Das beschützte Orchestre, oder desselben Zweyte Eröffnung. Worinn Nicht nur einem würcklichen galant-homme ... sondern auch manchem Musico selbst die alleraufrichtigste und deutlichste Vorstellung musicalischer Wissenschaften ... ertheilet ... - Mattheson, Johann 1681-1764 (Hamburg Schiller, 1717)
Cited in Koopman 1985, 133 and Koopman 2008, 4.
Intriguing frontispiece engraving: above a sarcophagus rises a pyramid with an ashtray on top. Socket with Guidos Bust; there under his name initials G. A. At the sides of the Pyramid: 6 Grave Lamps. On the Sarcophagus there is an inscription: Solmis: »ex syli: S (Solmisationi» »ex» yllabis sacrum) 1717. Four steps lead the sarcophagus. The lower step bears an Inscription. The monument is shaded by twelve Cypresses representing the twelve Church tones. On two degraded stems lay the names of two keys, namely the urban Phrygian and hyper-Aeolian.
Bound in with 'Das neu-eröffnete Orchestre' (1713)
Keywords: 18th Century (1701-1800); Music theory; Germany; a =; ad lib. bezetting; Albinoni; Bach, J.M.; Bach, J.S.; boekprijs; Bononcini, G.M.; Berardi; Brockes, B.H.; Bronner; Brossard; muziekkritiek; muziekles; Neidhardt; componeren; Corelli; oud-nieuw; oude muziek vroeger; Pachelbel, J; doedelzak; Pepusch; dwarsfluit; emoties; enharmonisch; publiek; solmisatie; Steffani; frans - italiaans; stijl; stylus phantasticus; sub/semitoetsen; Fux, J.J.; gamba; Telemann, G.P.; temperatuur; Theile, J; toonaardkarakteristieken; transponeren; trillers etc; trombone; Heinichen, J.D.; Herbst, J.A.; voluntary; Werckmeister, A; Keiser, R; kerktoonsoorten; Kircher, A; zuiverheid; Raupach, C; recitatief; Ritter, C; Krieger, J; Krieger, J.P.; Kuhnau, J; Lasso, O. di; Lully; Senfl, L