In this important study, Margaret Seares places Johannes Mattheson's Pièces de clavecin (1714) in the context of his work as a public intellectual who encouraged German musicians and their musical public to embrace a universalism of style and expression derived from contemporary currents in music of the leading European nations. Seares's understand
In this important study, Margaret Seares places Johannes Mattheson's Pièces de clavecin (1714) in the context of his work as a public intellectual who encouraged German musicians and their musical public to embrace a universalism of style and expression derived from contemporary currents in music of the leading European nations. Seares's understand
Emeritus Professor Margaret Seares retired from her role as Senior Deputy Vice Chancellor at The University of Western Australia in 2008. Since her retirement from university administration she has resumed her research work, which focuses on early eighteenth-century music and on Australian cultural policy. She has articles in Early Music and Eighteenth-Century Music and was responsible for the preparation of the online article on Australia's cultural policy for the Council of Europe. Seares is co-author, with Kay Stevenson, of Paradise Lost in Short: Smith, Stillingfleet and the Transformation of Epic (1998) with co-author Kay Stevenson.
Inhaltsangabe
Contents: Preface The formative years leading up to Das neu-eröffnete Orchestre and the Pièces de clavecin Mattheson's Das neu-eröffnete Orchestre of 1713 Les Pièces de clavecin/Harmonisches Denckmahl Mattheson's German heritage Music à la mode: Mattheson's response to the music of his Italian and French contemporaries Mattheson and 'universalism' Mattheson's dance movements: an amalgam of styles Conclusion Appendix Bibliography Index.
Contents: Preface The formative years leading up to Das neu-eröffnete Orchestre and the Pièces de clavecin Mattheson's Das neu-eröffnete Orchestre of 1713 Les Pièces de clavecin/Harmonisches Denckmahl Mattheson's German heritage Music à la mode: Mattheson's response to the music of his Italian and French contemporaries Mattheson and 'universalism' Mattheson's dance movements: an amalgam of styles Conclusion Appendix Bibliography Index.
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