Eighteenth Century Music最新文献

{"title":"Chabanon, the Listening Self and the Prosopopoeia of Aesthetic Experience","authors":"Stephen M. Kovaciny","doi":"10.1017/S1478570621000403","DOIUrl":"https://doi.org/10.1017/S1478570621000403","url":null,"abstract":"Abstract Michel-Paul Guy de Chabanon (1730–1792), an aesthetician and partisan of Jean-Philippe Rameau's harmonic theories, is most often remembered for his rejection of musical mimesis and for his separation of music and language. In doing so, he advanced one of the first – if not the first – aesthetic theories of musical autonomy. Yet despite this achievement, little has been written about how or why he came to this conclusion. This article provides a long-overdue reconstruction of Chabanon's claims for autonomy while simultaneously resituating him in eighteenth-century musical discourse. Through a sylleptic reading of his writings and the intertexts that underpin them, I show that Chabanon was an insightful critic of the French Enlightenment's aesthetic project. I accomplish this by reconstructing his argument about music's ability to provoke aesthetic experiences within listeners. As I contend, Chabanon's own encounter with this question articulates an aesthetic theory based upon music's materiality, grounded at once through the science of acoustics, novel theories of sensory experience and the musical theories that they engendered. Using his documented experience of Rameau's Pigmalion (1748) as a point of departure, I argue that Chabanon's transformation of musical aesthetics into an autonomous discipline helps to turn the early-modern subject into the modern listening self.","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"42 1","pages":"13 - 36"},"PeriodicalIF":0.1,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78841575","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"ECM volume 19 issue 1 Cover and Front matter","authors":"","doi":"10.1017/s1478570621000440","DOIUrl":"https://doi.org/10.1017/s1478570621000440","url":null,"abstract":"","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"70 1","pages":"f1 - f4"},"PeriodicalIF":0.1,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77863935","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Sonatas for Pianoforte and Violin Ludwig van Beethoven (1770–1827), ed. Clive Brown Kassel: Bärenreiter, 2020 Two volumes (each with score/urtext violin part/performance part), pp. lxxv + 151/49/49, lxxvii + 210/64/64, ISMN 979 0 006 56378 4","authors":"E. Buurman","doi":"10.1017/S1478570621000294","DOIUrl":"https://doi.org/10.1017/S1478570621000294","url":null,"abstract":"Clive Brown’s edition of the complete Beethoven sonatas for violin and piano is one of many Bärenreiter Urtext editions of Beethoven’s music published in time for the two hundred and fiftieth anniversary of the composer’s birth in 2020. It is only the second modern critical edition of this repertory, and it comes more than forty years after Sieghard Brandenburg’s version for the so-called Neue Gesamtausgabe (Beethoven Werke, series 5, volumes 1 and 2 (Munich: Henle, 1974)), which did not include a critical report. Brown’s edition goes far beyond updating our current understanding of the text and source materials for the sonatas, however. As well as a critical commentary and historical introduction to the sonatas, it provides a wealth of information about historical performance. The edition has two violin parts: an urtext with minimal editorial intervention, and a performance part edited with historically inspired fingerings and bowings that often reflect practices that are ‘no longer familiar in this repertoire’ (xxxvi). The preface material includes an extended essay on historical performance practices associated with Beethoven’s music, and the edition comes with an accompanying online performance-practice commentary, co-written with fortepianist Neal Peres da Costa, that includes bar-by-bar explanations of many of the editorial notations in the performance part as well as suggestions for further historically informed approaches. The edition aims not only to present a critically edited text for the sonatas, but also to enable performers to experiment with performance practices that ‘can help us reinvigorate [Beethoven’s] music with some of the unfamiliarity and unpredictability that made it so challenging and exciting for his contemporaries’ (x). The source materials for Beethoven’s violin sonatas are not plentiful: in the case of the first four of the ten sonatas, the source nearest to the composer is the first edition, while some autograph and copyists’ manuscripts survive from Op. 24 onwards. Unsurprisingly, the text of Brown’s edition does not differ substantially from that of the Neue Gesamtausgabe, though the Critical Report details many instances where the sources contain ambiguities or textual errors. One of the most consistent ambiguities is the placement of slurs, over which neither Beethoven nor the engravers of the first editions apparently took particular care. Brown, like the previous editors of the violin sonatas, has therefore had to do a fair amount of interpretation in his notation of the performing parts, but his critical notes and occasional footnotes in the parts themselves often indicate plausible alternative readings. The essay ‘Reading between the Lines of Beethoven’s Notation’, which is presented in both English and German across more than sixty pages at the beginning of each volume of the piano part, presents an overview of evidence relating to