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Augustus Frederic Christopher Kollmann (1756-1829) was born in Germany and lived from 1782 at St James's Palace, London, where he was organist and schoolmaster of His Majesty's German Chapel. He was one of the most profound music theorists of his time, and a pioneer in introducing Bach's music to England. His most extensive effort to inform the public about developments in the whole field of music - from acoustics to concert performance, from musical patents to books about music - was The Quarterly Musical Register, the first number of which is dated 1 January 1812. It can be regarded as England's first musicological journal. Written almost entirely by Kollmann, this journal included the first substantial English-language biography of Bach, identified anonymous music reviewers in English literary periodicals, gave a retrospect of the state of music in Great Britain and Germany, discussed efforts to improve organs and pianos, critically reviewed two editions of John Wall Callcott's Musical Grammar, and provided an account of Kollmann's own theory and much more. The Quarterly Musical Register folded after its second number. Only eight copies of the first number and six of the second appear to be extant, and just two libraries have the covering wrappers with which each number was issued. This book reproduces in facsimile both numbers and their wrappers, and presents new information about Kollmann's life and works.
| Price | Condition | Delivery | Seller | Action |
| $144.95 | Digital |
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Saber Saad
reviewed A. F. C. Kollmann's Quarterly Musical Register (1812): With an Introduction to His Life and Works on June 12, 2008
A. F. C. Kollmann's Quarterly Musical Register (1812): With an Introduction to His Life and Works
This is an amazing, amazing book that deserves so much more recognition than it is likely getting. Anyone who rates it less than "five stars" doesn't understand its significance. It really isn't even something you can rate. It's an American classic, a historic document.
Imagine a young single white woman in the late 1800's taking to the road, by herself or sometimes with some company, to visit what remains of the major Native American tribes in the United States. Imagine creating enough of a relationship with the elders of each of these tribes to record some of their most sacred chants and songs (includes the actual music scores). Imagine capturing some of their images with cameras of that time. Natalie Curtis knew Native Americans as they might have been before European colonialism, were on the verge of extinction. As is said in other reviews, this is nothing less than a seminal work all the more tragic because she was killed just a few days after presenting it at the Sorbonne.
This book is an American treasure and classic that preserves and honors not only Native American tribes but the compassion and vision of Natalie Curtis herself.
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