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To do: Naomi Replansky quote from Brecht Jahrbuch 20

Fach

The German word Fach (literally "compartment" or "drawer" but figuratively "specialty") is understood by anglophone opera singers as an especially refined system for classifying voice types. . Curiously enough Fach does not have an entry in any of the standard German musical reference works; Die Musik in Geschichte und Gegenwart has a "see instead" pointer to Thomas Seedort's article "Stimmgattung" (voice type) which expresses skepticism of the finest subdivisions. . Since a given performer is generally able to successfully sing several adjacent Fächer, the system may better be thought of as a classification of roles rather than voice types.

In most classification systems solo voices are labeled according to threefold divisions by range (soprano, mezzo-soprano, contralto for women, tenor, baritone and bass for men) and size (lyric, spinto, dramatic). Some designations reflect national circumstances: in France the star system (Star system (filmmaking)?) of the Parisian theatres created terms like soprano falcon and baryton martin (and even premiere and seconde Dugazon), whereas the repertory companies of the scattered German court theatres created the Fach system of casting roles from an ensemble according to acting requirements and physical appearance as well as voice. The nine voice basic types are hence further divided into character Spielrole for singing actors, and Singrole where vocal considerations are paramount.

Richard Miller says that Fach is "a devise for the contractual protection of the singer so the he or she will not be forced to sing roles that require unhealthy modes of phonation to accomplish." Do such legal clauses, if they exist, refer to Kloiber's list?

Albert Lortzing wrote: Mein Fach ist: erste jügendlishe trag. Liebhaber, Bonvivants, Naturebursche in Lust- Schau- und Trauerspiel in der Oper zweite Tenor-Bariton und Spielpartien" (letter of April 28, 1826) "My type is: romantic lead, bon vivant [or] yokel in comedy, drama or tragedy, [and] in opera second-tenor/baritone and character rolls."

Göpfert: Handbuch der Gesangkunst "Buffoneske Spielfächer"

See also:

• Wozzeck
• Lulu (opera)
• Typecasting (acting)
• Stock character
• de:Charakterfach
• de:Spielfach (existiert nicht)
• de:Fach (Schauspielkunst)
• de:Kategorie:Theaterfach
• de:Kategorie:Opernfach
• de:Kategorie:Clownfach
• de:Kategorie:Rollentyp
• de:Rollenbesetzung

There was [in Metz] a company of singers consisting of a "high dramatic" soprano, a "young dramatic," a coloratura, and an "opera soubrette," all sopranos. There was a leading contralto, a second contralto to do the very small parts, who was usually a volunteer without pay, and a "comic old woman," who also took part in the plays. There was sometimes another volunteer soprano to do pages and the like. Then there was the "heroic tenor," who is a sort of King and is treated by the management with some of the ceremony used toward royalty, and the lyric tenor, quite humble in comparison, and a tenor-buffo for "funny parts," with sometimes a special operetta tenor when the theatre was prospering. There were two baritones, "heroic" and "lyric," a "serious" and a "comic" bass, and one or two other men of more or less anomalous position who "fill in" and act in the plays. The only singers who never did anything but sing, were the two "dramatic" sopranos, the first contralto, and the heroic tenor and baritone. There was a company of actors besides and all of these, no matter what their standing, were expected to appear in such operas as "Tannhäuser" in the singing contest, in the church scene of "Lohengrin," and as Flora's guests in "Traviata," to help "dress the stage." [from CONFESSIONS OF AN OPERA SINGER by Kathleen Howard]

Lehrstück

Gustav Mey (1822-1877) first used the term "Lehrstück" in connection with the Catechism.

Stephen Hinton: Lehrstück: An Aesthetics of Performance in Hindemith-Jahrbuch 1993/XXII (Schott)

Pablo Bruna

Obras completas para organo de Pablo Bruna, ed. J. Sagasta Galdos (Zaragoza, 1979) 14 tientos, 7 Pange lingua, psalmodia, gaytilla, batalla, clausulas, E-Bc Registro de hũ tiple de clarin, P-Pm 6 tientos, E-E Vocal Venid, almas, venid, 4vv, Bc

Title Cinque composizioni inedite : per organo / Pablo Bruna ; trascrizione e revisione di Carlo Stella. Published Milano : Edizioni Suvini Zerboni, [c1979] Description xiii, 37 p. ; 32 cm. Call no. Shields Library M7.B855 S8 Regular Loan Note Pref. in Italian, Spanish, English, French, and German. Edited from mss. M729 and M751 in the Biblioteca de Catalunya, Barcelona, and tomo 30 in the Biblioteca del Real Monasterio de El Escorial. Contents

• Tiento de medio registro de mano derecha de 1. tono.--
• Tiento de medio registro de mano izquierda de 5. tono.--
• Tiento de medio registro de mano izquierda y al medio a dos bajos de 5. tono.--
• Batalla de 6. tono.--
• Obra de falsas de 6. tono.

Antología de organistas españoles del siglo XVII / transcripción y estudio por Higinio Anglés.

