Baroque opera

This chapter interrogates the notion of the Italian theatre with its tiers of boxes as a mirror of (aristocratic) society, addressing the usually unacknowledged complexities surrounding the use of these boxes. It does so by looking at the Teatro Capranica in Rome, and more specifically its 1732 season, for which box occupancy can be partially reconstructed. The chapter includes a visual reconstruction of the theatre’s auditorium, and an overview of the owners/occupants of its boxes. By exploring the ways theatre boxes were used, including as financial instruments, a more complicated picture of their use emerges. Boxes could be sold, rented out, or given to creditors (including artisans) as collateral. Sources also provide insight into the audiences at the Teatro Capranica, and the way in which the grid of boxes could shape their experience. Rather than a projected ideal, then, theatre boxes mirrored actual Roman society.

Handel´s opera Giulio Cesare in Egitto was originally written in Italian, but it has been later performed also in German, and English. It was first performed at the King´s Theatre, Haymarket, London 20th February 1724. It is a drama containing with strong ironic elements. Giulio Cesare was extremely successful due its associations with famous historical characters, and Shakespearean drama, added with connotations to British history. In Giulio Cesare there is affect, ie. emotive technique utilized, both musically and textually. One of the ways is to emphasize the meaningful words by rhyming.

This essay was the opening section of the critical edition of the score of la Calisto published by Bärenreiter Verlag in 2012. It provides a thorough study of the opera, the sources of the libretto, the circumstances of the production, including fresh ides about the performers) and the characteristics of the libretto and its music.

L'inventario dei manoscritti presenti in Malatestiana, con la segnatura 167.107, indica la miscellanea cartacea contenente i tre intermezzi con la seguente espressione: «Giovannini Vincenzo. Scritti in prosa e in versi. Mss. cart. del Secolo XVIII di carte 127». Nella legatura è indicato il numero 226, corrispondente all'ordine originario della Biblioteca Locatelli.

In this paper I make a résumé of my thesis content on Joan of Arc modern and contemporary music, passing in review three European masterpieces of the modern opera and oratorio genres signed by Walter Braunfels, Henri Tomasi and André Jolivet, practically unknown to the researchers and to the great public, as well as my own opera which at the time of the publication of this paper was still in manuscript. 
I am briefly analyzing the "myth-history" relation between the librettos' sources as well as the "text-music" relation as revealed  by the dramaturgic process, all from a transversal perspective.

This article considers the representations of masculinity, emotion, and the performance of loss in Baroque opera. The genre or episode emphasized herein is the lament envoiced by male political figures who challenge the symbolic order that associates expressions of plaintive vocabulary with women. On stage, the gesture of male lamentation complicates traditional structures of subordination both between the sexes and between rival patriarchal systems, constructed and reconstructed as part of colonial historiography. Such is the case in Antonio Vivaldi and Alvise (Luigi) Giusti’s "Motezuma" (1733), where the shifting landscapes of centralized and compromised powers renegotiate the legacies of European heroism in encounters with “New World” populations. At times on top and at times stripped nearly bare, the opera’s Spanish and Aztec men oscillate between superior and submissive subject positions. The duelling spectacles of manhood in "Motezuma" outline critiques of history-making, which finds its voice in men’s lament that sings the personal for the sake of the political.

