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Wenzeslaus Thomas Matiegka
A critical-performance edition of the twelve surviving guitar sonatas of early nineteenth-century Viennese guitarist-composer Wenzeslaus Thomas Matiegka (1773-1830), edited with comprehensive commentary and background information by Stanley Yates.
Thematic Catalogues in Music
In 1997, twenty-five years after its first publication, Thematic Catalogues in Music-An Annotated Bibliography (Pendragon Press, 1972) appeared in a completely revised and expanded Second Edition. It contains almost twice as many entries as its predecessor; virtually every one of the original entries has been updated; and the following noteworthy features have been added.1. A second introductory essay detailing trends and innovations in thematic cataloguing brought about by the revolution in technology of the past twenty years. 2. Appendices listing thematic catalogues in series; both by national organizations and publishers; a detailed up-to-date, country-by-country report of activities wor...
Adelaide
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The Recorder
The fascinating story of a hugely popular instrument, detailing its rich and varied history from the Middle Ages to the present The recorder is perhaps best known today for its educational role. Although it is frequently regarded as a stepping-stone on the path toward higher musical pursuits, this role is just one recent facet of the recorder's fascinating history--which spans professional and amateur music-making since the Middle Ages. In this new addition to the Yale Musical Instrument Series, David Lasocki and Robert Ehrlich trace the evolution of the recorder. Emerging from a variety of flutes played by fourteenth-century soldiers, shepherds, and watchmen, the recorder swiftly became an artistic instrument for courtly and city minstrels. Featured in music by the greatest Baroque composers, including Bach and Handel, in the twentieth century it played a vital role in the Early Music Revival and achieved international popularity and notoriety in mass education. Overall, Lasocki and Ehrlich make a case for the recorder being surprisingly present, and significant, throughout Western music history.
Abendempfindung
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Wolfgang Amadeus. Mozart - Divertimento No. 8
Mozart's Divertimento No. 8 in F major, K. 213, is one of five surviving wind sextets scored for two oboes, two horns, and two bassoons. Divertimenti, Cassations and Serenades were of the music genre called Tafelmusik (table music), and were played at social events such as weddings, graduations, and birthdays. Composed after his return from Italy to Salzburg in March of 1773, Mozart was just seventeen years old. During that year, among other compositions, he wrote six or seven symphonies, four divertimentos, six string quartets, a piano concerto, and a mass. There are five movements: Allegro spiritoso Andante Minuet and Trio Contredanse en Rondeau EDITORIAL APPROACH In this arrangement for t...
Zwischen ‚leerer Klimperey‘ und ‚wirklicher Kunst‘
Bereits ein kurzer Blick in die einschlägige Literatur verrät, dass es für die Zeit um 1800 offenbar kaum Wesentliches zur Geschichte der Gitarrenmusik in Deutschland zu berichten gibt und erst Mauro Giulianis Ankunft in Wien 1806/07 eine wahrhafte ›Guitaromanie‹ ausgelöst hat. Dieser scheinbare ›Geschichtsverlust‹ steht jedoch in deutlichem Widerspruch zu dem, was etliche zeitgenössische Quellen verraten: Nicht nur gab es in jener Zeit Gitarrenmusik in Deutschland (und zwar durchaus in großer Zahl), vielmehr wurden vor allem auch die Diskussionen um Gitarrenmusik, die in der Polarität zwischen ›leerer Klimperey‹ und ›wirklicher Kunst‹ anzusiedeln sind, außerordentlich lebhaft geführt. Überdies reflektieren und repräsentieren sie als pars pro toto die Vielfalt der sozialen, kulturellen und ästhetischen Diskurse einer Gesellschaft, die sich in der ›Sattelzeit‹ zwischen französischer Revolution und Wiener Kongress einem massiven Wandel ausgesetzt sah. Vor diesem Hintergrund ist die Studie als eine erste exemplarische ›Kartierung‹ der gitarristischen Landschaft in Deutschland um 1800 zu verstehen.
