español | français Luigi Rossi Sophie Elisabeth zu Braunschweig: Baroque Women Pedro Memelsdorff 10 CDs for a desert island : Benjamin Bagby Telemann´s Tafelmusik   52 - 51 - 50 - 49 - 48 - 47 - 46 - 45 - 44 - 43 - 42 - 41 - 40 - 39 - 38 - 37 - 36 - 35 - 34 - 33 - 32 - 31 - 30 - 29 - 28 - 27 - 26 - 25 - 24 - 23 - 22 - 21 - 20 - 19 - 18 - 17 - 16 - 15 - 14 - 13 - 12 - 11 - 10 - 09 - 08 - 07 - 06 - 05 - 04 - 03 - 02 - 01 - SOPHIE ELISABETH ZU BRAUNSCHWEIG: BAROQUE WOMEN Fernando Pagola The women who have been discussed in the Baroque Women series thus far have ranged from Italy (Caccini and Strozzi) to England (Bassano) to France (Jacquet de la Guerre and Bembo). In all cases, it was Italy that gave them inspiration, training, or influence in their musical involvement. With this installment, we travel to German-speaking lands to concern ourselves with two homonymous noble rulers in order to explore their noteworthy musical pursuits; in their case, too, Italian influences were not far from their activity. I shall treat the pair in chronological order, first discussing Sophie Elisabeth, Duchess of Brunswick and Lüneburg (1613-76)—a composer whose works are slowly emerging from notation into performance, thanks to the fine work of Karl Wilhelm Geck—and next Sophie, Electress of Hanover (1630-1714), whose musical interests indirectly influenced the patronage offered to one of the period’s foremost composers, George Frideric Handel. The connection of the former to Schütz thus brings both women into the orbit of two of the most prominent composers associated with the period commonly known as the Baroque. Biography Work catalogue Discography Goldberg Articles ABOUT US | CONTRIBUTE   web map - home page - cover Legal warning Copyright 2003, Goldberg. info@goldberg-magazine.com