Voluntary и Lesson в английских музыкальных источниках XVII–XVIII вв.
DOI:
https://doi.org/10.21638/spbu15.2022.401Аннотация
Статья посвящена тому, каким образом в музыкальной практике Англии XVII–XVIII вв. использовались два весьма распространенных видовых наименования инструментальных сочинений — Voluntary и Lesson. Отталкиваясь от редчайшего случая использования этих наименований как синонимов при публикации около 1810 г. сборника органных пьес Карла Тринкса, факт которой остался практически незамеченным мировым музыкознанием, автор рассматривает их в сравнительном аспекте, отмечая прежде всего существенные различия в их применении английскими композиторами со времен Ренессанса до конца XVIII в., а также обращая внимание на отражение этой практики в общей и музыкальной лексикографии того времени. При этом он подвергает аргументированной критике ряд представлений, уже утвердившихся в западном музыкознании. К примеру, отрицает трактовку как самостоятельной клавирной пьесы Р. Фарранта небольшого фрагмента из «Книги Муллинера», озаглавленного Voluntarye, выражает сомнения в существовании 12-частного Voluntary И. К. Пепуша (опубликован в 1988 г.) как единого музыкального произведения. Но главное — не является сторонником распространения понятия Voluntary на все полифонические органные сочинения английских мастеров XVII–XVIII вв. (в том числе на композиции для органа из «Мелотезии» М. Локка, многие фуги Т. Роузингрейва и т. д.), подчеркивая при этом фактор избирательности композиторов того времени в использовании самого термина Voluntary. Автор также обращает внимание на то, что термин Lesson применялся более разнообразно, нежели это трактует современное музыкознание, распространяясь не только на сольную (преимущественно клавирную) музыку, но и на сочинения для мелодических инструментов в сопровождении basso continuo и даже ансамбли, а также на инструктивные упражнения и несложные композиции для начинающих.
Ключевые слова:
Voluntary, Lesson, английская музыка, клавишные инструменты, фуга, соната, терминология, лексикография
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Библиографические ссылки
Литература
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11. Johnson, Samuel. A Dictionary of the English Language: in which the words are deduced from their originals, and illustrated in their different significations by examples from the best writers. London: W. Strahan, 1755.
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Нотные издания и источники
I. Trinks, Charles. Eighteen voluntaries, or, Lessons, composed for the organ or piano forte. London: Clementi, Banger, Collard, Davis & Collard, [1810]. Дата обращения январь 26, 2022. https://archive.org/details/eighteenvoluntar00trin/page/n123/mode/2up.
II. Long, Samuel. Four Lessons and Two Voluntarys for the Harpsichord or Organ. London: Charles & Samuel Thompson, [c. 1770]. Дата обращения январь 26, 2022. https://imslp.org/wiki/4_Lessons_and_2_Voluntarys_(Long%2C_Samuel).
III. Byrd, William. My Lady Nevells Booke. British Library. MS Mus. 1591. Дата обращения январь 26, 2022. http://www.bl.uk/manuscripts/Viewer.aspx?ref=ms_mus._1591_fs001r. Издание в современной нотной графике: Byrd, William. My Ladye Nevells Booke of Virginal Music, ed. by Hilda Andrews; Preface by Sir Richard Terry. New York: Dover Publications, 1969.
IV. A collection of music for virginals, with one short piece for four voices, and nine pieces for cittern, probably all in the hand of Thomas Mullliner, master of St Paul’s choir. British Library. Add MS 30513. Дата обращения январь 26, 2022. http://www.bl.uk/manuscripts/Viewer.aspx?ref=add_ms_30513_fs001r. Современное академическое издание: The Mulliner Book, ed. by John Caldwell. London: Stainer & Bell, 2011. (Musica Britannica. Vol. 1).
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VI. A new Booke of Tabliture, Containing sundrie easie and familiar Instructions, shewing howe to attaine to the knowledge, to guide and dispose thy hand to play on sundry Instruments, as the Lute, Orpharion, and Bandora: Together with diuers new Lessons to each of these Instruments. London: William Barley, 1596.
