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NEU tables by HAY Round table - 70 x 74 cm - 27.56′′ x 29.13′′ (Ø x Height) - Sky grey -- Clean, stable and re...

NEU tables by HAY Round table - 70 x 74 cm - 27.56′′ x 29.13′′ (Ø x Height) - Anthracite -- Clean, stable and ...

NEU tables by HAY Square table - 60 x 60 x 74 cm - 23.62′′ x 23.62′′ x 29.13′′ (L x W x H) - Sky grey -- Clean...

NEU tables by HAY High round table - 60 x 105 cm - 23.62′′ x 41.34′′ (Ø x Height) - Anthracite -- Clean, stabl...

Clean, stable and resistant NEU tables, by HAY

NEU tables by HAY Square table - 60 x 60 x 74 cm - 23.62′′ x 23.62′′ x 29.13′′ (L x W x H) - Anthracite -- Cle...

HAY Neu Table Ø70 x H74 Anthracite

HAY Neu Table Ø70 x H74 Sky Grey

HAY Neu Low Table Ø60 x H40 Anthracite

HAY Neu Low Table Ø70 x H40 Anthracite

HAY Neu Low Table L60 x H40 Anthracite

HAY Neu Table W60 x H74 Sky Grey

HAY Neu Low Table Ø60 x H40 Sky Grey

HAY Neu Low Table L60 x H40 Sky Grey

HAY Neu Low Table Ø70 x H40 Sky Grey

Leds C4 Lighting Neu Indoor Wall Light Brushed Aluminium

Faro Lighting Neu 1 Light Round Recessed Spotlight Plaster, White

Tea Cold Call - Sage Peppermint Oil

Johann Mattheson’s Pièces de clavecin and Das neu-eröffnete Orchestre Mattheson’s Universal Style in Theory and Practice

Johann Mattheson’s Pièces de clavecin and Das neu-eröffnete Orchestre Mattheson’s Universal Style in Theory and Practice

A prolific music theorist and critic as well as an established composer Johannes Mattheson remains surprisingly understudied. In this important study Margaret Seares places Mattheson’s Pièces de clavecin (1714) in the context of his work as a public intellectual who encouraged German musicians and their musical public to eschew what he saw as the hidebound traditions of the past and instead embrace a universalism of style and expression derived from contemporary currents in music of the leading European nations. Beginning with the early non-musical writings by Mattheson Seares places them in the context of the cosmopolitan city-state of Hamburg before moving to a detailed study of his first major musical treatise Das neu-er¶ffnete Orchestre of 1713 in which he espoused his views about the musics of the past and present and in particular the characteristics of the musics of Germany Italy France and England. This latter section of the treatise Part III is edited and translated into English in the book's appendix - the first such translation available. Seares then moves on to an evaluation of the Pièces de clavecin as a work in which Mattheson reflects in musical terms the themes of modernism (in the sense of la mode) and universalism that are such a strong part of his writings of the period and a work that represents an important precursor for the keyboard suites of Johann Sebastian Bach and Georg Frideric Handel. | Johann Mattheson’s Pièces de clavecin and Das neu-eröffnete Orchestre Mattheson’s Universal Style in Theory and Practice

GBP 38.99
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Marquis 3021 Automatik