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By Paul Henry Lang

Simply because I spent my adolescence in Leipzig, a urban which resounds with echoes of Bach and the full musical global, i've got consistently had the belief of 1 day getting ready a pictorial background of tune. This current publication is the end result; it combines components of my expert existence as a image historian and my inner most lifestyles as a contented lover of music.
A pictorial historical past of tune can by no means be simply an image album, despite the fact that, for no quantity of illustrative fabric can on its own create a significant landscape of track. There has to be, as well as images, an intrinsic plan, a unified perspective which the reader can grab and use to accomplish comprehension

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South, aria, music and opera. composers accepted northern Schiitz, — appeared first rapprochement began between church bril- opera, and scintillating Italian violin liant music. Music in the — which had recitative Germany. The German south, with its two musical centers in Vienna and Munich, was dominated by dramatic composition emerged be- clear lines of demarcation from contemporary opera, his music was not a true expression of his times; he belonged Italian attained in Italy to the old as opera Lutheran world of the preceding generation, a stranger amid the rising secu- remained a courtly entertainment largely lar unknown on the traditions of the German Reforma- to the citizenry, which sought its musical pleasures in the church, the musical and the home.

Johann modern Kuhnau, the cantor that Leipzig, conductor for that of a municipal music of the Thomasschule in had died in 1722, and his desirable position was vacant. But the application of the famous organist Bach was not very favorably received, because the municipal council wanted to hire a man who was musically less conservative than Bach was considered to be. The council only con- sented to hiring him after both Telemann to be unwas not without misgivings Italian style, available. It were found Bach exchanged the and position of a court di- by his of the school, the consistory, the university, and rector; ensuing his fears the rector Despite the municipality.

As a token of 1554 Palestrina dedicated the gratitude, in printed edition of his works, a volume of Masses, to the pope. This lowed a year madrigals. thereafter a later His by august member volume was fol- his first collection of patron made him of the Sistine choir, although as a married Chapel man he was not hands Pope Marcellus eligible to this quasi-ecclesiastical position. Palestrina Pope Paul IV, who succeeded Julius III, found this inadmissible, and dismissed Pales- Mass. This Mass trina together with two other married sing- ers.

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A Pictorial history of music by Paul Henry Lang


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