Composers in Georgian London Buy this music now Score: £15.00 + p&p
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This score contains 18 works by Clementi, Arne, J C Bach, Steibelt, Wesley, Hook and Vento together with 8500-words of biographical notes. The book is 69 pages including text| Contents | |
| Editorial notes | |
| Biographical notes | |
| Minuet & Variations | Arne |
| Gigue in G | Arne |
| Gavotte in Bb | Arne |
| Sonatina in C No. 1 | Clementi |
| Sonatina in G No. 2 | Clementi |
| Sonatina in D No. 6 | Clementi |
| Sonatina in G No. 5 | Clementi |
| Air Suisse | Clementi |
| Rondo in F | Clementi |
| Theme & Variations | Clementi |
| Presto Assai in G | J C Bach |
| Variations on a Scottish Air | J C Bach |
| Movement in F | Steibelt |
| Rondo | Steibelt (arr. Horn) |
| Movement in D | Wesley |
| Allegretto | Hook |
| Sonatina in D | Hook |
| Divertimento | Vento |
Extract from the Editorial notes
The term “Georgian” encompasses such a wide time span – well over a century – that musically it can mean nearly anything. There is no grammatically graceful way to break their reigns down individually, but what I am generally referring to here is actually “Georgethe- Thirdian” – the London that Dr. Charles Burney lived in and brought to such vivid life. With bloodthirsty revolution and the Napoleonic Wars in France, rebellious colonies across the sea, uprisings in Ireland, and a king plagued by incipient madness, it was a far cry from the days of Moll Flanders and The Beggar’s Opera.
George, who was the grandson rather than the son of George II, was the first in the house of Hanover to be educated and raised as an Englishman (the original George didn’t even speak the language) and the first of the four to place Great Britain above Germany in his concerns. Among his other accomplishments he played the harpsichord and the flute, and the royal family had strong musical inclinations. Several of the composers in this volume had court connections of one type or another, and if the king’s earnest entreaties had been successful, Haydn would never have left England.
Of course there is no way to do justice in one book to the many composers in the thriving capital during those years (Handel needs an entire volume to himself); nor have I included works written specifically for harp. It was a giant in the late 18th-century drawing room and its music from that time would overflow into an entire library, hence it really requires separate treatment. With one exception, these pieces are transcriptions from keyboard sources and I believe they make a valuable addition to the literature of the instrument. The exception is Steibelt’s Rondo which was adapted for harp by Henry Horn, a popular teacher in the early 19th century who published a tutor (c.1820) titled Instruction Book For The Single And Double Movement Harp from which it was taken.
It is a tribute to the vibrant and cosmopolitan nature of London that so many of the composers who were attracted to it and chose to settle were foreign-born. It is my hope to catch the flavour of period and place by casting glimpses here and there, and to enhance harp repertoire with these offerings.
| Title: | Composers in Georgian London |
| Works: | 18 - see "Contents" |
| Composer: | Bonnie Shaljean |
| Instrumentation: | Lever or Pedal Harp |
| Level: | Internediate to Advanced |
| Format: | A4 Ring Bound Score |
| Weight: | 280gm |
| Publisher: | Blue Crescent Music |
| Printed & Distributed by: | Creighton's Collection |
| First Published: | 2004 |
| ISMN: | 979-0-57046-344-2 |
| Origin: | UK |
| Our Ref: | SM0654 |