Due anni fa, con un testo pubblicato sulla rivista diretta da Pietro Gibellini, «Letteratura e dialetti» che ho poi sintetizzato sul «Bollettino del Gruppo dei Romanisti (2022)», descrivevo la storia di diciannove acquerelli di argomento dentistico di Trilussa dei quali avevo riscoperto le tracce negli Stati Uniti.
Seguivo quelle tracce da circa quattro anni, da quando mi ero imbattuta in quelle caricature, pubblicate da Dorothy May Schullian (1906-1989), una importante storica della medicina, in una rivista medica americana nel 1954. Lei tracciava un ricordo dell’amico dentista Arrigo Piperno, scomparso poco prima: autore di studi innovativi in campo odontoiatrico, direttore della rivista “La Stomatologia”, ma soprattutto medico curante di Mussolini, di Gabriele d’Annunzio, del papa Pio XII e di Trilussa, e ormai ex proprietario di quei 19 disegni, che erano il pagamento delle cure dentarie di Trilussa. In effetti nel suo testo lei scriveva semplicemente che adesso erano suoi, senza dare altre spiegazioni. Li pubblicava tutti in bianco e nero, indicandoli con numeri romani e descrivendoli dettagliatamente.
Ci sono voluti parecchi mesi per ricostruire questa incredibile storia. Ma alla fine ho capito che le caricature le furono donate per riconoscenza proprio da Trilussa, perché lei aveva curato un libro di traduzione in inglese di cinquanta sue poesie composto dal suo professore Grant Showerman, morto prima di riuscire a pubblicarlo (1935). La storia personale di Showerman coi suoi risvolti commoventi, il suo scambio epistolare con Trilussa e il grande amore per la città di Roma saranno l’argomento del mio prossimo testo per la «Strenna dei Romanisti» del 2025. Il libro, edito dalla Schullian con l’editore Vanni di New York, uscì nel 1945: "Roman Satirical Poems and their Translation". Trilussa ne venne a conoscenza nel 1946, e letteralmente mosse mari e monti per rintracciare la curatrice; una volta trovata, lei si diede da fare per spedirgli dall’America diverse copie a sue spese. Da qui l’invio dei disegni, tramite il dentista Piperno, che con grande entusiasmo avviò una lunga corrispondenza con lei.
La mia ricerca, difficile per il problema della pandemia, è stata agevolata dalla collaborazione dei bibliotecari della Cornell University di Ithaca (New York) in cui lei fu per molti anni la direttrice della biblioteca medica dell’Università, che hanno autorizzato un sopralluogo nel suo archivio fatto da uno studente della Cornell. Ma lo studente purtroppo ha ritrovato soltanto i negativi fotografici in bianco e nero, da lei realizzati nel 1954. Il mistero degli originali scomparsi mi ha assillata in questi anni. Ho pensato che li avesse regalati oppure che fossero stati rubati dopo la sua morte (nel 1989 ad Ithaca), lei che era rimasta sola e senza figli dopo un matrimonio tardivo. Perduti, quindi, dispersi chissà dove.
Poi per caso, recentemente, digitando nel database del sito internet della biblioteca della Yale University il nome di Trilussa, sono apparsi tutti e diciannove, e sulla loro provenienza non c’erano dubbi: «Gift of Dorothy Schullian»; digitalizzati ad alta definizione e schedati come art original. Un dono, quindi, che ha messo al riparo da occhi malintenzionati quei “reperti” che negli ultimi anni della sua vita ha voluto affidare alla sezione medica della Yale University (New Haven, Connecticut). L’atto di donazione è datato 2 ottobre 1977.
I disegni sono stati inseriti nel sito internet soltanto il 20 dicembre 2023, rendendo quindi possibile un ritrovamento che all’epoca della mia ricerca sarebbe stato impensabile. Finalmente è stato possibile apprezzare gli acquerelli coi loro colori e in tutta la loro vitalità.

Manuscript parts for an anonymous oboe concerto in G minor shelfmarked L:10 are found in the Wenster collection at the University Library in Lund. The concerto has the peculiarity that each of its three movements is cast in da capo aria form. It turns out that the movements have been taken from arias in two operas by Antonio Lotti, Giove in Argo (1717) and Ascanio (1718), written for performance in Dresden. The manner of conversion from aria to concerto movement is very simple, entailing the reassignment of the vocal line to oboe, lightening of the string accompaniment in some solo passages and otherwise only minimal recomposition. Great care has been taken to match the movements to one another to create an instrumental pasticcio. The evidence that Lotti himself undertook the conversion is very strong, since his only other known concerto (for oboe d’amore, in A major) likewise uses da capo aria form for each movement, something previously not encountered in the genre. The identity o...