VII. The First Booke of Consort Lessons, made by divers exquisite Authors, for six Instruments to play together, the Treble Lute, the Pandora, the Cittern, the Base-Violl, the Flute & Treble Violl. Collected by Thomas Morley. London: Thomas Snodham, 1599.
VIII. Lessons for Consort Made by sundry Excellent Authors, and set to fixe severall instruments: Namely, the Treble Lute, Treble Violl, Base Violl, Bandora, Citterne, and the Flute. Now newly set forth by Phillip Rosseter. London: Tho. Este alias Snodham, 1609.
IX. Varietie of Lute-Lessons: viz. Fantasies, Pauins, Galliards, Almaines, Corantoes, and Volts: Selected out of the best approved AUTHORS, as well beyond the Seas as of our owne Country. By Robert Douland. London: Thomas Adams, 1610.
X. A Musicall Banquet, set forth in three choice Varieties of Musick. London: John Benson and John Playford, 1651.
XI. Moss, John. Lessons for the basse-viol on the common-tuning, and many other new tunings: containing, allmans, corants, sarabands, jigg allmans; in all the usual keys of the scale of musick; together with a thoroughbass. London: John Playford, 1671.
XII. Banister, John. The Most Pleasant Companion; or, Choice New Lessons for the Recorder or Flute. London: John Hudgebutt & John Clerk, 1681.
XIII. The Divine Services and Anthems Usually Sung In the Cathedrals and Collegiate Choires in The Church of England. Collected by J. C. [James Clifford]. London: W. G., 1663. Дата обращения январь 26, 2022. https://quod.lib.umich.edu/e/eebo2/A33456.0001.001/1:6?rgn=div1;view=fulltext.
XIV. Locke, Matthew. Melothesia, or Certain General Rules for Playing upon a Continued Bass. With A choice Collection of Lessons for the Harpsicord and Organ of all Sorts: Never before Published. London: J. Carr, 1673. Дата обращения январь 26, 2022. https://s9.imslp.org/files/imglnks/usimg/b/bc/IMSLP98843-PMLP203008-Locke_Matthew-Melothesia_or_Certain_general_rules-_continuo.pdf.
XV. Purcell, Henry. A Choice Collection of Lessons for the Harpsichord or Spinnet. London: Henry Playford, 1696.
XVI. Blow, Charles. A Choice Collection of Lessons for the Harpsicord, Spinnet &c. containing four setts, as grounds, almands, corants, sarabands, minuets, and jigs. London: Henry Playford, [1698].
XVII. Coyle, Miles. Six Lessons for the Harpsichord, or Piano Forte. London: John Preston, [c. 1795].
XVIII. The Compleat Musick-Master: being Plain, Easie, and Familiar Rules for Singing, and Playing On the most useful Instruments now in Vogue, according to the Rudiments of Musick. Viz., Violin, Flute, Haut-boy, Bass-Viol, Treble-Viol, Tenor-Viol. Containing likewise A great Variety of Choice Tunes, and fitted to each Instrument, with Songs for two Voices. To which is added, a Scale of the Seven Keys of Musick, shewing how to Transpose any Tune from one Key to another. 3rd ed. London: William Pearson, 1722.
XIX. Paxton, Stephen. Twelve Easy Lessons for a Violoncello and a Bass Figured for the Harpsichord. Opera VI. London: s. n., [1786].
XX. Ariosti, Attilio. [6 Cantatas and 6 Lessons for viola d’amore and continuo]. London, [c. 1724].
XXI. Roseingrave, Thomas. Voluntarys and Fugues made on purpose for the Organ or Harpsichord. London: I. Walsh, 1728.
XXII. Handel, George Frederic. Six fugues or volunterys for the organ or harpsicord… troisième ouvrage. London: J. Walsh, 1735.
