One cannot study the history of musical life in Europe without studying the circulation of musical works. Music goes from one place to another because of an asymmetrical situation: that is, there is the production of exportable music on one place that matches the need for imported music on another place. Whereas before 1700 music was often produced for the local or regional market, from 1700 on music publishers produced music in such a way that it could be sold internationally.During the nineteenth century one can easily speak of mass production in this respect. The studies in this volume on The Circulation of Music in Europe 1600-1900 approach the topic from a number of different angles. The first four contributions (headed Cities and Countries) study certain places or areas in Europe and analyse the ways in which music was created and moved from one place to another. Manuscripts or prints of music have to be produced and to be sold, and somebody must buy them to bring them to a different place. The studies in the second part (headed Publishing and Purchasing) deal with the processes involved in the production music and its dissemination via the music trade. The studies bundled in the third part of the present book, headed Repertoires and Reception, do not study the source side of the dissemination, but rather its receiving side, through the examination of repertoires to be found in certain places or in certain regions. When music is transferred from one place to another, changes may well take place, due to the variations in musical cultures from one part of Europe to another. The last part of the present volume (headed Assimilations and Appropriations), deals with these issues. The present volume on The Circulation of Music in Europe 1600-1900 is the outcome of a research group with the same name that formed a part of the research project Musical Life in Europe 1600-1900, launched by the European science foundation in strasbourg.
Table of contents
Part I - Countries and CitiesAntonio Ezquerro-Esteban, Luis Antonio González-Marín, José Vicente González-Valle: The Circulation of Music in Spain 1600-1900Jeroen van Gessel: The Dutch "Toonkunst" Society as a Platform for International Music Exchange in the Nineteenth CenturyRosamond McGuinness: External and Internal Factors in the Circulation of Music in London around 1700Ute Schwab: Georg Christian Apel's Music-lending Library in Early Nineteenth-Century Kiel
Part II - PubLishing and PurchasingLuca Aversano: The Transmission of Italian Musical Articles through Germany and Austria to Eastern Europe around 1800Rupert Ridgewell: Mozart's Music on Sale in Vienna and Paris, 1780-1790Henri Vanhulst: The Music in the "Indicis librorum [...] Pars prima" (1618) of Jean Bogard Junior, Bookseller and Publisher in DouaiOlivia Wahnon de Oliveira: Publishing and Selling Music in Eighteenth-Century Liège
Part III - Repertoires and ReceptionGreger Andersson: Music from abroad in Eighteenth-Century sweden Marc Heilbron-Ferrer: Italian Theatre Music Preserved in Spanish Ecclesiastical ArchivesKatalin Kim-Szacsvai: Eighteenth- and Early Nineteenth-Century Hungarian Ecclesiastical RepertoiresJens Henrik Koudal: Musical Life in Odense from 1770 to 1800 and the Music Collection of Johan Jacob Rebach
Part IV - Assimilations and AppropriationsFrancesca Bascialli: Italian Translations and Adaptations of French "Opéras-Comiques": The Case of the Archducal Theatre of Monza 1787-1795Rudolf Rasch: Northern Changes to Southern Music: Seventeenth-Century Dutch adaptations of French and Italian MusicRenata Suchowiejko: Polish Pianists in Paris: From couleur locale to Stylistic CosmopolitanismEva Vicarová: Military Bands and the Circulation of Music in the Austrian Empire during the Nineteenth Century