Studien zur Dresdner Uberlieferung von Instrumentalkonzerten deutscher Komponisten des 18. Jahrhunderts (review)
2001; Music Library Association; Volume: 57; Issue: 4 Linguagem: Inglês
10.1353/not.2001.0110
ISSN1534-150X
Autores Tópico(s)Arts, Culture, and Music Studies
ResumoFrom 1694 to 1763, Dresden's Churfürstlich Sächsische Capell- und Cammer Musique contributed much to the city's status as Europe's most important concerto center north of Venice. This acclaimed court orchestra regularly participated in Hofkonzerte and Tafelmusiken, as documented by numerous primary sources housed at the Sächsische Landesbibliothek --Staats- und Universitätsbibliothek Dresden. Manfred [End Page 895] Fechner, a student of Vivaldi scholar Karl Heller, first investigated Dresden concerto manuscripts in his insightful 1992 dissertation (University of Rostock). In this revised version, he draws attention to 226 autographs and manuscripts of concertos composed by Georg Philipp Telemann (1681- 1767), Johann David Heinichen (1683- 1729), Johann Georg Pisendel (1687-1755), Johann Friedrich Fasch (1688-1758), Gottfried Heinrich Stölzel (1690-1749), Johann Joachim Quantz (1697-1773), and Johann Gottlieb Graun (1702/3-1771). Their works shed light on the Dresden orchestra's repertory and chronicle the development of the concerto con molti istromenti in northern Europe during the first half of the eighteenth century. In the years 1765-68, orchestral scores and parts dating from that earlier period, as well as compositions from the late concertmaster Pisendel's estate, were cataloged and stored away in a closet, "Schranck No: II" (p. 11), having received a generic orchestral-library cover.
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