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. NOTES This book is one of the most important contributions to our understanding of the context of the music most familiar to musicians and concert-goers today. (...) The editors have gathered an expert team; their own contributions are paradigms of accessibility. I commend this important book to every serious musician's book shelf. STRINGENDO The editors of this volume are (...) to be congratulated on assembling a systematically organized collection of essays by an impressive international panel of scholars, each of whom is an expert on a particular court and its archival sources. (...) It includes much new and occasionally surprising information, and a substantial amount of material made available in English for the first time. MUSICOLOGY AUSTRALIA The detail presented in this book is remarkable (...) a useful book which extends our knowledge of courtly music-making in Germany during this time, and it will undoubtedly be of value to scholars of the period. THE CONSORT (A) valuable resource for any historical musicologist investigating this extraordinarily productive and fascinating period of German music history, and I hope it encourages and enables more research in this area, and ultimately more performances of its many forgotten treasures. CONTEXT (T)he treasures in (the book's) 500 pages will satisfy a whole range of other music historical interests for years to come. The personnel lists, mini biographies and sheer number of name references to rulers and the musicians in their employ are invaluable. MUSICAL TIMES (A) fascinating picture emerges of the birth and nurture of a rich musical tradition which continues today in democratic form with the unequalled wealth of German musical performance in virtually every German town. CLASSICAL MUSIC (T)his valuable book provides a reliable source of information for anyone interested in 18th-century music in Germany. (...) there is an abundance of knowledge here from which everyone can draw. EARLY MUSIC REVIEWVom Verlag:
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 individual and 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 of music 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, MARY OLESKIEWICZ, 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
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