Published Barcelona : Diputación Provincial de Barcelona: Biblioteca Central, 1965-1968. Call no. Shields Library M7.A5 A5 Regular Loan

vol. 2

• ix de falsas 6o: 1 7 7 12312
• x mano de y al medio a 2 tiples 1o: 2 - # 2 3 4 345432
• xi lleno 6o: 5 8 8 7 656b6 5

vol. 3

• x lleno 4o Anon./Bruno 3 6 6 # 8 76 # 6 4 3
• xvi Pange lingua =WIMA
• xvii 2 tiples 6o
• xviii bajo = Vajo @ WIMA
• xix lleno 5o = WIMA

vol. 4

• ii falsas 1o |Barcelona BC M.751/21 f337
• vii lleno 4o Anon/Bruna? |Madrid BN M1360 f56v-60
• x lleno 5o anon/Bruna |Madrid BN M1360 f80-89v
• xii lleno 6o |Barcelona BC M729 f86v-90v
• xiii lleno 7o anon/Bruna? |Madrid BN M1358 f15v-16v
• xvi 8o ce sol fa mi |El Escorial Ms 1 f102v-103

WIMA

• Pange lingua
• falsas 2o: 0 6 . 5 . 4 4 32
• Tiento sobre la letanía de la Virgen. 2° tono por G sol re ut
• Vajo (G maj) 1 2343212 1
• Lleno del 5o: 1 2 3 1 5 .4321

BNPM p16 has the same first 4

Choir#Renaissance

Papal choir (known from 1480 as the capella sistina)

• 1436 9 singers
• 1450 18
• 1533 24
• 1594 28
• from 1625 32

figues from Grove "Chorus i"

Council of Basle

apogee of the Conciliar movement papal supremacy Western Schism Council of Siena

convoked by Pope Martin V shortly before his death in February 1431

route of the fifth crusade against the Hussites in August 1431

convened July 23?, first 'sitting' Dec 14 1431, 'dissolved' Dec 18 by Pope Eugene IV, who wished to open a new council on Italian soil at Bologna

Peace with Calixtines in Jan 1433, acknowledged council May 1433; Sigismund, Holy Roman Emperor (1368-1437) crowned emperor May 31 1433 in Rome?

defeat of the divided Hussites in May 1434

June 1434 revolt in Rome

Council of Ferrara on 8 January 1438, moved to Florence the next year to avoid plague.

in November 1439 the Council of Basle elected an antipope, Felix V

Council of Florence (moved to the Lateran in 1443) concluded in 1445.

In 1447, Frederick III, Holy Roman Emperor commanded the city of Basel to expell the Council of Basle; the rump council reconvened in Lausanne before dissolving in 1449.

Viola da braccio

Viola da braccio on a fresco by Gaudenzio Ferrari in Santa Maria dei Miracoli, Saronno (ca. 1535).

Viola da braccio (from Italian "arm viola", plural viole da braccio) is a term variously applied during the baroque period to instruments of the violin family, in distinction to the viola da gamba ("leg viola") and the viol family to which the latter belongs. At first 'da braccio' seems to encompass the entire violin family. Monteverdi's Orfeo (printed 1609) designates an entire six-part string section "viole da brazzo", apparently including bass instruments held between the knees like the cello and bass violin. His Selva morale (1641) contains a piece calling for "due violini & 3 viole da brazzo ouero 3 Tronboni" (2 violins & 3 viole da braccio or trombones), reflecting a general shift in meaning towards the lower instruments. Eventually it came to be reserved for the alto member, the viola. A famous example is Bach's Sixth Brandenburg Concerto (1721), combining two viole da braccio with two viole da gamba. The German word for viola, Bratsche, is a relic of this last use.

. Both the name of today's viola and its Italian designation viola derive from the original name viola da braccio. The name refers to the arm position of these instruments in contrast to the instruments of the viola da gamba family, which are held between the knees <reflist>

Hymn-tune in German?

• de:Hymologie no mention of "Choral"
• de:Choral Gregorianik is only one context
• de:Kirchenlied
• de:Geistliches Lied Kirchengesang redirects here
• de:Gesangbuch
• de:Hymne national anthems
• de:Hymne (Gedichtform) "form"? rather genre

Charity children choirs

1. Stanley Gardner, Blake's Innocence and Experience Retraced (New York: St Martin's Press, 1986); The Tyger, the Lamb, and the Terrible Desart (Teaneck, N.J.: Fairleigh Dickinson Univ. Press, 1998). 8. In his chapter, "The Charity Children" (Blake's Innocence, 30-7), Gardner offers a glimpse of the wider national picture; but his account is over reliant on M.G. Jones's standard historical study, The Charity School Movement: A Study of Eighteenth Century Puritanism in Action (Cambridge: Cambridge Univ. Press, 1938

Symphony lede

Alessandro Scarlatti opera Italian overture Sinfonia (JSB), Symphonia (instr.) (Greek συμφωνία) Sinfonia concertante Organ symphony (Piano symphony?) Symphonic poem

A symphony is now understood as an extended musical composition for orchestra. With the sonata, it is one of the principal instrumental genres in Western classical music.

Although the term has had many meanings from its origins in the Greek συμφωνία ('sounding together'), by the late 18th century symphony had taken on the meaning common today: an extended musical composition for orchestra usually consisting of multiple distinct sections or movements, often four, with the first movement in sonata form.

The modern symphony is descended from the fast-slow-fast Italian overture exemplified in the sinfonias of Alessandro Scarlatti operas. Later developments were consolidated by Joseph Haydn, who is called 'the father of the symphony' and wrote 104 works in the genre. Symphonies of the First Viennese School are typically in four movements with the first in sonata form, followed by a slow movement, binary minuet with trio and a finale. Ludwig van Beethoven's symphonies introduced the scherzo as a substitute for the minuet, and his Ninth Symphony added soloists and a chorus to the performers and inaugurated the Choral symphony.