A Roman opera with a labyrinthine name, Il Palazzo incantato (or Il Palagio d’Atlante, overo La Guerriera Amante), premiered at the Teatro delle Quattro Fontane in February 1642, with music by Luigi Rossi and a libretto by Giulio Rospigliosi, the single librettist to become a pope (Clement IX). Il Palazzo incantato interweaves and intermixes the stories of 20-odd lovesick characters from Ariosto’s Orlando furioso. Emphasized in Rospigliosi’s libretto is the language and logic of storytelling—evidenced in the repetitions of narrare, parlare, favellare, dire, and udire—to grant Furioso characters the authorizing faculties and affective disposition of their poem’s creator. Palazzo’s indebtedness to Ariosto’s proto-Baroque narrative style demonstrates the theatrical application of the poetics of varietá, the dramatic adaptability of entrelacement, and the vogue for cross-pollination of authorial voices-in-performance. My presentation studies Il Palazzo incantato’s various means of representing Baroque Ariosto in and for opera, discursively and through spectacle.

Heute wie damals löst das monumentale Doppelporträt von Anton Frank und Thomele bei Betrachtern und Betrachterinnen Neugierde, Staunen und Überraschung aus. Es verwundert daher nicht, dass das Doppelbildnis zu den immer wieder beschriebenen Sammlungsstücken von Besuchern des Schlosses Ambras seit dem 2. Viertel des 17. Jahrhunderts zählt.25 Damit erfüllt es jedenfalls die Absichten des fürstlichen Auftraggebers. In derartigen Kunst- und Wunderkammern sollte nämlich die gesamte Welt im Kleinen, sozusagen als begehbares Lexikon, mit allem Faszinierenden, Fremden und Unbekannten abgebildet werden. Diese Intention ist jedoch nicht bloßem Voyeurismus geschuldet, sondern beruht auf der Absicht zu beobachten und zu studieren, und ist damit wesentlich vielschichtiger zu beurteilen. Pointiert formuliert hat dies der aufgeklärte Naturphilosoph Carl von Linné in seiner 1735 veröffentlichten Abhandlung Systema Naturæ, wonach der Betrachter durch derlei Gegenstände und Objekte tief emotional und geistig bewegt werde.

The purpose of this document was to prepare modern performing editions of two solo cantatas by Alessandro Stradella. Historical commentary includes an overview of Stradella's life and musical output, the poetic style and structure of seventeenth-century Italian cantata texts, and pertinent information about the historical subjects of the cantata texts, Xerxes and Belisarius. A synopsis of each cantata is followed by analytical observations which describe the correlation of the musical setting to the text of the cantatas. A study of the musico-poetic relationships includes investigation of both the open and closed poetic forms of the cantata texts and the tonal aspects as they relate to the text setting