the performing practices of Beethoven’s lifetime. While information about hi","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"25 1","pages":"70 - 72"},"PeriodicalIF":0.1,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84264217","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Salieri & Beethoven in Dialogue Antonio Salieri (1750–1825), Ludwig van Beethoven (1770–1827) Heidelberger Sinfoniker / Timo Jouko Herrmann (director) / Diana Tomsche, Joshua Whitener, Kai Preußker (soloists) Hänssler Classic HC20067, 2021; one disc, 48 minutes","authors":"Ellen C. Stokes","doi":"10.1017/S1478570621000269","DOIUrl":"https://doi.org/10.1017/S1478570621000269","url":null,"abstract":"When thinking of Antonio Salieri and his contemporaries, Ludwig van Beethoven’s name might not appear at the top of the list of associations. However, as highlighted by Timo Jouko Herrmann and the Heidelberger Sinfoniker in the new recording Salieri & Beethoven in Dialogue, the two composers were, in fact, closely aligned in musical style in Vienna at the turn of the nineteenth century. A note in Salieri’s house, found by Ignaz Moscheles (another of his pupils), read ‘The pupil Beethoven was here!’, and Herrmann takes this evidence of their encounter as the starting-point for this recording. The works selected represent the interdependent nature of their teacher–student relationship in the development of both composers’ sound worlds, and the recording focuses on bringing attention to some of the hidden gems of their repertories. It is believed that Salieri and Beethoven would have first met in the mid-1790s, and so the recording features works from within the following decade, spanning the years 1800–1805. This provides a time frame within which the ‘dialogue’ between the two composers can take place and allows for a close comparison between their compositional styles. In addition, Salieri & Beethoven in Dialogue contains three world-premiere recordings, all of which are of works by Salieri – part of a wider project by Herrmann to highlight some of the composer’s forgotten oeuvre. The recording follows on from Herrmann’s 2020 release Salieri: Strictly Private (Hänssler Classic HC19709), which was nominated for three OPUS KLASSIK awards. In the current recording, Herrmann guides the ensemble in interpreting these works in a manner that reflects their origin: the Heidelberger Sinfoniker are renowned for a style rooted in historical performance practice, shaped by previous direction from Nikolaus Harnoncourt and Thomas Fey. The choice of works also reflects the notion of ‘dialogue’, with three vocal pieces complementing their three instrumental counterparts. Soprano Diana Tomsche (also featured on last year’s Strictly Private) returns, collaborating with fellow singers Joshua Whitener and Kai Preußker. Each boasts an impressive breadth of experience in operatic music from this period and beyond, which is evident throughout the recording. A well-balanced sound between the soloists and accompanying orchestra emphasizes the varied textures in Beethoven and Salieri’s music, as both composers demonstrate a mature understanding of orchestral colour, instrumental interplay and sectional layering that underpins melodic material. The vocalists navigate this textural backdrop with clear intonation and dramatic flair. Owing to entrenched performance and scholarly narratives, one would expect the large orchestral offerings to come from Beethoven, and the vocal works from Salieri. However, this recording takes the opposite approach: here, Salieri is the orchestral master, and his pupil Beethoven the vocal composer. Indeed, though Salieri’s instrumental output ha","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"42 1","pages":"85 - 87"},"PeriodicalIF":0.1,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89791389","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"International Conference on Musical Form Durham University, 21–23 June 2021","authors":"Yonatan Bar-Yoshafat","doi":"10.1017/S1478570621000427","DOIUrl":"https://doi.org/10.1017/S1478570621000427","url":null,"abstract":"The 2021 International Conference on Musical Form, originally planned to take place in Newcastle in 2020 but eventually held online a year later, presented a rich array of topics related primarily to smallto large-scale aspects of musical forms and structures. The conference, supported by the Society for Music Analysis Formal Theory Study Group, included ten sessions, two keynote talks, a poster session and a roundtable. The historical range of works under consideration was likewise amply varied, with talks and sessions dedicated to the music of leading nineteenth-century figures such as Liszt, Wagner and Bruckner and their cultural milieu, to the music of fin-de-siècle Vienna, to post-1900 music by Elgar and Debussy, and to a few later twentieth-century composers. Some of the talks, and especially the posters, went beyond the typical purview of formal analysis to consider other repertories, such as pop music, R&B, Brazilian music and more. This variety notwithstanding, many of the papers presented at the conference were directed at the music of the so-called ‘long eighteenth century’. Readers of this journal would have presumably found special interest in talks related to this latter group, most of which were included in the sessions ‘Classical Form’, ‘History of Formenlehre’ and ‘Beethoven and the Romantic Generation’, discussed below. In her paper ‘Do Musical Forms Migrate? – Aspects of the Popularization