XXIII. Nares, James. Six Fugues with Introductory Voluntary’s for the Organ or Harpsichord. London: Welcker, 1772.
XXIV. Marsh, John. Eighteen Voluntaries for the Organ. London: Preston, [1791].
XXV. Marsh, John. Twenty Voluntaries for the Organ. London: Preston, [1792].
XXVI. Russell, William. Twelve Voluntaries, for Organ or Harpsichord. London: Clementi & Co., [1804].
XXVII. Greene, Maurice. Twelve Voluntarys for the Organ or Harpsichord. London: John Bland, [c. 1780].
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XXIX. Stanley, John. Ten Voluntarys for the Organ or Harpsichord. Opera sesta. London: John Johnson, [1752].
XXX. Stanley, John. Ten Voluntarys for the Organ or Harpsichord. Opera settima. London: John Johnson, [1754].
XXXI. Walond [Sr], William. Six Voluntaries for the Organ or Harpsichord. (Op. 1.) London, [c. 1752];
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XXXIII. Bennett, John. Ten Voluntaries for the Organ or Harpsichord. London: s. n. [1758].
XXXIV. Alcock [Sr], John. Ten Voluntaries for the Organ or Harpsichord. London: C. & S. Thompson, 1774.
XXXV. Boyce, William. Ten Voluntaries for the Organ or Harpsichord. London: S. A. & P. Thompson, [1779].
XXXVI. Hine, William. Harmonia Sacra Glocestriensis, or Select Anthems for 1, 2 & 3 Voices and a Te Deum and Jubilate together with a Voluntary for the Organ. S. n., [c. 1731].
XXXVII. 12 toccatas [by G. Muffat] [and] Voluntaries by Dr Pepusch, Dr Green, Stanley and James. Voluntary by Dr Pepusch. RAM (MS 168) f33r — f39r. Accessed January 26, 2022. https://archive.org/details/GB-Lam_MS168/page/n1/mode/2up.
XXXVIII. Garth, John. Six Voluntarys for the Organ, Piano forte or Harpsichord… Opera terza. London: Welcker, 1771.
XXXIX. Kirkman, Jacob. A Collection of Six Voluntaries for the Organ, Harpsichord, and Piano-forte. Op. IX. London: Longman & Broderip, [c. 1780].
XL. Broderip, Robert. Eight Voluntary’s for the Harpsichord or Piano forte. Op. V. London: Longman and Broderip, [c. 1785].
XLI. Hawdon, Mathias. A First Sett of Six Sonatas Spirituale or Voluntarys for the Harpsichord, Organ or Piano-Forte. London: Longman and Broderip, [c. 1782].
XLII. Barthélemon, François-Hippolyte. Six Voluntaries or Easy Sonatas for the Organ. London: Longman and Broderip, 1787.
XLIII. Alberti, Domenico. VIII sonate per cembalo. Opera prima. London: I. Walsh, 1748.
XLIV. Arne, Thomas Augustine. VIII Sonatas or Lessons for the Harpsichord. London: I. Walsh, 1756.
XLV. Cassanéa de Mondonville, Jean-Joseph. Six Sonates or Lessons for the Harpsicord which may be Accompanied with a Violin or German Flute. London: I. Walsh, 1753.
XLVI. Nichelman, Cristofforo. Six short Sonatas or Lessons for the Harpsichord Design’d for the Improvement of all Lovers of that Instrument and Chiefly for the Ladies. London: Longman, Lukey & Co., 1770.
XLVII. Noferi, Giovanni Battista. Six Sonatas or Lessons for the Guitar. Opera 12. London: Longman, Lukey & Co., [c. 1775].
XLVIII. Savage, Jane. Six Easy Lessons for the Harpsichord or Piano Forte. Opera 2nd. London: s. n., [1783].
XLIX. Dibdin, Charles. Six Lessons for the Harpsichord, or Piano Forte. London: Longman, Lukey and Co., [c. 1772].
L. Alcock Jr, John. A Favorite Lesson for the Harpsicord or Piano Forte. S. n., [c. 1775]. Дата обращения январь 26, 2022. https://www.loc.gov/resource/musm1a1.10460.0.