Links: https://cantataitaliana.it/scheda/12668 e https://cantataitaliana.it/scheda/12192. Frontespizio [a p. VI]: "LI / DIVERTIMENTI / POETICI / DI / MARIA ANTONIA / SCALERA STELLINI / D'Aquaviva / DEDICATI / All. Em.ᵐᵒ e Rev.ᵐᵒ Sig. il Sig. Card. / SIGISMONDO / CHIGI / Per la Sacra Religione di Malta / Gran Priore di Roma. // In ROMA per il Mascardi. 1677. / Con licenza de' Superiori."; Imprimatur di Jacopo De Angelis (1611-1695) e Raimondo Capizucchi (1615-1691) [a p. VII]; indice alle p. 283-303; Errata corrige s.i.p. [= p. 304]. Il testimone a stampa utilizzato proviene dalla collezione del cardinal Rospigliosi (cfr. l'immagine). La seconda parte de Li divertimenti poetici fu pubblicata postuma nel 1706 da suo marito Silvestro Stellini ("LI / DIVERTIMENTI / POETICI / DI / MARIA ANTONIA / SCALERA STELLINI / D'ACQUAVIVA / PARTE SECONDA / Postuma / DEDICATA / All'Eminentiss. e Reverendiss. Signore, / IL SIGNOR CARDINALE / GASPARO / CARPEGNA / Vicario di Roma &c. // IN ROMA, MDCCVI. / Nella Stamperia di Antonio de' Rossi / alla Piazza di Ceri / Con licenza de' Superiori."). Seconda scheda della raccolta comprendente l'intero canzoniere (n. 15-161) di Maria Antonia Scalera Stellini (1634-1704), poetessa di Acquaviva delle Fonti ascritta all'Accademia dell'Arcadia di Roma il 20 giugno 1694 con il nome di Aricia Gnateatide (alcune informazioni biografiche, anche inedite, sulla sua famiglia sono presenti nelle schede n. 12621, n. 12622 e n. 12664). Esso è formato da 144 componimenti poetici sia sacri che profani (principalmente canzoni, madrigali e sonetti più 3 risposte di Michele Brugueres, Giovanni Battista Leo e Francesco Antonio Vitale), scritti dall'autrice nell'arco temporale di un decennio (all'incirca dal 1667 al 1677). Degne di menzione sono le due opere paraliturgiche, per musica di autore ignoto, eseguite nel Monastero dell'Umiltà di Roma: Serenata spirituale (per suor Maria Girolama Colonna) e Il trionfo di sant'Agata vergine e martire (per suor Maria Colomba e suor Maria Alessandra? Colonna); cfr. le schede n. 12567 e n. 12585. Ulteriori riferimenti musicali, riguardo alle rappresentazioni di diverse commedie presso il Palazzo Chigi di Ariccia, si possono trovare nelle schede n. 12241, n. 12259, n. 12275 e n. 12667. La lista dei dedicatari (con il n. dei componimenti) è la seguente: Olimpia Aldobrandini (1); Giovanni Giuseppe d'Austria (1); Emilio Bonaventura Altieri [Clemente X]; Eleonora Boncompagni (1); Maria Virginia Borghese (1); Michele Brugueres (3); Carlo Carafa della Spina (1); Agostino Chigi (1); Alessandro Chigi (1); Augusto Chigi (1); Fabio Chigi [Alessandro VII] (1); Flavio Chigi (1); Laura [Flavia Virginia] Chigi (2); Sigismondo Chigi (2); Angelo della Ciaia (1); Girolama [Maria Colomba] Colonna (1); Teresa [Maria Girolama] Colonna (2); Vittoria [Maria Alessandra] Colonna? (1); Domenico Maria Corsi (1); Lelio De Franchis (2); Geronima Doria (1); Giovanni Felice Fedele (1); Aurelia Maria Francavilla (1); Tommaso Luigi [Aloiggio Battista Antonio] Francavilla (1); James Alban Gibbs (1); Maria Guzman Colonna (1); Giovanni Battista Leo (1); Livia N. (1); Carlo I de Mari (1); Blaso Antonio [Domenico Maria] Masiello (1); Maria Massimi (1); Cosimo III de Medici (1); Primiana Molignano (1); Vincenzo Maria Orsini [Benedetto XIII] (1); Domenico Ottomano di San Tomaso [Sultan Osman] (1); Giovanni Battista Pamphilj (1); Giovanni Battista Peparelli (1); Mario Piccolomini (1); famiglia Pusterla (1); Giacomo Ricci (1); Bernardino Rocci (1); Clemente Domenico Rospigliosi (1); Felice Rospigliosi (1); Giacomo Rospigliosi (1); Giulio Rospigliosi [Clemente IX] (2); Francesco Scalera (1); Tommaso Maria Spada (1); Bonaventura Spadone (1); Carlo II di Spagna (1); Tommaso Giacinto Stella (1); Silvestro Stellini (1); Pietro Paolo Vegli (1); Francesco Antonio Vitale (2); Alessandro Zondadari (1). Per la serie dei 14 componimenti poetici dedicati alla Scalera Stellini (n. 1-14) cfr. la scheda n. 12668. N.B.: La dicitura "autore del testo per musica", a esclusione delle schede n. 12567 e n. 12585, è da intendersi come "autore del testo poetico".

