scholarly journals The Organ Concertos of Henry Burgess (1718–1786)

2021 ◽  
Vol 17 (2) ◽  
Author(s):  
Michael Talbot
Keyword(s):  
George Frideric Handel ◽  
Antonio Vivaldi

Henry Burgess, Junior, ­published in 1743 the earliest known set of organ concertos by an English composer. These show strongly the influence of George Frideric Handel, whose organ concertos published as Op. 4 in 1738 invented the genre, but also reveal that of Antonio Vivaldi and – more surprisingly – the English song tradition. Though still little known, Burgess is a capable and inventive composer, whose sparkling concertos, performable either with or without orchestra, deserve a place in the repertoire.

The Musical Discourse of Servitude

2020 ◽  
Author(s):  
Harry White
Keyword(s):  
Johann Sebastian Bach ◽  
George Frideric Handel ◽  
Cultural Significance ◽  
Imperial Court ◽  
Musical Works ◽  
Musical Discourse ◽  
Work Concept ◽  
Musical Genres ◽  
Church Service ◽  
Late Works

The Musical Discourse of Servitude examines the music of Johann Joseph Fux (ca. 1660–1741) in relation to that of Johann Sebastian Bach and George Frideric Handel. Its principal argument is that Fux’s long indenture as a composer of church music in Vienna gains in meaning (and cultural significance) when situated along an axis that runs between the liturgical servitude of writing music for the imperial court service and the autonomy of musical imagination which transpires in the late works of Bach and Handel. To this end, The Musical Discourse of Servitude constructs a typology of the late Baroque musical imagination which draws Fux, Bach, and Handel into the orbit of North Italian compositional practice. This typology depends on two primary concepts, both of which derive and dissent from Lydia Goehr’s formulation of the “work-concept” in The Imaginary Museum of Musical Works (1992), namely, the “authority concept” and a revised reading of the “work-concept” itself. Both concepts are engaged through the agency of two musical genres—the oratorio and the Mass ordinary—which Fux shared with Handel and Bach respectively. These genres functioned as conservative norms in Fux’s music (most of Fux’s working life was spent in writing for the church service), but they are very differently engaged by Bach and Handel. To establish a continuity between Fux, Bach and Handel, and between the servitude of common practice and the emerging autonomy of a work-based practice in the early eighteenth-century musical imagination are the principal objectives of this study.

Recordings (George Frideric Handel)

1985 ◽  
Vol 3 (3) ◽  
pp. 176-180
Author(s):  
David Hamilton
Keyword(s):  
George Frideric Handel

Partenope. George Frideric Handel

1984 ◽  
Vol 2 (1) ◽  
pp. 158-159
Author(s):  
Karin Pendle
Keyword(s):  
George Frideric Handel

George Frideric Handel: Giulio Cesare

2008 ◽  
Vol 24 (3-4) ◽  
pp. 313-324
Author(s):  
N. Link
Keyword(s):  
George Frideric Handel

scholarly journals ANALISIS STRUKTUR MUSIK DAN TEKNIK BERMAIN BIOLA FOUR SEASON “WINTER” KARYA KOMPONIS ANTONIO VIVALDI

2018 ◽  
Vol 6 (1) ◽  
pp. 1
Author(s):  
Christine Simangunsong
Keyword(s):  
Data Collection ◽  
Qualitative Method ◽  
Musical Structure ◽  
State University ◽  
Form Complex ◽  
Antonio Vivaldi ◽  
Four Seasons ◽  
Violin Playing ◽  
Department Of Music ◽  
Musical Forms

This study aims to determine how the structure of music andviolin technique Four Season "Winter" by composer Antonio Vivaldi.In the discussion of this study used the theories related to researchtopics such as Antonio Vivaldi biography, analytical understanding,understanding of musical forms, musical structure and technique ofplaying the violin. The method used by the researchers in this study isdescriptive-qualitative method. The sample in this study such as thesheet music and videos of Four Season "Winter" by composer AntonioVivaldi. The techniques of data collection in this research are workinglaboratory analysis the melody of violin instrument like musicalstructure and technique of playing the violin and literature studyconducted at the Laboratory of the Department of Music Arts, Facultyof Languages and Arts, State University of Medan. From the results ofthis study can be obtained structure of music Four Season "Winter" bycomposer Antonio Vivaldi has 63 bars with 12 motifs includingoriginal motive literal replications and development, up and downsequence, bridges, enlargement of the interval, 10 phrases and is a 3-part song form complex / major played by violin playing techniques asdiverse namely legato, staccato, trill, double stops, and sforzando andusing the dynamic crescendo, mezzo forte, forte, piano, with the righthand position of mixed fingering position of the I-VII. Interpretationof the Four Seasons "Winter" tells the eerie atmosphere transitionalclimate when winter freeze with the sound of the wind through thestrains indicated cruel instrument tones on the violin.

scholarly journals Motezuma, la ópera mexica de Antonio Vivaldi y Girolamo Giusti

2020 ◽  
Vol 11 (18) ◽  
pp. 121-144
Author(s):  
Laura Elizabeth Espíndola Mata
Keyword(s):  
Antonio Vivaldi ◽  
Historical Archives ◽  
The Creation

El ensayo propone un acercamiento a los aspectos escénicos involucrados en la única representación de la ópera Motezuma, con música de Antonio Vivaldi, la cual fue estrenada en el teatro Sant’Angelo de Venecia en 1733. Basándose en archivos históricos inéditos, la autora establece a Girolamo Giusti como el autor del libreto Motezuma, exponiendo además los motivos y las fuentes documentales que pudieron impulsar la creación de la ópera de tema “indio-americano”. Motezuma, a Mexica opera by Antonio Vivaldi and Girolamo GiustiAbstractThis article discusses the theatrical aspects involved in the only performance of the opera Motezuma by the composer Antonio Vivaldi, which premiered at the Sant’Angelo theater in Venice in 1733. The author uses unpublished historical archives to establish Girolamo Giusti as the true playwright of the libretto Motezuma, addressing the motives and sources that could have lead to the creation of this opera with an Indigenous-American theme. Recibido: 10 de marzo de 2020Aceptado: 28 de septiembre de 2020

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