LI. A Favorite Lesson for the Harpsichord Composed by G. Hayden of Vienna. London: W. Forster, s. d. Дата обращения январь 26, 2022. https://gallica.bnf.fr/ark:/12148/btv1b90578849.image.
LII. Jones, John. Eight Setts of Lessons for the Harpsichord. London: J. Johnson, 1754.
LIII. Wise, Samuel. Six Lessons for the Harpsichord. London: s. n., 1765.
LIV. Arnold, Samuel. A Set of Progressive Lessons for the Harpsichord, or Piano Forte. Book 1. London: Broderip & Wilkinson, [c. 1777]. Дата обращения январь 26, 2022. https://s9.imslp.org/files/imglnks/usimg/2/28/IMSLP372290-PMLP152040-setofprogressive00arno.pdf.
LV. Wilton C. H. A Set of Eighteen Lessons for Piano Forte or Harpsichord (written in a progressive order and calculated to improve young Practitioners). Liverpool: J. B. Pye, 1791.
LVI. Attwood, Thomas. Easy Progressive Lessons Fingered for Young Beginners on the Piano Forte or Harpsichord. London: Longman and Broderip, [c. 1795].
LVII. Tillière, Joseph Bonaventure. New and Compleat Instructions for the Violoncello with a Variety of Easy & Progressive Lessons. London: Longman and Broderip, [c. 1795].
LVIII. Select Preludes & Volentarys for the Violin being made, and contrived for the Improvement of the Hand with Variety of Compositions by all the Greatest Masters in Europe for that Instrument. London: I. Walsh and I. Hare, 1705.
References
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2. Head, Raymond. “Music in the 18-century India”. Early Music 30, no. 2 (2002): 284–5.
3. “Voluntary”. In Novyj bol’shoj anglo-russkij slovar. 3 vols, ed. by Yurii Apresyan and Esfir’ Mednikova. Moscow: Russkij yasyk,1993–1994. Accessed January 26, 2022. https://eng-rus.slovaronline.com/115459-VOLUNTARY. (In Russian)
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7. Chambers, Ephraim. Cyclopædia: or, An Universal Dictionary of Arts and Sciences. 2 vols. London: James & John Knapton, John Darby and others, 1728, vol. 2.
8. Grassineau, James. A Musical Dictionary. London: J. Wilcox, 1740.
9. Tans’ur, William. A New Musical Grammar, and Dictionary: or, A General Introduction to the Whole Art of Musick. 3rd ed. London: Printed by Robert Brown for James Hodges, 1756.
10. Hoyle, John. Dictionarium musica: being a complete dictionary, or, treasury of music. London: S. Crowder; Leeds (Yorkshire): J. Binns, 1770.
11. Johnson, Samuel. A Dictionary of the English Language: in which the words are deduced from their originals, and illustrated in their different significations by examples from the best writers. London: W. Strahan, 1755.
12. Busby, Thomas. A Complete Dictionary of Music. 3rd edition. London: Richard Phillips, 1811. Accessed January 26, 2022. https://archive.org/details/acompletedictio00busbgoog/page/n247/mode/2up.
13. Swain, Joseph P. Historical Dictionary of Baroque Music. Lanham: Scarecrow Press, 2013.
14. Cooper, Barry A. R. English Solo Keyboard Music of the Middle and Late Baroque. PhD thesis. Oxford University, 1974. New York: Garland, 1989.
15. Caldwell, John. English Keyboard Music Before the Nineteenth Century. New York: Praeger, 1973.
16. Caldwell, John. “Lesson (II)”. In The New Grove Dictionary of Music and Musicians, ed. by Stanly Sadie, vol. 14: 593. 2nd ed. London: Macmillan, 2001.
17. Caldwell, John. “Voluntary”. In The New Grove Dictionary of Music and Musicians, ed. by Stanly Sadie, vol. 26: 891–2. 2nd ed. London: Macmillan, 2001.
