Translatio Musicae

https://doi.org/10.62077/thxbei

Lars Berglund (Red.), Maria Schildt (Red.)

This volume contains contributions from the conference ‘Translatio musicae: French and Italian music in Northern Europe, c. 1650–1730’. The different chapters examine 1the circulation of music in early modern Europe, focusing on the Baroque period (c. 1600–1750). “Translation” is a central key concept for the volume, as used in the early, equivocal sense, referring both to transferring as displacement and to translation as adaptation, modifi cation or reworking. Translation describes both the displacement of music and its adap tations for new uses and purposes at its new location. The various chapters present a wide range of themes and topics with no geographical bias, apart from Europe, dealing with circulation between distant parts of the Continent, but also within one and the same region or city. The chapters share a particular interest in the processes of how French and Italian music was translated to Northern Europe.

Kapitel

Introduction

https://doi.org/10.62077/thxbei.eo6let

Lars Berglund, Maria Schildt
From the northern to southern Holy Roman Empire: Michael Praetorius’s earliest Latin Magnificat in Bishop Hren’s choirbook

https://doi.org/10.62077/thxbei.vdfqy6

Klemen Grabnar
Three Roman cantatas north of the Seine

https://doi.org/10.62077/thxbei.8h6ih6

Margaret Murata
The circulation of Giacomo Carissimi’s sacred music, in Rome and abroad

https://doi.org/10.62077/thxbei.jqlcjk

Lars Berglund
The French sources of Giacomo Carissimi’s Jephte

https://doi.org/10.62077/thxbei.e0rm0b

Valentina Trovato
The music for Dario in Babilonia by Francesco Beverini and Giovanni Antonio Boretti (Venice 1671) in the music collection of Leopold I in Vienna

https://doi.org/10.62077/thxbei.i5k0va

Nicola Usula
New perspectives on Johann Jacob Froberger’s biography: Implications of the ‘London Autograph’

https://doi.org/10.62077/thxbei.eq8m7r

Peter Wollny
French sacred music in Lutheran Germany, 1660–1730

https://doi.org/10.62077/thxbei.4hokh8

Louis Delpech
Early circulation of Lully’s music in the north, 1680–1690

https://doi.org/10.62077/thxbei.oyiash

Maria Schildt
Musical transfer and elite distinction: English attitudes to Italian music c. 1700

https://doi.org/10.62077/thxbei.8trqg4

Stephen Rose
The European dissemination of G.B. Bassani’s Metri sacri resi armonici: Editions, manuscripts and owners of a 17th-century motet collection

https://doi.org/10.62077/thxbei.doq5wy

Huub van der Linden
Printers, sellers, buyers and the need for a network in 17th- and 18th-century Bologna

https://doi.org/10.62077/thxbei.ygcrsv

Giulia Giovani
Provenance as a tool for studying the circulation of music: The case of Francesco Geminiani

https://doi.org/10.62077/thxbei.sjt7kw

Rudolf Rasch
The journey of a 19th-century autograph score: A cantata by Emanuele Imbimbo (1756–1839)

https://doi.org/10.62077/thxbei.sk5lfd

Rosa Cafiero

Translatio Musicae

Kapitel

Introduction

From the northern to southern Holy Roman Empire: Michael Praetorius’s earliest Latin Magnificat in Bishop Hren’s choirbook

Three Roman cantatas north of the Seine

The circulation of Giacomo Carissimi’s sacred music, in Rome and abroad

The French sources of Giacomo Carissimi’s Jephte

The music for Dario in Babilonia by Francesco Beverini and Giovanni Antonio Boretti (Venice 1671) in the music collection of Leopold I in Vienna

New perspectives on Johann Jacob Froberger’s biography: Implications of the ‘London Autograph’

French sacred music in Lutheran Germany, 1660–1730

Early circulation of Lully’s music in the north, 1680–1690

Musical transfer and elite distinction: English attitudes to Italian music c. 1700

The European dissemination of G.B. Bassani’s Metri sacri resi armonici: Editions, manuscripts and owners of a 17th-century motet collection

Printers, sellers, buyers and the need for a network in 17th- and 18th-century Bologna

Provenance as a tool for studying the circulation of music: The case of Francesco Geminiani

The journey of a 19th-century autograph score: A cantata by Emanuele Imbimbo (1756–1839)

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