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Patterns of play: Orlando Gibbons, Simon Lohet, and J. S. Bach’s Fugue in E Major BWV 878/2. Part II
Get PDFThis article, the second of two parts, discusses the interpretation of Bach’s E major fugue from the second book of the Well-tempered Clavier (BWV 878/2) through analysis of its form and structure, its use of stretto, the design of its subject and the motivic development of its countersubject, and through comparison with its presumed model, the E Major Fugue in the Ariadne musica by J.C.F. Fischer (1656–1746). The accompanying musical supplement contains a new complete transcription in open score by the author of the Fugue in E major BWV 878 by J.S. Bach and the Fugue in E major by J.C.F. Fischer
Book review: 'Poulenc' by Roger Nichols: why it's time to start taking this composer seriously
No full textSpecialist support for performers: general practitioner (GP)
No full textLearn how a GP can help performers address a range of health and wellbeing concerns and be a gateway to specialist support
COVID-19 risk assessment guidelines
No full textGuidelines for helping performers get back to work safely, developed by the British Association for Performing Arts Medicine
A space has been made: bisexual+ stories in musical theatre
No full textIt is 2018 and I am sitting in the Neptune Theatre, Halifax, Canada. I'm watching the Canadian premiere of the musical theatre adaptation of The Color Purple directed by Kimberley Rampersad—the first time the show has been directed by a black woman. It is also the first-ever positive representation of my own sexuality that I have been able to witness in the form that I have spent almost two decades studying, researching, and writing about: musical theatre. As I watch the character of Shrug Avery (Karen Burthwright) delight in the fluidity of her own sexual desire, a desire above and beyond gender, it feels like a space has been made. I'm crying but it's complicated. Joy? Sadness? Recognition?
I am writing from the perspective of a bisexual+ cis-gendered white British woman, so it is important to note the many kinds of privilege that shape the experiences I am talking about, especially when addressing this musical. The Color Purple (2005) is especially important in the space it makes for PoC, and women of color. This has been written about both in reference to the musical (Edney; Lovelock) and the novel (Bealer), and by Alice Walker herself. For me, it is the first time I have seen what it is to be bisexual on a stage, while I recognize this musical does many more important things than that in connection to race and sexuality. Its powerful story makes ripples. ***** An accepted manuscript version of this article is available open access on WIRE (Wolverhampton Intellectual Repository and E-Theses) at https://wlv.openrepository.com/handle/2436/623212 ****
Drama, theater, and gesture in the operas of Sergei Prokofiev
No full textThis chapter explores Prokofiev’s processes, compositional strategies, and theatrical instinct as evident in his operatic works. Each of the eight operas discussed tells a different story about Prokofiev’s context, aesthetic, and compositional procedures; in each, he explores different musical, dramaturgical, and artistic possibilities. While the soundscapes of the earlier operas are different from those of his Soviet period, his musical voice remains distinctive. He was passionate about the stage and had much to say about opera in the twentieth century, but his innovative and radical ideas were often obscured by political and social contexts. Prokofiev’s operatic vision centered on characterization, visualization, and textual emancipation. His most significant contribution to the twentieth century’s operatic stage was dramatic realism, based on what he called “theatrical rhythm,” with his use of declamation to replace set pieces and ensembles
La Traviata was a 'fiasco' and Great Expectations flopped: the masterpieces that started as first-night disasters
No full textBook review: 'In the footsteps of Mozart’s clarinettist: Anton Stadler and his basset clarinet' by Pamela L. Poulin
No full textMozart’s clarinettist Anton Stadler (1753–1812) continues to attract the attention of a wide range of musicians, thanks both to the historical performance movement and a desire to recreate the lost texts of Mozart’s Clarinet Concerto K.622 and the Clarinet Quintet K.581. History-telling has also fashioned Stadler as an unreliable rogue. The disappearance of his basset clarinets and the loss of Mozart’s autographs have been significant factors in generating this account, although even here the evidence needs to be read in the spirit of the times
Book review: 'Mary Gladstone and the Victorian salon: music, literature, liberalism' by Phyllis Weliver
No full textThis book review is available open access at the 'Official URL' link given below