In his study of the Stamitz symphonies, Eugene K. Wolf devotes a chapter to the growth of the phrase in Stamitz's music and, more generally, to the evolution of eighteenthcentury phrase rhythm. 1 In the course of a long footnote that describes the changing significance of periodicity at mid-century, Wolf expresses a sentiment common among eighteenth-century scholars when he writes: "Contrary to what is often assumed, a significant proportion of Baroque dances are not fully hierarchical in the proportional sense, being highly irregular at levels down to and even including the beat-this despite the fact that articulations may occur regularly every four, eight, sixteen, and thirty-two bars." 2 What does Wolf mean when he says "irregular"? Is Baroque phrase rhythm really as unsystematic as the word "irregular" would seem to suggest? There are, of course, many Baroque pieces that seem to cultivate an unpredictable rhythmic design-one thinks of the bizarrie in the sinfonias of Stradella and the sonatas of Corelli, 3 for instance, or of Bach's and Handel's allemandes, courantes, and gigues. But these do not form a majority within the body of instrumental works composed during the early decades of the eighteenth century. What may strike us as deliberately whimsical, unplanned, or improvisatory in this repertoire most often presents us instead with a blend of the patterned and the unpatterned, of the structured and the unstructured. 4 1 Wolf 1981, chapter 8. 2 Ibid., p. 137, fn. 83. 3 Not to mention the Bizarrie per camera a tre by Giuseppe Valentini; see Barnett 1996. 4 Among those who have tried to capture the essence of this blend are Laurence Dreyfus (1990), Raymond Monelle (1998), and Susan McClary (2000).

Like many metrically dissonant idioms, hemiolas can go by almost unnoticed (when they contribute only a touch of spice which the composer adds to the metrical mélange), or they can call so much attention to themselves that they bring the composition to a near halt. 1 Example 1, from the Courante of Handel's E major keyboard Suite, illustrates the first, fleeting kind of hemiolic emphasis. 2 In this excerpt, the hemiola is highly compatible with its surroundings. During the cadential progression in bars 6 and 7, neither the design nor the rhythms of the right hand's passagework alter the ternary articulation they 1 This article addresses issues I did not bring up in my three earlier studies of the hemiola: "

La Semana de Música Religiosa de Cuenca (SMR) es un festival musical que se celebra, desde 1962, en Cuenca, la ciudad castellanomanchega declarada Patrimonio de la Humanidad por la UNESCO en 1996. En cada edición, que suele desarrollarse coincidente en fechas con la Semana Santa, conviven conciertos -se celebran en lugares de gran belleza y adecuación tanto en el Casco Antiguo de la ciudad como en el moderno Teatro Auditorio de Cuenca y en algunos puntos de la provincia- con otras actividades. Entre ellas, cabe citar conferencias, talleres, clases magistrales, recitales didácticos dirigidos al público escolar, entre otras propuestas. La atención a la música académica de diferentes etapas creada en torno a la religión, sobre todo vinculada con el cristianismo, el apoyo que el ciclo ha ofrecido a la composición de nuevas piezas -en todas las ediciones se encargan partituras que se escuchan por primera vez-, el fomento de la investigación musicológica, y la atracción a una ciudad de menos de 55.000 habitantes a un buen núcleo de directores, agrupaciones vocales e instrumentales, solistas, medios de comunicación y público, son algunas de las claves que se han mantenido en su ya dilatada carrera.
Este festival es, precisamente, el protagonista de un libro firmado por Marco Antonio de la Ossa Martínez, docente, investigador, divulgador y gestor cultural. Así, el autor es Maestro de Educación Musical, Licenciado en Historia y Ciencias de la Música, Máster en Gestión Cultural y Doctor en Bellas Artes. Su tesis doctoral sobre la música de la guerra civil española (2008) obtuvo el Premio de Investigación de la Sociedad Española de Musicología (SEdEM) en 2009.

