Music in the Seventeenth and Eighteenth Centuries The Oxford History of Western Music 1st Edition by Richard Taruskin 0195384822 9780195384826

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ISBN 10: 0195384822 

ISBN 13: 9780195384826

Author: Richard Taruskin

The universally acclaimed and award-winning Oxford History of Western Music is the eminent musicologist Richard Taruskin’s provocative, erudite telling of the story of Western music from its earliest days to the present. Each book in this superlative five-volume set illuminates-through a representative sampling of masterworks-the themes, styles, and currents that give shape and direction to a significant period in the history of Western music. Music in the Seventeenth and Eighteenth Centuries , the second volume Richard Taruskin’s monumental history, illuminates the explosion of musical creativity that occurred in the seventeenth and eighteenth centuries. Examining a wealth of topics, Taruskin looks at the elegant masques and consort music of Jacobean England, the Italian concerto style of Corelli and Vivaldi, and the progression from Baroque to Rococo to romantic style. Perhaps most important, he offers a fascinating account of the giants of this period: Bach, Handel, Mozart, Haydn, and Beethoven. Laced with brilliant observations, memorable musical analysis, and a panoramic sense of the interactions between history, culture, politics, art, literature, religion, and music, this book will be essential reading for anyone who wishes to understand this rich and diverse period.

Table of contents:

Chapter 1 Opera from Monteverdi to Monteverdi
Princely and Public Theaters; Monteverdi’s Contributions to Both
Court and commerce
From Mantua to Venice
Poetics and esthesics
Opera and its politics
Sex objects, sexed and unsexed
The quintessential princely spectacle
The carnival show

Chapter 2 Fat Times and Lean
Organ Music from Frescobaldi to Scheidt; Schütz’s Career; Oratorio and Cantata
Some organists
The toccata
Sweelinck—His patrimony and his progeny
Lutheran adaptations: The chorale partita
The chorale concerto
Ruin
A creative microcosm
Luxuriance
Shriveled down to the expressive nub
Carissimi: Oratorio and cantata
Women in music: A historians’ dilemma

Chapter 3 Courts Resplendent, Overthrown, Restored
Tragédie Lyrique from Lully to Rameau; English Music in the Seventeenth Century
Sense and sensuousness
The politics of patronage
Drama as court ritual
Atys, the king’s opera
Art and politics: Some caveats
Jacobean England
Masque and consort
Ayres and suites: Harmonically determined form
Distracted times
Restoration
Purcell
Dido and Aeneas and the question of “English opera”
The making of a classic

Chapter 4 Class and Classicism
Opera Seria and Its Makers
Naples
Scarlatti
Neoclassicism
Metastasio
Metastasio’s musicians
The fortunes of Artaserse
Opera seria in (and as) practice
“Performance practice”

Chapter 5 The Italian Concerto Style and the Rise of Tonality-Driven Form
Corelli, Vivaldi, and Their German Imitators
Standardized genres and tonal practices
What, exactly, is “tonality”?
The spread of “tonal form”
The fugal style
Handel and “defamiliarization”
Bach and “dramatized” tonality
Vivaldi’s five hundred
“Concerti madrigaleschi”

Chapter 6 Class of 1685 (I)
Careers of J. S. Bach and G. F. Handel Compared; Bach’s Instrumental Music
Contexts and canons
Careers and lifestyles
Roots (domestic)
Roots (imported)
Bach’s suites
A close-up
“Agrémens” and “doubles”
Stylistic hybrids
The “Brandenburg” Concertos
“Obbligato” writing and/or arranging
What does it all mean?

Chapter 7 Class of 1685 (II)
Handel’s Operas and Oratorios; Bach’s Cantatas and Passions; Domenico Scarlatti
Handel on the Strand
Lofty entertainments
Messiah
“Borrowing”
Back to Bach: The cantatas
The old style
The new style
Musical symbolism, musical idealism
What music is for
Bach’s “testaments”
The Bach revival
Cursed questions
Scarlatti, at last

Chapter 8 The Comic Style
Mid-Eighteenth-Century Stylistic Change Traced to Its Sources in the 1720s; Empfindsamkeit; Galanterie; “War of the Buffoons”
You can’t get there from here
The younger Bachs
Sensibility
The London Bach
Sociability music
“Nature”
Intermission plays
The “War of the Buffoons”

Chapter 9 Enlightenment and Reform
The Operas of Piccinni, Gluck, and Mozart
Novels sung on stage
Noble simplicity
Another querelle
What was Enlightenment?
Mozart
Idomeneo
Die Entführung aus dem Serail
The “Da Ponte” operas
Late works
Don Giovanni close up
Music as a social mirror
Music and (or as) morality

Chapter 10 Instrumental Music Lifts Off
The Eighteenth-Century Symphony; Haydn
Party music goes public
Concert life is born
An army of generals
The Bach sons as “symphonists”
Haydn
The perfect career
The Esterházy years
Norms and deviations: Creating musical meaning
Sign systems
Anatomy of a joke
The London tours
Addressing throngs
Variation and development
More surprises
The culminating work

Chapter 11 The Composer’s Voice
Mozart’s Piano Concertos; His Last Symphonies; the Fantasia as Style and as Metaphor
Art for art’s sake?
Psychoanalyzing music
The “symphonic” concerto is born
Mozart in the marketplace
Composing and performing
Performance as self-dramatization
The tip of the iceberg
Fantasia as metaphor
The coming of museum culture

Chapter 12 The First Romantics
Late Eighteenth-century Music Esthetics; Beethoven’s Career and His Posthumous Legend
The beautiful and the sublime
Classic or Romantic?
Beethoven and “Beethoven”
Kampf und Sieg
The Eroica
Crisis and reaction
The “Ninth”
Inwardness

Chapter 13 C-Minor Moods
The “Struggle and Victory” Narrative and Its Relationship to Four C-Minor Works of Beethoven
Devotion and derision
Transgression
Morti di Eroi
Germination and growth
Letting go
The music century
Notes
Art Credits
Further Reading

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Tags: Richard Taruskin, Music, History, Centuries