Ad Parnassum

A Journal of Eighteenth- and Nineteenth-Century Instrumental Music

Reminiscences of "Rinaldo": The Keyboard Transcriptions of "Vo' far guerra"
Ad Parnassum (2011) Vol. 9, pp. np

The production of Handel's Rinaldo in 1711 was a turning point in the history of keyboard music as well as opera. In the aria «Vo' far guerra» (HWV 7a: 28), the soprano solo was supported by the composer's improvised accompaniments ...

The Actuality of Karlowicz's Artistic Authenticity and Authority
Ad Parnassum (2011) Vol. 9, pp. np

Karlowicz's songs and orchestral works engage with Poland's literary, artistic, musical, and intellectual culture. They equally engage with culture emanating from beyond Poland's historical boundaries. In this chapter I will consider Karlowicz's concern for his own artistic authenticity and authority. ...

Religious Elements in the Young Poland Music
Ad Parnassum (2011) Vol. 9, pp. np

Positivism dominated Polish intellectual life in the final third of the nineteenth century, and Young Poland attitudes in the succeeding decades were largely opposed to the production of functional art, whether nationalistic or religious. Consequently, the leading composers of this ...

Cinque Studi su Domenico Scarlatti
Ad Parnassum (2010) Vol. 8, pp. np

Section One--'Notarial and financial Acts on musical autographs of the composer, on his personal harpsichord and on his portrait'--is based largely on as-yet unedited documents from Domenico Scarlatti's Inheritance. In particular these sources permit the reconstruction of the history of ...

Tuning Variations as a Guide to Bass-Line Instrumentation in the Orchestral and Solo Literature for the Eighteenth-Century Contrabass «Violon»
Ad Parnassum (2010) Vol. 8, pp. np

The issue of instrumentation in the bass line of works from the latter half of the eighteenth century received a good deal of scholarly attention in the mid-twentieth century. Several authors put forth theories concerning the proper deployment of bass-line ...

The Two--or Two Dozen--Finales for Beethoven's Quartet Opus 130
Ad Parnassum (2010) Vol. 8, pp. np

Beethoven sketched about two dozen possible finale themes for his Quartet Opus 130--far more than previously realized. The first sketch shows a fugue, but the theme is light and jig-like, and numerous subsequent themes sketched are neither fugal nor serious ...