The Standard Cantatas


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Reproduction of the original.




The Standard Cantatas


Book Description




The Standard Cantatas: Their Stories, Their Music, and Their Composers. A Handbook


Book Description

In 'The Standard Cantatas: Their Stories, Their Music, and Their Composers. A Handbook', George P. Upton provides a comprehensive exploration of the world of cantatas, focusing on their stories, musical elements, and the composers behind them. Upton delves into the historical and literary context of cantatas, offering detailed analysis of their structure and themes. Written in a scholarly yet accessible style, this book serves as a valuable resource for music lovers and scholars alike. Upton's meticulous research and passion for the subject shine through in his engaging prose, making this handbook a must-read for anyone interested in classical music. The inclusion of biographical information on the composers adds depth to the book, offering readers a deeper understanding of the creative process behind these timeless works. Overall, 'The Standard Cantatas' is a compelling and informative exploration of a rich musical tradition, making it an essential addition to any music lover's library.




The Cantatas of J.S. Bach


Book Description

This is the only English translation of this important book by the world's most distinguished Bach scholar.




The Standard Operas: Their Plots, Their Music, and Their Composers


Book Description

George P. Upton's 'The Standard Operas: Their Plots, Their Music, and Their Composers' is a comprehensive guide to the world of opera, providing detailed descriptions of the plots, musical scores, and composers behind some of the most beloved operas in history. Upton's literary style is informative and engaging, making this book accessible to both opera enthusiasts and newcomers to the genre. Written in the late 19th century, this book serves as a valuable resource for understanding the cultural significance of opera during that time period. Upton's meticulous research and passion for opera shine through in his detailed analyses of each opera's story and music. George P. Upton, a music critic and educator, drew from his extensive knowledge of opera to create this definitive guide. His expertise in music theory and history is evident in the way he dissects the composers' intentions and the development of opera as an art form. Upton's dedication to preserving the legacy of these timeless works is reflected in the thoroughness of his research and the depth of his insights. I highly recommend 'The Standard Operas' to anyone interested in delving into the world of opera. Upton's book provides a comprehensive overview of the most famous operas, making it an essential read for opera lovers and scholars alike.




The Chamber Cantatas of Antonio Vivaldi


Book Description

Detailed survey of Vivaldi's unjustly neglected chamber cantatas, showing them to stand comparison with his more famous works. Vivaldi's chamber cantatas for solo voice, some forty in total, are steadily gaining in popularity: but because of their relatively small place in the oeuvre of a composer famed for his productivity, and also on account of the general scholarly neglect of their genre, they are little discussed in the literature. This book comprehensively explores their literary and musical background, their relation to the composer's biography, the chronology of their composition, and their musical qualities. Each cantata is discussed individually, but there is also a broader consideration of aspects concerning them collectively, such as performance practice, topical allusion, and the conventions of Italian verse. The author argues that while Vivalid's cantatas are not as innovative as his concertos and operas, he produced several masterpieces in the genre that rank with his best music. MICHAEL TALBOT is Emeritus Professor of Music at the University of Liverpool.







The Dignity of Man


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The Italian Cantata in Vienna


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A history of music for the imperial court “from a professor, choral director, and professional tenor who has studied Viennese cantatas for half a century” (Lowell Lindgren, Massachusetts Institute of Technology). Lawrence Bennett provides a comprehensive study of the rich repertoire of accompanied vocal chamber music that entertained the imperial family in Vienna and their guests throughout the seventeenth and early eighteenth centuries. The cantata became a form of elite entertainment composed to amuse listeners during banquets or pay homage to members of the royal family during special occasions. Concentrating on Baroque cantatas composed in the Habsburg court, Bennett draws extensively on primary source material to explore the stylistic changes that occurred within the genre in the generations before Haydn and Mozart. “An important book. It deserves to be warmly welcomed not only by scholars but also by performers of Baroque vocal chamber music.” —Early Music “Shed[s] light on an important yet seldom-discussed repertory, written by someone whose expertise is unquestionable.” —Music and Letters “By taking multiple analytical approaches, Bennett establishes an overall understanding while also demonstrating how individual composers approached the genre. . . . Recommended.” —Choice “An important tool for understanding the context in which cantatas were composed and performed, and in which the Hapsburgs’ important music collection . . . was created.” —Notes “A wealth of new information . . . from a scholar who writes clearly and perceptively, and who has devoted decades of attention to the material.” —Steven Saunders, Charles A. Dana Professor of Music, Colby College




Aspects of the Secular Cantata in Late Baroque Italy


Book Description

As shown by the ever-increasing volume of recordings, editions and performances of the vast repertory of secular cantatas for solo voice produced, primarily in Italy, in the second half of the seventeenth century and the first half of the eighteenth century, this long neglected genre has at last 'come of age'. However, scholarly interest is currently lagging behind musical practice: incredibly, there has been no general study of the Baroque cantata since Eugen Schmitz's handbook of 1914, and although many academic theses have examined microscopically the cantatas of individual composers, there has been little opportunity to view these against the broader canvas of the genre as a whole. The contributors in this volume choose aspects of the cantata relevant to their special interests in order to say new things about the works, whether historical, analytical, bibliographical, discographical or performance-based. The prime focus is on Italian-born composers working between 1650 and 1750 (thus not Handel), but the opportunity is also taken in one chapter (by Graham Sadler) to compare the French cantata tradition with its Italian parent in association with a startling new claim regarding the intended instrumentation. Many key figures are considered, among them Tomaso Albinoni, Giovanni Bononcini, Giovanni Legrenzi, Benedetto Marcello, Alessandro Scarlatti, Alessandro Stradella, Leonardo Vinci and Antonio Vivaldi. The poetic texts of the cantatas, all too often treated as being of little intrinsic interest, are given their due weight. Space is also found for discussions of the history of Baroque solo cantatas on disc and of the realization of the continuo in cantata arias - a topic more complex and contentious than may at first be apparent. The book aims to stimulate interest in, and to win converts to, this genre, which in its day equalled the instrumental sonata in importance, and in which more than a few composers invested a major part of their creativity.