18. Morley, Thomas. A Plaine and Easie Introduction to Practicall Musicke. London: Peter Short, 1597. Accessed January 26, 2022. https://s9.imslp.org/files/imglnks/usimg/6/69/IMSLP278916-PMLP09691-a_plaine_and_easie_introduction2.pdf.
19. Flynn, Jane E. A Reconsideration of the Mulliner Book (British Library Add. MS 30513): Music Education in Sixteenth-Century England. PhD thesis. Duke University, 1993.
20. Aitken, James T. “The Voluntary: 1550 and after”. The Musical Times 77, no. 1117 (1936): 250–2.
21. Cawdrey, Robert. A Table Alphabeticall of Hard Usual English Words (1604), ed. by Raymond G. Siemens. University of British Columbia, 1994. Accessed January 26, 2022. http://www.library.utoronto.ca/utel/ret/cawdrey/cawdrey0.html.
22. Carter, Stephanie Louise. Music Publishing and Compositional Activity in England, 1650–1700. PhD thesis. University of Manchester, 2010.
23. Woolley, Andrew. “3. England”. In The Cambridge Companion to the Harpsichord, ed. by Mark Kroll, 47–70. Cambridge: Cambridge University Press, 2019.
24. Kyureghyan, Tatyana. Form in music from 17th to 20th century. 2nd ed. Moscow: Kompozitor Publ.,2003. (In Russian)
25. “Suite”. In Bol’shaya Rossijskaya Enziclopediya, vol. 31: 522. Мoscow: Bol’shaia Rossiiskaia Entsiklopediia Publ., 2016 (In Russian)
26. Bocharov, Yuri. Genres in Baroque Instrumental Music. Moscow: Moscow Conservatory Publ., 2016. (In Russian)
27. Zimmerman, Franklin B. Henry Purcell, 1659–1695: an analytical catalogue of his music. New York: St. Martin’s Press, 1963.
28. Luckner, Brian William. The organ voluntaries of John Stanley. DMA thesis. University of Cincinnati, 1992.
29. Smith, David John. “Continuity, change and the emergence of idiomatic organ repertoire in seventeenthcentury England”. In Studies in English Organ Music, ed. by Iain Quinn, 122–41. Abingdon: Routledge, 2018.
30. Cooper, Barry. “Problems in the transmission of Blow’s organ music”. In Music & Letters 75 (1994): 522–47.
31. Lynan, Peter. “Composed and improvised voluntaries in the eighteenth century”. In Studies in English Organ Music, ed. by Iain Quinn, 142–61. Abingdon: Routledge, 2018.
32. Brewer, Charles E. “6. Protestant church music in England and America”. In The Cambridge History of Eighteenth-century Music, ed. by Simon P. Keefe, 168–80. Cambridge: Cambridge University Press, 2009.
33. Byers, David. Pepush and the Organ Voluntary in C. Accessed January 26, 2022. https://www.byersmusic.com/pepusch-and-the-organ-voluntary-in-c.php#Pepusch02.
34. General music articles from Rees Cyclopædia — Final consolidated version by Dr Charles Burney, John Farey Sr, & John Farey Jr, ed. by A. P. Woolrich, 2018. Accessed January 26, 2022. https://www.mcgill.ca/burneycentre/files/burneycentre/rees_general_fulldocument_0.pdf.
Musical Editions and Sources
I. Trinks, Charles. Eighteen voluntaries, or, Lessons, composed for the organ or piano forte. London: Clementi, Banger, Collard, Davis & Collard, [1810]. Accessed January 26, 2022. https://archive.org/details/eighteenvoluntar00trin/page/n123/mode/2up.
II. Long, Samuel. Four Lessons and Two Voluntarys for the Harpsichord or Organ. London: Charles & Samuel Thompson, [c. 1770]. Accessed January 26, 2022. https://imslp.org/wiki/4_Lessons_and_2_Voluntarys_(Long%2C_Samuel).
