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The Uniquely Expressive Timbre of the Early Trombone

Wednesday, March 23, 2016 1:07:57 PM America/Chicago

Seventeenth-Century Italian Motets with Trombone

By D. Linda Pearse

The exact specification of instruments gained momentum in the final decades of the sixteenth century in Italy and early decades of the seventeenth. Trombones, in particular, were increasingly specified and were often used interchangeably with voices. The early Italian motets in this edition contain parts explicitly designated for trombones and document this tendency toward naming particular instruments and composing idiomatic parts for them. Of the more than hundred works that were identified, the nineteen works in this edition were chosen for the variety of textures and compositional styles represented, as well as for their inherent beauty.

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Posted in Featured Publications By A-R Editions

Anthology Board Announcement

Friday, January 22, 2016 10:23:28 AM America/Chicago

A-R Editions Announces Its New Editorial Board for the
Online Music Anthology Text Component

A-R Editions announces the formation of its new editorial board for the A-R Online Music Anthology. The Editorial Board will focus on texts that will augment the music already available digitally and which will differ from conventional surveys as a customizable, multi-author resource that instructors can use to build coursepacks for music history and theory classes.

The editorial board includes the following musicologists and music librarians:

James P. Cassaro (University of Pittsburgh)
Jane Gottlieb (The Juilliard School)
L. Michael Griffel (The Juilliard School)
Mark McKnight (University of North Texas)
James Parsons (Missouri State University)
Jennifer Thomas (University of Florida)
Marian Wilson Kimber (University of Iowa)

James L. Zychowicz, director of the Special Projects Division of A-R Editions, leads the editorial board. A-R is pleased to work with the outstanding individuals on this Board.

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Posted in News By A-R Editions

Moral Guidance in Miniature in Late Eighteenth-Century Vienna

Tuesday, October 20, 2015 3:35:07 PM America/Chicago

C095 cover

By David J. Buch

The research that resulted in A-R Editions’ publication of the Liedersammlung für Kinder und Kinderfreunde am Clavier (1791; C095), the collection for which Mozart wrote his last three songs (K. 596–98), was personally gratifying in several ways. What started in the late 1990s as an attempt to identify the eleven named composers of the sixty songs in these two volumes devoted to the spring and winter seasons (entitled Frühlingslieder and Winterlieder, respectively) led to the discovery of the identity of editor of the collection, Placidus Partsch. Composed by Mozart, Wenzel Müller, Johann Baptist Wanhal, and other Viennese composers of the late eighteenth century, the songs bring to mind the style characteristics of contemporary popular Viennese comic opera and cover a wide spectrum of technical abilities and ranges.

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Posted in Featured Publications By David J. Buch

Teaching bel canto in the Parisian Salon

Friday, September 11, 2015 9:41:49 AM America/Chicago

By Teresa Radomski

N065 cover

Manuel del Pópulo Vicente Rodríguez García (b. 1775, Seville; d. 1832, Paris) is widely recognized as one of opera history’s greatest tenors. Although his place in history has been secured by his renown as a performer and teacher, he was also an extremely prolific composer; his five chamber operas, composed in 1830–31, effectively illustrate the ample artistic requirements of early nineteenth-century singers. Un avvertimento ai gelosi, a one-act farsa giocosa with a small cast and piano accompaniment, was composed as a teaching piece for García’s students and features a humorous plot, charming arias, virtuosic fireworks, and a wide variety of dazzling ensembles that will still delight today’s singers and audiences.

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Posted in Featured Publications By Teresa Radomski

Churchgoers and Sacred Lutheran Music in Seventeenth-Century Leipzig

Friday, April 17, 2015 10:34:05 AM America/Chicago

cover imageBy Stephen Rose

Leipzig’s churches have a long and distinguished tradition of music-making. According to most accounts, sacred music in Leipzig reached its zenith in the years after 1723, when Johann Sebastian Bach became cantor at the Thomasschule. Less well known are the musical achievements of Bach’s predecessors as Thomaskantor: Sebastian Knüpfer, Johann Schelle, and Johann Kuhnau. One reason that the compositions of Bach’s Leipzig predecessors remain little known is that only a small portion of them survive. By the 1720s such pieces were considered old-fashioned, and most manuscripts were destroyed. Hence church music from late-seventeenth-century Leipzig survives not in the city’s libraries but in other collections. One such location is the Bodleian Library in Oxford, which holds the music manuscripts collected by the English apothecary James Sherard (1666–1738). Sherard’s collection includes eight compositions by Leipzig cantors, five of which survive nowhere else. These eight works are now available in Leipzig Church Music from the Sherard Collection (Y2-020).

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Posted in Featured Publications By Stephen Rose
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