LEADER 03509oam 2200469I 450 001 9910957014003321 005 20240506014743.0 010 $a1-315-09227-1 010 $a1-351-56161-8 024 7 $a10.4324/9781315092270 035 $a(CKB)4100000000773215 035 $a(MiAaPQ)EBC4906841 035 $a(OCoLC)1001911021 035 $a(EXLCZ)994100000000773215 100 $a20180706e20162014 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aJohann Mattheson's Piaeces de clavecin and Das neu-ereoffnete Orchestre $eMattheson's universal style in theory and practice /$fMargaret Seares 205 $a1st ed. 210 1$aLondon :$cRoutledge,$d2016. 215 $a1 online resource (135 pages) 225 1 $aRoyal Musical Association Monographs ;$v25 300 $aFirst published 2014 by Ashgate Publishing. 311 08$a1-4724-3846-9 320 $aIncludes bibliographical references and index. 327 $achapter 1 The Formative Years Leading up to Das neu-eroffnete Orchestre and the Pieces de clavecin -- chapter 2 Mattheson?s Das neu-eroffnete Orchestre of 1713 -- chapter 3 Les Pieces de clavecin/Harmonisches Denckmahl -- chapter 4 Mattheson?s German Heritage -- chapter 5 Music a la Mode: Mattheson?s Response to the Music of his Italian and French Contemporaries -- chapter 6 Mattheson and ?Universalism? -- chapter 7 Mattheson?s Dance Movements: An Amalgam of Styles. 330 $a"A prolific music theorist and critic as well as an established composer, Johannes Mattheson remains surprisingly understudied. In this important study, Margaret Seares places Mattheson's Piaeces de clavecin (1714) in the context of his work as a public intellectual who encouraged German musicians and their musical public to eschew what he saw as the hidebound traditions of the past, and instead embrace a universalism of style and expression derived from contemporary currents in music of the leading European nation's. Beginning with the early non-musical writings by Mattheson, Seares places them in the context of the cosmopolitan city-state of Hamburg, before moving to a detailed study of his first major musical treatise Das neu-ereoffnete Orchestre of 1713, in which he espoused his views about the musics of the past and present and, in particular, the characteristics of the musics of Germany, Italy, France and England. This latter section of the treatise, Part III, is edited and translated into English in the book's appendix - the first such translation available. Seares then moves on to an evaluation of the Piaeces de clavecin as a work in which Mattheson reflects in musical terms the themes of modernism (in the sense of a la mode) and universalism that are such a strong part of his writings of the period, and a work that represents an important precursor for the keyboard suites of Johann Sebastian Bach and Georg Frideric Handel."--Provided by publisher. 410 0$aRoyal Musical Association monographs ;$v25. 606 $aMusic$zGermany$y18th century$xHistory and criticism 615 0$aMusic$xHistory and criticism. 676 $a780.92 700 $aSeares$b Margaret$01834352 701 2$aMattheson$b Johann$f1681-1764.$01645198 801 0$bFlBoTFG 801 1$bFlBoTFG 906 $aBOOK 912 $a9910957014003321 996 $aJohann Mattheson's Piaeces de clavecin and Das neu-ereoffnete Orchestre$94409806 997 $aUNINA