Augsburg bowl and chest with opera costumes. The inventory of the Lviv tenement house of Stanisław Mateusz Rzewuski from 1728.
The article presents the valuable, highly interesting and hitherto unknown inventory of Royal Tenement House in Lviv from 1728, the magnificent residence of the Grand Hetman of the Crown and ambitious minister to August II, Stanisław Mateusz Rzewuski (1662–1728). This tenement house, once belonging to the ennobled merchant Konstanty Korniakt, since 1640 was in the hands of the Sobieski family. In 1678, at the initiative of King Jan III Sobieski, it was rebuilt into a representative royal seat and at the beginning of the 18th century it was transferred to the Rzewuski family. The presented inventory is kept in the rich collections of the Central State Historical Archives, it contains a variety of important and precious informations about interiors and furnishings, especially fabrics, wall upholstery, glass objects and silverware, gives the insight into material culture and daily life of Rzewuski’s court in the last months of his life. Particulary noteworthy is the information on opera performances staged at the magnate’s residents in Lviv, the inventory brings unknown detailed list of magnificent opera costumes stored in Rzewuski’s tenement house on the main square in Lviv in 1728. It testifies rich musical activity on the Rzewuski’s court and provides names of Italian and Polish court musicians employed by Stanisław Mateusz Rzewuski and involved in performances at that time, include those of Joanna Grazioli, Janina Więckowska, Stefan Jaroszewicz, Kazimierz Drewnowski, Bartolomeo Straparapa, Marcin Paprocki, but also Patkowski, Cienkiewicz and Omelański. The published inventory sheds new light on the staging Italian baroque opera at the time, and is also an important source for the history of the Rzewuski family estates in Lviv and of magnates status in the first half of the 18th century. An edited version of the inventory under study has been attached as a supplement.

Christine Nagel 212 Wie es dann auch eine schöne Leiche gewesen Schmuck und Kleidung auf den Totenbildern des Kurfürstenpaares Johann Georg I. und Magdalena Sibylla von Sachsen Uta Dorothea Sauer 228 Musik und Theater am Hofe Johann Georgs I. Oper, Ballet de cour und Singspiel als ›kursächsische Friedensbotschaften‹ im Dreißigjährigen Krieg Marius Winzeler 238 Der Kurfürst als Bauherr Johann Georg I. und die Architektur seiner Zeit in Sachsen Gernot Klatte 260 Christian Schieblings Zeichnung des Kurfürsten Johann Georg I. im Kreis seiner Familie (Apotheose Johann Georgs I.) Eine Vorlage für eine Wandmalerei im Riesensaal?

Der Artikel zeigt die Wirkungsgeschichte der von Friedrich Zollinger entwickelten Zollbauweise  bis zu den neusten Versuchen, die Technologie im 21. Jahrhundert zu reaktivieren. /// The article shows the history of the impact of the Zollbauweise developed by Friedrich Zollinger up to the latest attempts to reactivate the technology in the 21st century.

Comprehensive essay about the opera Li prodigi della divina grazia nella conversione e morte di San Guglielmo, duca d'Aquitania by Pergolesi (1731), published as programme notes for the recording by Ensemble Alraune. Analysis of the musical sources (including the Introduzzione), analisys of the libretto (sources and political significance), analysis of the musical dramaturgy.

Comprehensive essay about the opera Li prodigi della divina grazia nella conversione e morte di San Guglielmo, duca d'Aquitania by Pergolesi (1731), published as programme notes for the recording by Ensemble Alraune. Analysis of the musical sources (including the Introduzzione), analisys of the libretto (sources and political significance), analysis of the musical dramaturgy.

