Featuring 102 music examples, this edited collection features contributions by leading scholars from the UK, United States, Australasia and Europe on what characterized the period.
This collection focusses on the stylistic and cultural interchange that characterizes the musical period of the mid-Baroque (c.1650-1710). The idea of musical transition during this period is evident in two principal ways: geographical and chronological (the two often overlap). Chapters examine geographical transition by tracing the exchange of regional and national styles, while considering chronological evolution from the perspective of music theory, performance practice, source studies or specific repertoires. Studies range across instrumental and vocal music, both sacred and secular, and encompass some of the main European traditions prevalent at the time: Italian, German, French and English. The collection features contributions by leading scholars from the UK, the United States, Australasia and Europe.
CARRIE CHURNSIDE is Associate Professor in Music at the Royal Birmingham Conservatoire (part of Birmingham City University).
List of Illustrations
Acknowledgements
List of Abbreviations
Preface - Carrie Churnside
Part I. Historical and Geographical Transitions in German and English
Instrumental Music
1. Duplex Genius: The French and Italian Musical Styles in the Instrumental
Works of Johann Christoph Pez - Samantha Owens
2. Changing Concepts and Priorities: The German Consort Suite at the Start of
the Eighteenth Century - Michael Robertson
3. French Dances and the Consort Dances of Matthew Locke and his English
Contemporaries - Andrew Woolley
4. 'Italian sonatas in orchestral garb': Purcell and the 'reforme of
musickal' Italiana' - Alan Howard
Part II. Changing Notational and Performance Practices
5. Key Signatures before Keys: Conceptualising and Notating Pitch Relations
in the Seventeenth Century - Gregory Barnett
6. Continuity and Change in Continuo Practice: The Case of Italian Opera -
Peter Holman
Part III. Two Case Studies in Mid-Baroque Church Music
7. Musical Transitions at St. Mary's Church in Lübeck, 1630-1705 - Kerala J.
Snyder
8. The Creation of a 'Bolognese Style': Maurizio Cazzati as the Driving Force
Behind Evolving Musical Taste in Bologna (1657-1671) - Rodolfo Zitellini
Part IV. Transition in Italian Instrumental Music
9. On the Cusps of Stylistic Change: Vivaldi's Sonata RV 820 for Violin,
Cello and Continuo and its Seventeenth-Century Roots - Michael Talbot
10. Naples at a Crossroads: Transformations in Neapolitan Instrumental Music
at the turn of the Seventeenth Century - Guido Olivieri
Part V. Change and Influence in Vocal Music
11. How Italian is the tragédieen musique of Quinault and Lully? - Michael
Klaper
12. Euterpe's Revenge, or: The Italian Opera Aria c. 1660-1720 - Colin Timms
13. 'Ho procurato di seguitare ... i tre maggiori lumi della nostra
professione': Homage and Modernity in Perti'sCantate morali e spirituali, op.
1 (1688) - Carrie Churnside
14. A Microcosm of Italian Cantata Composition in the 1690s: The Seven
Settings of A voichel'accendeste by Francesco Maria Paglia - Rosalind Halton
CARRIE CHURNSIDE is Associate Professor in Music at Royal Birmingham Conservatoire. PETER HOLMAN is Emeritus Professor of Historical Musicology at Leeds University. When not occupied with writing and research, he organises performances of seventeenth- and eighteenth-century music, mostly directing them from the keyboard. He is director of The Parley of Instruments, Leeds Baroque, the Suffolk Villages Festival and the annual Baroque Summer School run by Cambridge Early Music. Kerala Snyder is professor emerita of musicology at the Eastman School of Music. CARRIE CHURNSIDE is Associate Professor in Music at Royal Birmingham Conservatoire.
