In 2016 A-R Editions published Benedetto Marcello: Cassandra, a new critical edition edited by Talya Berger.
Benedetto Marcello composed Cassandra in 1727 to a poem by Antonio Conti written at Marcello’s request. The work is a large-scale dramatic cantata for solo alto voice with unfigured basso continuo for the harpsichord; it was not published in Marcello’s lifetime.
Cassandra describes the events of the last years of Trojan War as told by the prophetess Cassandra. Unique in its formal design, the cantata blends arioso sections with recitatives and arias. The expressive vocal line conveys grief, rage, terror, and happiness, and demands vocal agility and technical command from the singer. The work was among the most popular of Marcello’s cantatas during the eighteenth century, and it continued to be performed regularly up to 40 years after it was composed.
Below, a performance by Giovanna Dissera Bragadin and Nicola Lamon.
In July 2016 the Society for Ethnomusicology issued A Latin American Music Reader: Views from the South, edited by Javier F. Léon and Helena Simonett and published in collaboration with University of Illinois Press. Along with extensive introductory material, the book includes 17 articles translated from Spanish and Portuguese into English, representing a cross-section of the innovative research of Latin American music scholars over the past 25 years.
The project was initiated by SEM’s Latin American and Caribbean Music Section and Board of Directors several years ago in support of the Society’s goal of expanding international communication in ethnomusicology. A detailed new introduction by León and Simonett surveys and contextualizes the history of Latin American ethnomusicology, opening the door for readers energized by the musical forms brought and nurtured by immigrants from throughout Latin America.
Below, Violeta Parra, the subject of one of the book’s essays.
The stunning success of Der dumme Gärtner aus dem Gebürge, oder, Die zween Anton at Vienna’s Theater auf der Wieden (12 July 1789) led quickly to a sequel in the same year, Die verdeckten Sachen (26 September). Like its predecessor, the music was a collaborative composition by Franz Xaver Gerl, Benedikt Schack, Johann Baptist Henneberg, and probably Emanuel Schikaneder, the librettist.
Mozart had high praise for what he called The Antons, and he composed his final set of piano variations on one of the most celebrated arias in Die verdeckten Sachen, “Ein Weib ist das herrlichste Ding auf der Welt”. This edition presents this aria for the first time in its original orchestration. With the recent identification of performing materials for Die verdeckten Sachen in Rudolstadt, Thuringia, we can now investigate this opera in detail.
A new critical edition, drawing on this new source, has recently been issued as Two operas from the series Die zween Anton. Part 2: Die verdeckten Sachen (Middleton: A-R Editions, 2016).
Above, a portrait of Schikaneder (click to enlarge); below, Mozart’s K.613, performed by Gerhard Puchelt.
BONUS: The imaginary Schikaneder production from Amadeus.
Among the forgotten but highly popular operas of the late 18th century, Der dumme Gärtner aus dem Gebürge, oder, Die zween Anton (The dumb gardener from the mountains, or, The two Antons ) seems particularly worthy of reexamination.
The Antons (as Mozart called it) was the subject of much commentary and praise; it was performed in almost every German theater over the next two decades, and it was translated into Czech. The success of the opera inspired six sequels and secured the place of its author, Emanuel Schikaneder, in the popular imagination of the Viennese public. This success also made possible the series of fairy-tale operas that included Mozart’s Die Zauberflöte (1791).
Die zween Anton was also the first original opera by Schikaneder produced at the Theater auf der Wieden after he had taken over its direction; the music was a collaborative composition by Franz Xaver Gerl, Benedikt Schack, Johann Baptist Henneberg, and probably Schikaneder himself. With the recent recovery of a Viennese manuscript copy of Die zween Anton in the Staats- und Universitätsbibliothek Hamburg we can now investigate this opera in detail.
A new critical edition, drawing on this new source, has recently been issued as Two operas from the series Die zween Anton. Part 1: Der dumme Gärtner aus dem Gebürge, oder, Die zween Anton (Middleton: A-R Editions, 2015).
Above, a portrait of Schikaneder (click to enlarge); below, the opera’s overture.
In 2015 A-R Editions issued a new critical edition of Pueri concinite by Johann von Herbeck (1831–77). This edition is the first to present the piece in its original orchestration with complete scholarly apparatus.
Herbeck was a major musical figure in Vienna in the third quarter of the 19th century. He was, at various points in his career, conductor of the Wiener Männergesang-Verein, conductor of the Singverein, musical director of the Gesellschaft der Musikfreunde, musical director of the Hofmusikkapelle, and director of the Hofoper.