Gegenstand der Studie, die 2012 als Dissertation an der Universität Graz eingereicht wurde, ist der Kulturtransfer zwischen dem französischsprachigen Kulturraum und dem Wiener Hof im 17. Jh. Die Autorin befasst sich dabei mit einem Zeitraum, in dem die politische Situation den kulturellen Kontakt zwischen dem Wiener Hof und dem französischen Kulturraum eher unterdrückte als begünstigte. Der Untersuchungszeitraum beginnt mit dem Jahr 1630, als sich während des Dreißigjährigen Krieges der Antagonismus zwischen Habsburg und den Bourbonen verschärfte, und endet 1730, kurz bevor sich die politischen und kulturellen Kontakte zwischen den Habsburgern und der französischen Krone infolge der Heiraten

«¿Lope fue alguna vez joven?», si chiede Héctor Brioso Santos nella Presentación (p. 15) al volume che inaugura la collezione Papeles de Teatro della casa editrice Liceus e il cui titolo richiama l'ultimo verso di un sonetto delle Rimas: «Mi vida va volando, el tiempo corre, | y mientras mi esperanza con vos viene, | callando pasan los ligeros años» (Desde que viene la rosada Aurora, CXIII). Che cosa sappiamo realmente di quei «ligeros años», di quella fase di sperimentazione e tentativi precedente alla formulazione della comedia nueva celebrata nell'Arte nuevo de hacer comedias en este tiempo del 1609? A questa domanda cercano di rispondere gli studiosi che partecipano con i loro contributi a questa raccolta di recente pubblicazione, significativamente dedicata alla memoria di Stefano Arata di cui si riproduce un «Autógrafo 'velazqueño'» del 1991 (p. 17), dieci anni dopo la sua morte prematura. E cercano di rispondere avendo come orizzonte critico una serie di lavori fondamentali che hanno segnato gli studi su una tappa cruciale per il teatro barocco, quella dell'affermazione del teatro commerciale; lavori come quello pionieristico di Rinaldo Froldi

Este artículo repasa las diferentes músicas escritas para las comedias de Agustín Moreto que han llegado a nuestros días. Arranca a mitad del siglo XVII y concluye en el XIX. No se trata de un listado sistemático ni exhaustivo pues su objetivo es intentar acercar al lector al mundo sonoro de nuestro teatro musical que tan esquivo ha sido para los que no pueden leer música. Mucha de esta música no ha vuelto a sonar una vez se acabaron las representaciones para las que se compuso.

The path Monteverdi takes between harmonic arrivals depends on three elements: the content of the phrases; whether the repetition of a phrase is altered; and how the joints between phrases are made. I call these schemata, splices, and elisions, respectively. They are basic ingredients of the first thirteen madrigals in Book 5, which are mostly homorhythmic.

This response to Stephen Lett's article draws parallels between the institutional histories of the Society for Music Theory (SMT) and the Barbershop Harmony Society (BHS). While both societies have struggled with racial diversity and inclusion, the structural racism that has pervaded the BHS since the civil rights era offers a potent and eerily familiar example of how seemingly innocuous, apolitical institutions can be sites of exclusion and inequity that plague the United States at large. Echoing Lett's sentiments, I urge my fellow SMT members to recognize the inherently political nature of our craft as we reassess and rebuild our Society's culture in this period of reckoning.

Background: Handel´s musical expression was largely going towards lighter style Galant (Radice, 1999), not totally against the traditional beginning of the 18 th Century Baroque music making, but rather furthering it into some fresher musical fields by connecting tastefully Western European (here seen via German, Italian, French, and English music rhetoric) styles. This is reflected for instance in Handel´s opera Giulio Cesare´s dancelike catchy arias, which are set in da capo model as tripartite, meant to engage the auditor-spectator´s moral sense and mind (Handel, 1724). This research aims to study Handel's opera Giulio Cesare and its performance instances via methods of historical-philosophical-aesthetic-deductive musical analysis and musical rhetoric/affects analysis to find an "ideal spectator-auditor" (Moreno, 2004) of the work, which the composer might have had in his mind while composing the opera.