III. Byrd, William. My Lady Nevells Booke. British Library. MS Mus. 1591. Accessed January 26, 2022. http://www.bl.uk/manuscripts/Viewer.aspx?ref=ms_mus._1591_fs001r. Edition in modern sheet music: Byrd, William. My Ladye Nevells Booke of Virginal Music, ed. by Hilda Andrews; Preface by Sir Richard Terry. New York: Dover Publications, 1969.
IV. A collection of music for virginals, with one short piece for four voices, and nine pieces for cittern, probably all in the hand of Thomas Mullliner, master of St Paul’s choir. British Library. Add MS 30513. Accessed January 26, 2022. http://www.bl.uk/manuscripts/Viewer.aspx?ref=add_ms_30513_fs001r. A modern academic edition: The Mulliner Book, ed. by John Caldwell. London: Stainer & Bell, 2011. (Musica Britannica. Vol. 1).
V. Le Roy, Adrian. A briefe and plaine Instruction to set all Musicke of eight divers tunes in Tableture for the Lute. With a briefe Instruction how to play on the Lute by Tablature, to conduct and dispose thy hand unto the Lute, with certaine easie lessons for that purpose. Translated into English by F. Ke, Gentleman. London: James Rowbothome, 1574. Accessed January 26, 2022. https://gallica.bnf.fr/ark:/12148/bpt6k1176218k.r=Adrian%20Le%20Roy?rk=171674.
VI. A new Booke of Tabliture, Containing sundrie easie and familiar Instructions, shewing howe to attaine to the knowledge, to guide and dispose thy hand to play on sundry Instruments, as the Lute, Orpharion, and Bandora: Together with diuers new Lessons to each of these Instruments. London: William Barley, 1596.
VII. The First Booke of Consort Lessons, made by divers exquisite Authors, for six Instruments to play together, the Treble Lute, the Pandora, the Cittern, the Base-Violl, the Flute & Treble Violl. Collected by Thomas Morley. London: Thomas Snodham, 1599.
VIII. Lessons for Consort Made by sundry Excellent Authors, and set to fixe severall instruments: Namely, the Treble Lute, Treble Violl, Base Violl, Bandora, Citterne, and the Flute. Now newly set forth by Phillip Rosseter. London: Tho. Este alias Snodham, 1609.
IX. Varietie of Lute-Lessons: viz. Fantasies, Pauins, Galliards, Almaines, Corantoes, and Volts: Selected out of the best approved AUTHORS, as well beyond the Seas as of our owne Country. By Robert Douland. London: Thomas Adams, 1610.
X. A Musicall Banquet, set forth in three choice Varieties of Musick. London: John Benson and John Playford, 1651.
XI. Moss, John. Lessons for the basse-viol on the common-tuning, and many other new tunings: containing, allmans, corants, sarabands, jigg allmans; in all the usual keys of the scale of musick; together with a thoroughbass. London: John Playford, 1671.
XII. Banister, John. The Most Pleasant Companion; or, Choice New Lessons for the Recorder or Flute. London: John Hudgebutt & John Clerk, 1681.
XIII. The Divine Services and Anthems Usually Sung In the Cathedrals and Collegiate Choires in The Church of England. Collected by J. C. [James Clifford]. London: W. G., 1663. Accessed January 26, 2022. https://quod.lib.umich.edu/e/eebo2/A33456.0001.001/1:6?rgn=div1;view=fulltext.
XIV. Locke, Matthew. Melothesia, or Certain General Rules for Playing upon a Continued Bass. With A choice Collection of Lessons for the Harpsicord and Organ of all Sorts: Never before Published. London: J. Carr, 1673. Accessed January 26, 2022. https://s9.imslp.org/files/imglnks/usimg/b/bc/IMSLP98843-PMLP203008-Locke_Matthew-Melothesia_or_Certain_general_rules-_continuo.pdf.
XV. Purcell, Henry. A Choice Collection of Lessons for the Harpsichord or Spinnet. London: Henry Playford, 1696.
XVI. Blow, Charles. A Choice Collection of Lessons for the Harpsicord, Spinnet &c. containing four setts, as grounds, almands, corants, sarabands, minuets, and jigs. London: Henry Playford, [1698].
