Die ‚Schule‘ des Leonardo Leo (1694–1744)

Hans Aerts

doi:10.5771/9783487424248

Summary

Leonardo Leo (1694–1744) has always been regarded not only as an important composer, but also as an important teacher of composition. According to tradition, the Neapolitan musical landscape was at times characterised by the opposition of two systems or schools, with followers of Leo on the one side and Francesco Durante (1684-1755) on the other. In the course of research on the partimento in particular, more recent music research has turned its attention to this musical landscape, its institutions and main figures. What has remained is a mythologising and transfiguring patina that has covered Leo's image and that of his environment over time. Hans Aerts seeks to remove these layers by means of studies in institutional history, biography, source criticism, music theory and music analysis. He reconstructs the framework in which musicians were educated in Naples in the first half of the 18th century, sheds light on Leo's career and his circle of pupils, examines the background of the traditions on the opposition between Leisti and Durantisti and explores the sources that have been associated with Leo's teaching practice. A particular focus is the analysis of a corpus of 50 solfeggi. Frequently, these investigations also raise the question of what perspectives they offer for today's music-theoretical teaching practice.

Keywords

Search publication

Bibliographic data

Copyright year: 2023
ISBN-Print: 978-3-487-16311-6
ISBN-Online: 978-3-487-42424-8
Publisher: Georg Olms Verlag, Baden-Baden
Series: Schriften der Hochschule für Musik Freiburg
Volume: 11
Language: German
Pages: 486
Product type: Book Titles

Titelei/Inhaltsverzeichnis No access Pages 1 - 8
Verwendete Abkürzungen No access Pages 9 - 10
Einleitung No access Pages 11 - 18
1. 1. Zur Forschungsgeschichte No access
  2. Entstehung No access
  3. Spezialisierung No access
  4. Größe No access
  5. Untergruppen No access
  6. Dienstaufgaben eines maestro di cappella No access
  7. Tagesablauf No access
  8. Mastricelli und enseignement mutuel No access
  9. (Übe-)Räume No access
  10. Niedergang No access
2. 1. Der Leo-„Hoax“ No access
  2. Ausbildung No access
  3. Maestro No access
  4. Stellung No access
3. 1. Nicht-Conservatoristi und Zweifelsfälle No access
  2. Conservatoristi No access
4. 1. Florimo No access
  2. Rosenberg No access
  3. Van Tour No access
  4. Il principio di rivalità No access
  5. Fusionswehen No access
  6. Perrinos Schwarzbuch No access
  7. Un metodo unico No access
  8. Fazit No access
1. Cerone-Abschrift No access
2. Übungen in Hexachordsolmisation No access
3. 1. Einordnung nach Personen No access
  2. Zur Textgeschichte No access
  3. Bezug zu Nicola Sala No access
  4. Fazit No access
4. 1. Neapel No access
  2. Mailand No access
  3. Vorlagen X und Y No access
  4. Montecassino No access
  5. Paris No access
  6. Andere No access
  7. Fazit No access
5. Toccaten No access
6. Solfeggi No access
7. 1. Berlin 1 und2 No access
  2. Giovanni Salini No access
  3. Exkurs: In decima terza, in decima quinta, in quinta No access
  4. Liège 1 No access
  5. Cotumacci, Doll, Tritto, Leo No access
  6. Zur Funktion von Salinis Abschriften No access
8. Weitere Fugen No access
9. Kanons No access
1. 1. Riflessioni armoniche, Libro primo No access
  2. Riflessioni armoniche, Libro secondo No access
  3. Zur Wirkungsgeschichte von Scorpiones Riflessioni No access
2. 1. Grundlagen No access
  2. Generalregeln zum Außenstimmensatz; Mehrstimmigkeit No access
  3. Kadenzlehre No access
  4. Dissonanzlehre No access
  5. Ausweichungen No access
  6. Intervall- und Tonartenlehre No access
  7. Fuge und Ricercar No access
  8. Kanon No access
  9. Fazit No access
3. 1. Solfeggio und Solmisation No access
  2. Solfeggi als Exempel No access
  3. Tonarten, Umfänge, Anlagen No access
  4. Eröffnungen No access
  5. Binnenkadenzen No access
  6. Fonte und Monte No access
  7. Modulation; Prinner No access
  8. Seitenthemen No access
  9. Kadenzvorfelder und retardierende Momente No access
  10. Satztechnik No access
  11. La cantilena di un basso magistrale oder die Prinzipien der „besten Lage“ No access
4. Fugue d’école No access
5. Partimenti und Toccaten No access
Fazit und Ausblick No access Pages 393 - 400
1. Quellen (chronologisch) No access
2. Sekundärliteratur No access
Anhänge No access Pages 413 - 486