Handel´s musical expression was largely going towards lighter style Galant, not totally against the traditional beginning of the 18 th Century Baroque music making, but rather furthering it into some fresher musical fields by connecting tastefully European styles. This is reflected for instance in Handel´s opera Giulio Cesare´s dancelike catchy arias, which are set in da capo model as tripartite. The first section is repeated decoratively in the end by the soloist, the middle section is varying and contrasting by texture, rhythm, musical key, and mood, so that the listener´s attention is caught via "shading" and contemplating, producing the elaborate emotional content of the text, seeking personal emotions and sensitivity. Accordingly, the message is furthered via an emotion encouraged to be reflected via textual poetical verse. The meaningful words are being emphasized elaborately by endings with corresponding sounds. Regardless of the language, the basic meaning remains in the intermediary duality between the main themes, the affects of love and revenge which are set as a bipartite counterforcible / reactional embodiments created by the characters of the opera, which owe to Aristotle´s four elements (384-322BCE), and Plato´s atomism (429-347BCE) theories and can be described by Greimassian and Tarastian semiotic modal models (1992/2012).

Using the example of the grand ducal dynasty of the Medici in Florence, this chapter examines strategies implemented to compensate for childlessness and thus heirlessness. The protagonists are the aging grand duke Cosimo III (1642-1723) and his surviving children, the electress dowager of the Palatinate Anna Maria Luisa de' Medici (1667-1743) and the crown prince , who should later become the last Medici grand duke Gian Gastone (1671-1737). The investigation is based on diplomatic reports from imperial and papal envoys in Florence between 1717 and 1723. At this time, the last two generations of the Medici resided in Florence. The emperor as feudal lord prevented the independent regulation of succession by the grand ducal dynasty itself. Despite the loss of importance in the face of imminent extinction, ceremonial acts addressed to the Florentine public as well as to foreign diplomats, officially invoked the unity of the grand ducal house. The aim was to draw the observers' attention towards the staged acts of family unity to distract from the deficit of the missing succession. Wenn über fürstlichen Nachwuchs als Hoffnungsträger und Argument gesprochen wird, stellt sich auch die Frage nach den Auswirkungen, wenn die nächste Generation ausbleibt. Denn legitimer Nachwuchs ist essenziell für den Fortbestand der Herrschaft einer Fürstenfamilie in der folgenden Generation. Im Ancien Régime war das Aussterben einer Dynastie eine substantielle Krise, da die Verfasstheit von Territorien untrennbar mit der die Herrschaft innehabenden Familie verbunden war. 1 Es existierte noch kein überpersönlicher Staat moderner Prägung, sondern neben einigen Republiken war die herrschende Dynastie die personifizierte Staatlichkeit eines fürstlichen Open Access. © 2023 Cathérine Annette Ludwig-Ockenfels, publiziert von De Gruyter. Dieses Werk ist lizenziert unter einer Creative Commons Namensnennung-Nicht-kommerziell-Keine Bearbeitung 4.0 International Lizenz.

This contribution provides an overview of the role of French royal doctors from the late 16 th century to the early 18 th century within the social context of the court, later centred at Versailles. In focussing on the political function of court physicians it is argued that medical practice became relevant not only in treating the royal body of the individual ruler, but also as a model for governing the body politic of the French state. Departing from the sceptical notions that doctors are bad advisors for kings and queens, the essay sheds light on the individual practices of the French Premiers médecins du roi and how they were integrated in the social system of favouritism at court. is system granted them a powerful, albeit precarious position that allowed them to in uence and sometimes control other institutions of the medical milieu in France. A close reading of sources such as the medical case books of court physicians reveals the strategies that court physicians devised for counselling the ruler and maintaining their standing within the social setting of Versailles.

En la Oper am Gänsemarkt, durante sus primeros 60 años de vida, se representa un número
considerable de óperas ambientadas en España o basadas en originales españoles. En lo
literario, esta tendencia da lugar a la recreación de determinados ambientes y temas asociados
tradicionalmente a la cultura española. En lo musical, invita a los compositores a importar
moldes tímbricos, rítmicos y armónicos que, con mayor o menor fundamento, consideran
adecuados para dicha ambientación.