XVII. Coyle, Miles. Six Lessons for the Harpsichord, or Piano Forte. London: John Preston, [c. 1795].
XVIII. The Compleat Musick-Master: being Plain, Easie, and Familiar Rules for Singing, and Playing On the most useful Instruments now in Vogue, according to the Rudiments of Musick. Viz., Violin, Flute, Haut-boy, Bass-Viol, Treble-Viol, Tenor-Viol. Containing likewise A great Variety of Choice Tunes, and fitted to each Instrument, with Songs for two Voices. To which is added, a Scale of the Seven Keys of Musick, shewing how to Transpose any Tune from one Key to another. 3rd ed. London: William Pearson, 1722.
XIX. Paxton, Stephen. Twelve Easy Lessons for a Violoncello and a Bass Figured for the Harpsichord. Opera VI. London: s. n., [1786].
XX. Ariosti, Attilio. [6 Cantatas and 6 Lessons for viola d’amore and continuo]. London, [c. 1724].
XXI. Roseingrave, Thomas. Voluntarys and Fugues made on purpose for the Organ or Harpsichord. London: I. Walsh, 1728.
XXII. Handel, George Frederic. Six fugues or volunterys for the organ or harpsicord… troisième ouvrage. London: J. Walsh, 1735.
XXIII. Nares, James. Six Fugues with Introductory Voluntary’s for the Organ or Harpsichord. London: Welcker, 1772.
XXIV. Marsh, John. Eighteen Voluntaries for the Organ. London: Preston, [1791].
XXV. Marsh, John. Twenty Voluntaries for the Organ. London: Preston, [1792].
XXVI. Russell, William. Twelve Voluntaries, for Organ or Harpsichord. London: Clementi & Co., [1804].
XXVII. Greene, Maurice. Twelve Voluntarys for the Organ or Harpsichord. London: John Bland, [c. 1780].
XXVIII. Stanley, John. Ten Voluntarys for the Organ or Harpsichord. Opera quinta. London: John Johnson, [1748].
XXIX. Stanley, John. Ten Voluntarys for the Organ or Harpsichord. Opera sesta. London: John Johnson, [1752].
XXX. Stanley, John. Ten Voluntarys for the Organ or Harpsichord. Opera settima. London: John Johnson, [1754].
XXXI. Walond [Sr], William. Six Voluntaries for the Organ or Harpsichord. (Op. 1.) London, [c. 1752];
XXXII. Walond [Sr], William. Ten Voluntaries for the Organ or Harpsichord. (Op. 2.) London, [1758].
XXXIII. Bennett, John. Ten Voluntaries for the Organ or Harpsichord. London: s. n. [1758].
XXXIV. Alcock [Sr], John. Ten Voluntaries for the Organ or Harpsichord. London: C. & S. Thompson, 1774.
XXXV. Boyce, William. Ten Voluntaries for the Organ or Harpsichord. London: S. A. & P. Thompson, [1779].
XXXVI. Hine, William. Harmonia Sacra Glocestriensis, or Select Anthems for 1, 2 & 3 Voices and a Te Deum and Jubilate together with a Voluntary for the Organ. S. n., [c. 1731].
XXXVII. 12 toccatas [by G. Muffat] [and] Voluntaries by Dr Pepusch, Dr Green, Stanley and James. Voluntary by Dr Pepusch. RAM (MS 168) f33r — f39r. Accessed January 26, 2022. https://archive.org/details/GB-Lam_MS168/page/n1/mode/2up.
XXXVIII. Garth, John. Six Voluntarys for the Organ, Piano forte or Harpsichord… Opera terza. London: Welcker, 1771.
XXXIX. Kirkman, Jacob. A Collection of Six Voluntaries for the Organ, Harpsichord, and Piano-forte. Op. IX. London: Longman & Broderip, [c. 1780].
