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The Aria-cum-Chorus “Förkunnom högt hans lof och magt”: Using Text to Recover a Lost Work by Joseph Martin Kraus?

The Aria-cum-Chorus “Förkunnom högt hans lof och magt”: Using Text to Recover a Lost Work by... The Aria-cum-Chorus "Förkunnom högt hans lof och magt": Using Text to Recover a Lost Work by Joseph Martin Kraus? Bertil van Boer Western Washington University ithin the corpus of music written by any eighteenth-century composer almost certainly lies a certain number of works that have been lost or else have survived only in a fragmentary form. While the bulk of any of these can be said to have originated during that composer's youth, and thus are of importance primarily in defining the initial development of his or her style, even among the mature late works can be found lacunae, gaps that, if filled, might complete one's understanding of the complete oeuvre. When added to the fact that, in a number of cases, the missing music may indeed have been distributed or published under the names of other, often better known or more popular figures, the matter of authenticity and recovery becomes a sometimes daunting task. Unless there is prima facie evidence of authorship, that is, a recovered autograph, authentic source, or relevant document, this problem is usually solved only with great difficulty, primarily using such subjective means as style (and stylistic comparison), conjectural source transmission, or a chain http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Scandinavian Studies Society for the Advancement of Scandinavian Study

The Aria-cum-Chorus “Förkunnom högt hans lof och magt”: Using Text to Recover a Lost Work by Joseph Martin Kraus?

Scandinavian Studies , Volume 86 (1) – Apr 21, 2014

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Publisher
Society for the Advancement of Scandinavian Study
Copyright
Copyright © Society for the Advancement of Scandinavian Study
ISSN
2163-8195
Publisher site
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Abstract

The Aria-cum-Chorus "Förkunnom högt hans lof och magt": Using Text to Recover a Lost Work by Joseph Martin Kraus? Bertil van Boer Western Washington University ithin the corpus of music written by any eighteenth-century composer almost certainly lies a certain number of works that have been lost or else have survived only in a fragmentary form. While the bulk of any of these can be said to have originated during that composer's youth, and thus are of importance primarily in defining the initial development of his or her style, even among the mature late works can be found lacunae, gaps that, if filled, might complete one's understanding of the complete oeuvre. When added to the fact that, in a number of cases, the missing music may indeed have been distributed or published under the names of other, often better known or more popular figures, the matter of authenticity and recovery becomes a sometimes daunting task. Unless there is prima facie evidence of authorship, that is, a recovered autograph, authentic source, or relevant document, this problem is usually solved only with great difficulty, primarily using such subjective means as style (and stylistic comparison), conjectural source transmission, or a chain

Journal

Scandinavian StudiesSociety for the Advancement of Scandinavian Study

Published: Apr 21, 2014

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