgents take both their lives? Will Whistle or Twoclicks wind up in charge of Earth, an...
Court Odes
John Eccles is today mainly remembered for his theater works, but, as Master of the King’s/Queen’s Music, he was also the principal composer of ceremonial courts odes for William III and Anne, producing some twenty New Year odes and fourteen birthday odes during his thirty-five years in the post—twice as many as Henry Purcell’s output in the same genre. The fact that his odes are so little known today is partly due to how few survive: music is extant for only five odes, three of them incomplete. This volume presents the first complete modern edition of Eccles’s surviving court odes. There is much superb music awaiting discovery here: by the time he wrote his first odes, Eccles was already a seasoned theater composer, and his odes can be equally dramatic and virtuosic; at the same time, they demonstrate confident control both of the choral and orchestral forces at his disposal, and of the works’ large-scale architecture.
History of the Upper Peninsula of Michigan
Publisher description: This volume presents a detailed study of the climate strategies of ExxonMobil, Shell, and Statoil. With an innovative analytical approach, the authors explain variations at three decision-making levels: within the companies themselves, in the national home-bases of the companies, and at the international level. The analysis generates policy-relevant knowledge about whether and how corporate resistance to a viable climate policy can be overcome.
Masques and Dramatick Operas
Featuring music by John Eccles, Gottfried Finger, Bartholomew Isaack, and anonymous composers, the masques The Rape of Europa by Jupiter (1694) and The Loves of Mars and Venus (1696) and the dramatick operas The Mad Lover (1700), and The British Enchanters (1706) come from a particularly tumultuous period of English drama and are representative of the many and varied musical drama genres popular in London’s theaters at the turn of the eighteenth century, just before Italian opera rose in popularity there. The British Enchanters, based on the chivalric romance of Amadis de Gaule, was one of the last dramatick operas and thus one of the last representatives of what in its time was considered a truly British form of music drama. This edition presents all the surviving music for all four of these works, along with their corresponding playtexts and critical commentary.
Collected Works
This volume brings together, for the first time in a critical edition, the complete works of the English composer Walter Porter (ca. 1587/ca. 15951659). One of a small number of English composers from the first half of the seventeenth century who embraced progressive Italianate methods of composition, Porter is further worthy of mention in histories of music for two reasons: he was the composer of the last book of English madrigals, and he claimed to have been the pupil of Claudio Monteverdi. His works survive primarily in two printed collections: Madrigales and Ayres (1632) and Mottets of Two Voyces (1657). Six of the 1657 Mottets also appear in York Minster Library, MS M. 5/13(S). One strophic song and three catches may also be attributed to Walter Porter and are included in an appendix.
