Freie Beiträge zur Jahrestagung der Gesellschaft für Musikforschung 2019
The Viennese music theoretician Heinrich Schenker opposed modernity during his entire life. At fi... more The Viennese music theoretician Heinrich Schenker opposed modernity during his entire life. At first, this opposition applied to new technologies as well. Despite his skepticism, he purchased a radio shortly after the Austrian Broadcasting Corporation (RAVAG) started broadcasting in October 1924 and soon became an avid radio listener. Schenker quickly grasped the advantages of this new transmission medium and used it to further his own interests, aided by personal contacts with the RAVAG. In 1928, his associate Otto Erich Deutsch delivered a radio lecture co-authored with Schenker about the goals of the “Archive for Photograms of Musical Master Manuscripts” which was founded at Schenker’s instigation. In 1934, the RAVAG sponsored a competition, awarding the best text to a song fragment by Franz Schubert which in turn was discovered by Deutsch. Since the textless fragment lacks the final measures, Schenker had previously composed an ending for the song which was also performed on the...
After the death of her husband Ferdinand III in 1657, Eleonora Gonzaga founded her own music chap... more After the death of her husband Ferdinand III in 1657, Eleonora Gonzaga founded her own music chapel (Kapelle) of 25 musicians, most of whom were from Italy. With her musicians, the widow became a focus of cultural life at the Viennese court until her death in 1686. The fact that Eleonoraʼs court archives have been lost presents some difficulties in reconstructing the history of her Kapelle. Some of the few remaining sources include an undated list of names and salaries of people engaged at the court, as well as a collection of decrees. Due to the scarcity of primary sources, research into Eleonoraʼs court music must turn to secondary sources such as letters or envoy reports. To some degree, the musicians can be derived from the court accommodation records (Hofquartierbücher), and various parish registers provide biographical details. Finally, it is often necessary to draw on materials from Italian archives.
Two figures played an especially prominent role in the history of the oratorio's inception in Vie... more Two figures played an especially prominent role in the history of the oratorio's inception in Vienna: Archduke Leopold Wilhelm and Empress Eleonora II. As an ecclesiastical dignitary, Leopold had close ties to Rome and made every effort to bring well-reputed musicians and new musical genres from this city to his court. An inventory list compiled in Vienna indicates that his court chapel's repertory included oratorios of Roman origin. Without a doubt, it was Eleonora II who solidly established oratorios in Vienna. After the Empress founded her own court chapel in 1657, she had oratorios imported from Rome and performed in her chapel. Her kapellmeister, Giuseppe Tricarico, who had already conducted oratorios prior to that, played an important role in this effort. The imported oratorios include works with librettos by Marcorelli. Giacomo Carissimi was apparently also represented with an oratorio performed during Advent in 1662: A fact as yet unknown is that an anonymous Viennese libretto Oratorio di Daniele Profeta preserved as a unicum in Bologna (I-Bc Lo.6169) concurs with the text of a composition by Carissimi located in three English archives (GB-Lwa Ms. CG II, Lcm Ms. 108 and T Ms. 508). Eleonora regularly had oratorios performed until she died in 1686. Even after her death, the increasing production of Viennese oratorios did not squelch imports from Rome. Leopold I continued to cultivate the oratorio, occasionally going back to Roman works of this genre. In the last quarter of the 17th century, oratorios by renowned composers such as Bernardo
... a G. Filippo non credo come ho detto che SA lo sofrisca, perche replico che saria una gran ve... more ... a G. Filippo non credo come ho detto che SA lo sofrisca, perche replico che saria una gran vergogna che un tal principe mantenesse il Ganimede a G ... V'e chi da la colpa a D. Andrea [Mattioli], ma io non ne saprei dar altri particolari perche non ho havuto rincontro di parlar con ...
Freie Beiträge zur Jahrestagung der Gesellschaft für Musikforschung 2019
The Viennese music theoretician Heinrich Schenker opposed modernity during his entire life. At fi... more The Viennese music theoretician Heinrich Schenker opposed modernity during his entire life. At first, this opposition applied to new technologies as well. Despite his skepticism, he purchased a radio shortly after the Austrian Broadcasting Corporation (RAVAG) started broadcasting in October 1924 and soon became an avid radio listener. Schenker quickly grasped the advantages of this new transmission medium and used it to further his own interests, aided by personal contacts with the RAVAG. In 1928, his associate Otto Erich Deutsch delivered a radio lecture co-authored with Schenker about the goals of the “Archive for Photograms of Musical Master Manuscripts” which was founded at Schenker’s instigation. In 1934, the RAVAG sponsored a competition, awarding the best text to a song fragment by Franz Schubert which in turn was discovered by Deutsch. Since the textless fragment lacks the final measures, Schenker had previously composed an ending for the song which was also performed on the...
After the death of her husband Ferdinand III in 1657, Eleonora Gonzaga founded her own music chap... more After the death of her husband Ferdinand III in 1657, Eleonora Gonzaga founded her own music chapel (Kapelle) of 25 musicians, most of whom were from Italy. With her musicians, the widow became a focus of cultural life at the Viennese court until her death in 1686. The fact that Eleonoraʼs court archives have been lost presents some difficulties in reconstructing the history of her Kapelle. Some of the few remaining sources include an undated list of names and salaries of people engaged at the court, as well as a collection of decrees. Due to the scarcity of primary sources, research into Eleonoraʼs court music must turn to secondary sources such as letters or envoy reports. To some degree, the musicians can be derived from the court accommodation records (Hofquartierbücher), and various parish registers provide biographical details. Finally, it is often necessary to draw on materials from Italian archives.
Two figures played an especially prominent role in the history of the oratorio's inception in Vie... more Two figures played an especially prominent role in the history of the oratorio's inception in Vienna: Archduke Leopold Wilhelm and Empress Eleonora II. As an ecclesiastical dignitary, Leopold had close ties to Rome and made every effort to bring well-reputed musicians and new musical genres from this city to his court. An inventory list compiled in Vienna indicates that his court chapel's repertory included oratorios of Roman origin. Without a doubt, it was Eleonora II who solidly established oratorios in Vienna. After the Empress founded her own court chapel in 1657, she had oratorios imported from Rome and performed in her chapel. Her kapellmeister, Giuseppe Tricarico, who had already conducted oratorios prior to that, played an important role in this effort. The imported oratorios include works with librettos by Marcorelli. Giacomo Carissimi was apparently also represented with an oratorio performed during Advent in 1662: A fact as yet unknown is that an anonymous Viennese libretto Oratorio di Daniele Profeta preserved as a unicum in Bologna (I-Bc Lo.6169) concurs with the text of a composition by Carissimi located in three English archives (GB-Lwa Ms. CG II, Lcm Ms. 108 and T Ms. 508). Eleonora regularly had oratorios performed until she died in 1686. Even after her death, the increasing production of Viennese oratorios did not squelch imports from Rome. Leopold I continued to cultivate the oratorio, occasionally going back to Roman works of this genre. In the last quarter of the 17th century, oratorios by renowned composers such as Bernardo
... a G. Filippo non credo come ho detto che SA lo sofrisca, perche replico che saria una gran ve... more ... a G. Filippo non credo come ho detto che SA lo sofrisca, perche replico che saria una gran vergogna che un tal principe mantenesse il Ganimede a G ... V'e chi da la colpa a D. Andrea [Mattioli], ma io non ne saprei dar altri particolari perche non ho havuto rincontro di parlar con ...
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