XL. Broderip, Robert. Eight Voluntary’s for the Harpsichord or Piano forte. Op. V. London: Longman and Broderip, [c. 1785].
XLI. Hawdon, Mathias. A First Sett of Six Sonatas Spirituale or Voluntarys for the Harpsichord, Organ or Piano-Forte. London: Longman and Broderip, [c. 1782].
XLII. Barthélemon, François-Hippolyte. Six Voluntaries or Easy Sonatas for the Organ. London: Longman and Broderip, 1787.
XLIII. Alberti, Domenico. VIII sonate per cembalo. Opera prima. London: I. Walsh, 1748.
XLIV. Arne, Thomas Augustine. VIII Sonatas or Lessons for the Harpsichord. London: I. Walsh, 1756.
XLV. Cassanéa de Mondonville, Jean-Joseph. Six Sonates or Lessons for the Harpsicord which may be Accompanied with a Violin or German Flute. London: I. Walsh, 1753.
XLVI. Nichelman, Cristofforo. Six short Sonatas or Lessons for the Harpsichord Design’d for the Improvement of all Lovers of that Instrument and Chiefly for the Ladies. London: Longman, Lukey & Co., 1770.
XLVII. Noferi, Giovanni Battista. Six Sonatas or Lessons for the Guitar. Opera 12. London: Longman, Lukey & Co., [c. 1775].
XLVIII. Savage, Jane. Six Easy Lessons for the Harpsichord or Piano Forte. Opera 2nd. London: s. n., [1783].
XLIX. Dibdin, Charles. Six Lessons for the Harpsichord, or Piano Forte. London: Longman, Lukey and Co., [c. 1772].
L. Alcock Jr, John. A Favorite Lesson for the Harpsicord or Piano Forte. S. n., [c. 1775]. Accessed January 26, 2022. https://www.loc.gov/resource/musm1a1.10460.0.
LI. A Favorite Lesson for the Harpsichord Composed by G. Hayden of Vienna. London: W. Forster, s. d. Accessed January 26, 2022. https://gallica.bnf.fr/ark:/12148/btv1b90578849.image.
LII. Jones, John. Eight Setts of Lessons for the Harpsichord. London: J. Johnson, 1754.
LIII. Wise, Samuel. Six Lessons for the Harpsichord. London: s. n., 1765.
LIV. Arnold, Samuel. A Set of Progressive Lessons for the Harpsichord, or Piano Forte. Book 1. London: Broderip & Wilkinson, [c. 1777]. Accessed January 26, 2022. https://s9.imslp.org/files/imglnks/usimg/2/28/IMSLP372290-PMLP152040-setofprogressive00arno.pdf.
LV. Wilton C. H. A Set of Eighteen Lessons for Piano Forte or Harpsichord (written in a progressive order and calculated to improve young Practitioners). Liverpool: J. B. Pye, 1791.
LVI. Attwood, Thomas. Easy Progressive Lessons Fingered for Young Beginners on the Piano Forte or Harpsichord. London: Longman and Broderip, [c. 1795].
LVII. Tillière, Joseph Bonaventure. New and Compleat Instructions for the Violoncello with a Variety of Easy & Progressive Lessons. London: Longman and Broderip, [c. 1795].
LVIII. Select Preludes & Volentarys for the Violin being made, and contrived for the Improvement of the Hand with Variety of Compositions by all the Greatest Masters in Europe for that Instrument. London: I. Walsh and I. Hare, 1705.
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Опубликован
30.12.2022
Как цитировать
Бочаров, Ю. С. (2022). Voluntary и Lesson в английских музыкальных источниках XVII–XVIII вв. Вестник Санкт-Петербургского университета. Искусствоведение, 12(4), 562–590. https://doi.org/10.21638/spbu15.2022.401
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Статьи журнала «Вестник Санкт-Петербургского университета. Искусствоведение» находятся в открытом доступе и распространяются в соответствии с условиями Лицензионного Договора с Санкт-Петербургским государственным университетом, который бесплатно предоставляет авторам неограниченное распространение и самостоятельное архивирование.
