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Music at German Courts serves to illustrate the extraordinary diversity of eighteenth-century German court music establishments without losing sight of what these Kapellen had in common.
What was musical life at German courts really like during the eighteenth century? Were musical ensembles as diverse as the Holy Roman Empire's kaleidoscopic political landscape? Through a series of individual case studies contributed by leading scholars from Germany, Poland, the United States, Canada, and Australia, this book investigates the realities of musical life at fifteen German courts of varied size (ranging from kingdoms to principalities), religious denomination, and geographical location. Significant shifts that occurred in the artistic priorities of each court are presented through a series of "snapshots"- in effect "core sample" years - which highlight both individualand shared patterns of development and decline. What emerges from the wealth of primary source material examined in this volume is an in-depth picture of music-making within the daily life of individual courts, featuring a cast ofmusic directors, instrumentalists, and vocalists, together with numerous support staff drawn from across Europe. Music at German Courts serves to illustrate the extraordinary diversity of eighteenth-century German court music establishments without losing sight of what these Kapellen had in common.
SAMANTHA OWENS is Associate Professor in Musicology at the University of Queensland, Brisbane, Australia. BARBARA M. REUL is Associate Professor of Musicology at Luther College, University of Regina, Canada. JANICE B. STOCKIGT is a Principal Fellow of the University of Melbourne, Australia.
Contributors: DIETER KIRSCH, URSULA KRAMER, MICHAEL MAUL, MARYOLESKIEWICZ, SAMANTHA OWENS, RASHID-S. PEGAH, BÄRBEL PELKER, BARBARA M. REUL, WOLFGANG RUF, BERT SIEGMUND, JANICE B. STOCKIGT, MICHAEL TALBOT, RÜDIGER THOMSEN-FÜRST, ALINA ZORAWSKA-WITKOWSKA, STEVEN ZOHN
What was musical life at German courts really like during the eighteenth century? Were musical ensembles as diverse as the Holy Roman Empire's kaleidoscopic political landscape? Through a series of individual case studies contributed by leading scholars from Germany, Poland, the United States, Canada, and Australia, this book investigates the realities of musical life at fifteen German courts of varied size (ranging from kingdoms to principalities), religious denomination, and geographical location. Significant shifts that occurred in the artistic priorities of each court are presented through a series of "snapshots"- in effect "core sample" years - which highlight both individualand shared patterns of development and decline. What emerges from the wealth of primary source material examined in this volume is an in-depth picture of music-making within the daily life of individual courts, featuring a cast ofmusic directors, instrumentalists, and vocalists, together with numerous support staff drawn from across Europe. Music at German Courts serves to illustrate the extraordinary diversity of eighteenth-century German court music establishments without losing sight of what these Kapellen had in common.
SAMANTHA OWENS is Associate Professor in Musicology at the University of Queensland, Brisbane, Australia. BARBARA M. REUL is Associate Professor of Musicology at Luther College, University of Regina, Canada. JANICE B. STOCKIGT is a Principal Fellow of the University of Melbourne, Australia.
Contributors: DIETER KIRSCH, URSULA KRAMER, MICHAEL MAUL, MARYOLESKIEWICZ, SAMANTHA OWENS, RASHID-S. PEGAH, BÄRBEL PELKER, BARBARA M. REUL, WOLFGANG RUF, BERT SIEGMUND, JANICE B. STOCKIGT, MICHAEL TALBOT, RÜDIGER THOMSEN-FÜRST, ALINA ZORAWSKA-WITKOWSKA, STEVEN ZOHN
Price: $59.95
Pages: 504
Publisher: Boydell & Brewer Inc.
Imprint: Boydell Press
Publication Date:
15 October 2015
Trim Size: 9.21 X 6.14 in
ISBN: 9781783270583
Format: Paperback
BISACs:
MUSIC / History & Criticism, History of music, MUSIC / Genres & Styles / Classical, Music reviews and criticism, Art music, orchestral and formal music
Ultimately, this book is to be highly recommended: it will make a valuable and indispensable addition to the libraries of both scholars of eighteenth-century music and those from other disciplines who want to expand their knowledge of the role of music [...] in the self-fashioning and sustenance of European monarchic structures.