Pueri concinite has proved to be Herbeck’s best-known and best-loved work. The tenor soloist in the first performance, on Christmas Day 1868, was Gustav Walter, who was associated with the Hofoper. Walter was the first in a long line of tenor soloists, including Placido Domingo in modern times, who have sung this piece in the Wiener Hofkapelle and other venues.
Below, Domingo sings the work with the Wiener Sängerknaben.
A-R Editions launched the series John Eccles: Incidental music in 2015 with Plays A–F (the volumes are sorted by the plays’ titles).
Eccles’s active theatrical career spanned a period of about 16 years, though he continued to compose occasionally for the theater after his semi-retirement in 1707. During his career he wrote incidental music for more than 70 plays, writing songs that fit perfectly within their dramatic contexts and that offered carefully tailored vehicles for his singers’ talents while remaining highly accessible in tone.
These plays were fundamentally collaborative ventures, and multiple composers often supplied the music; thus, this edition includes all the known songs and instrumental items for each play. Plot summaries of the plays are given along with relevant dialogue cues, and the songs are given in the order in which they appear in the drama (when known).
Below, an instrumental work that Eccles composed for a 1661 revival of John Fletcher’s The mad lover.
Beethoven’s last piano sonatas: An edition with elucidation (Oxford University Press, 2015) is the first English-language edition and translation of Heinrich Schenker’s landmark editions of Beethoven’s opp. 109, 110, 111, and 101 (Wien: Universal Edition, 1913).
Each of the four volumes incorporates references to corrections and other remarks entered by Schenker in his personal copies of the sonatas, many of which have not been presented in any of the previous German editions of the works.
Also included are supplements to the original text with explanations of certain points in the commentary and graphic presentations of several passages.
Below, Svâtoslav Rihter performs the op. 101 sonata.
Gender wayang music of Bapak I Wayan Loceng from Sukawati, Bali: A musical biography, musical ethnography, and critical edition by Brita Renée Heimarck (Middleton: A-R Editions, 2015) is at once a memorial to I Wayan Loceng (1926–2006) and a tribute to his great musical genius.
This new critical edition documents nine compositions from the esteemed Balinese gender wayang repertoire. The music derives from the musical mastery of Loceng, arguably the most renowned gender wayang expert in Bali, who lived in the village of Sukawati.
This edition places the music within a historical, cultural, and biographical context and introduces a broad theoretical framework that contains a new definition for the discipline of ethnomusicology, and substantial discussion of the genres of musical biography, musical ethnography, and ethnomusicology of the individual.
The book also introduces pertinent scholarly perspectives, offers biographical information pertaining to Loceng, delineates the cultural concepts and contexts for performance and background of the shadow play tradition in Bali, and clarifies key aspects of the music itself.
Above and below, I Wayan Loceng in action.
The Faroese people sing a lot. The fact that young people from the Faroe Islands are extremely successful in the multitude of popular singing contests on television is not accidental.
The Faroese have always been diligent singers, especially regarding the various genres of traditional singing, which for centuries have formed an important part of Faroese culture. With the increasingly globalized everyday life of the past 50 years or so, music from all over the world has permeated everywhere, including the Faroe Islands; nevertheless, traditional Faroese singing and dancing are still alive and well in the 21st century.
Following in the wake of four separate volumes of Faroese traditional music, a new edition, Føroya ljóð í kvæðum, vísum, sálmum og skjaldrum/Sound of the Faroes: Traditional songs and hymns (Hoyvik: Stiðin, 2014) is a single volume covering all of the topics. Part I is on Faroese dance with melodies for both kvæði and Danish ballads, part II is on spiritual singing and Kingo singing, and part III is on skjaldur. Each part describes the genres in question and offers a comprehensive selection of melody examples with an accompanying CD.
Below, the celebrated Faroese chain dance after the total solar eclipse on 20 March 2015.
In 2014 Ut Orpheus issued L’amorosa caccia: 24 five-voice madrigals by Mantuan masters (Venezia 1588/1592), edited by Stefania Lanzo.
All of the Mantuan composers represented in this new edition were distinguished professional people, working within the church, at court, or in the Basilica Palatina di Santa Barbara, and music lovers of noble birth from the area who were connected to the Accademia degli Invaghiti.
The realization in score of the madrigals has made it possible to bring to light this collection, establishing its musical value and proving the remarkable mastery of madrigal writing of these 24 musicians and offering the opportunity to highlight each one’s different skill as a composer.
Below, a sequence of Italian madrigals.