Use this URL to cite or link to this record in EThOS: https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.821735
Title: 'Curious sola's' : the solo sonata in Restoration Britain
Author: Williams, Annika
Awarding Body: Cardiff University
Current Institution: Cardiff University
Date of Award: 2020
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Abstract:
This dissertation explores the arrival and circulation of the solo sonata for a single melody instrument with basso continuo in Britain from the 1670s, when the tradition starts, until 1716, the publication date of Francesco Geminiani’s Sonate a Violino, Violone, e Cembalo, Op. 1. It provides the first detailed survey of this repertoire which was disseminated in manuscripts and prints in England, Scotland and Ireland, particularly for the violin and recorder, but also for the bass viol, transverse flute and oboe. A pivotal moment for the solo sonata in Britain was the publication of Arcangelo Corelli’s Sonate a Violino e Violone o Cimbalo, Op. 5 in 1700. Accordingly, the discussion of the music is divided into works composed before and after this date in order to examine chronology, musical features and national style. While Corelli’s importance for the solo sonata is generally known, other key landmarks are presented in this dissertation, notably the influence of the Moravian viol player Gottfried Finger, who arrived in London during the 1680s. Another important factor was a surge in music printing with the opening of John Walsh and Estienne Roger’s publishing houses in the 1690s. ‘Solos or sonatas’ rapidly became a novelty for virtuosic display, going hand in hand with the rise of a flourishing concert scene and the arrival of immigrant musicians. Over eighty British-born and immigrant composers and performers (professional and amateur) are considered, as well as British composers working abroad. Little or unknown works and performers are brought to light, including British composers who began writing solo sonatas during the 1680s, such as Edward Finch and Thomas Farmer. Instrumentation and performance practice are addressed, as well as the musical, social and cultural roles and reception of the solo sonata. This social history is revealed through the works themselves, including their composers, patrons and publishers, as well as contemporaneous writings on music, newspaper advertisements, diaries and Restoration plays. It is hoped that the results of this research fill a notable gap in our understanding of musical life in Britain during this period, to complement already established areas such as church and theatre music.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID: uk.bl.ethos.821735  DOI: Not available
Keywords: ML Literature of music
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