and Distribution of the Small Rounded Two/Three-Part Form in Europe of the 18th Century’ – which is a part of a larger corpus study dedicated to Viennese music – Beate Kutschke (Universität Salzburg) offered a possible musical link between the cultural centres of London and Vienna. Specifically, Kutschke argued that SRTTF (small rounded two/three-part forms), which were immensely popular in collections of folksong, popular song, dance and ballad opera published in 1710s–1760s London (especially those featuring numbers from The Beggar’s Opera), later inspired similar formal conventions in instrumental works of the so-called Viennese classical style. In ‘Reinforcing Weak Expositional Midpoints Using Extra-Formal Insertions’ Rebecca Long (University of Louisville) examined two peculiar slow movements from Luigi Boccherini’s early string quartets Op. 2 (published in 1767), found in the quartets G163 and G159. In both, the separation between the primary theme and the transition is obscured. The prevalence of similar expositional procedures in Boccherini’s later works is worth further examination. In his eloquent paper ‘The Sonata-Fugue Hybrid in Haydn’s Early Symphonies’ Carl Burdick (University of Cincinnati College-Conservatory of Music) put forward a fresh reading of Haydn’s use of fugal strategies in his early symphonies, focusing on No. 3 (c1760–1762) and No. 40 (1763). As Burdick convincingly demonstrated, in his ‘sonata-fugue hybrid’ Haydn fuses principles of fugal continuity with rotational patterns, which not only went hand in hand with h","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"92 8 1","pages":"104 - 106"},"PeriodicalIF":0.1,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75651889","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"FIRST BOUNTY OF THE NEW WAṄHAL CATALOGUE","authors":"Halvor K Hosar","doi":"10.1017/s1478570621000014","DOIUrl":"https://doi.org/10.1017/s1478570621000014","url":null,"abstract":"","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"33 1","pages":"326 - 327"},"PeriodicalIF":0.1,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90963675","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"ECM volume 18 issue 2 Cover and Back matter","authors":"","doi":"10.1017/s1478570621000221","DOIUrl":"https://doi.org/10.1017/s1478570621000221","url":null,"abstract":"","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"28 1","pages":"b1 - b2"},"PeriodicalIF":0.1,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76755540","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"pieter hellendaal (1721–1799)‘CAMBRIDGE’ SONATAS Johannes Pramsohler (violin) / Gulrim Choï (cello) / Philippe Grisvard (harpsichord) Audax adx13720, 2020: one disc, 69 minutes","authors":"A. Howard","doi":"10.1017/S1478570621000166","DOIUrl":"https://doi.org/10.1017/S1478570621000166","url":null,"abstract":"sociocultural context. These strengths notwithstanding, I think the book also exhibits some problems that are worth noting, even if they may be unavoidable in a work of this scope. One is the apparent disparity in structure and focus between the second block and the other two blocks. Undoubtedly, this derives from the different times at which they were written, and could be interpreted positively as a reflection of the musical diversity of the entire period under review, as well as a means for the author to ‘free himself from a totalizing and absolutist treatment’ (see Marín’s review, already cited, ). Even so, at times, one has the impression of reading more than one book. Another aspect that gives cause for reservation is the disparity in dealing with the various dimensions of musical life. Some of them – the emphasis on author–work pairing, the lack of attention to oral music and plainsong – could be explained by the scant previous research on these topics. But other omissions are more difficult to explain. Perhaps the most striking is the brevity of the section dedicated to Latin polyphony at the end of the second block (–), despite its prestige at that time and the fact that there is a large corpus of polyphonic sources from the seventeenth century preserved throughout colonial Latin America. Likewise, it seems dubious to consider the nunneries only or mostly inhabited by Spanish women as the most successful example of the colonial project, since such a project involved integrating Indigenous people, albeit in a subaltern condition. Of course, these possible problems do not overshadow the undoubted virtues and importance of this book for all those interested in the music of the colonial period. It is to be hoped that Una historia de la música colonial hispanoamericanawill be reissued several times, and perhaps translated into English, given the interest in this subject in the English-speaking world. This would offer the opportunity to fill in some gaps and further enrich this already impressive text with new materials that, for whatever reason, may not have been included in this version.","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"261 1","pages":"317 - 319"},"PeriodicalIF":0.1,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75767347","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"BEETHOVEN AND THE PIANO: PHILOLOGY, CONTEXT AND PERFORMANCE PRACTICE LUGANO, 4–7 NOVEMBER 2020","authors":"Marten Noorduin","doi":"10.1017/S147857062100004X","DOIUrl":"https://doi.org/10.1017/S147857062100004X","url":null,"abstract":"attributions of a work. These problems are even greater for other sacred works. Weinmann’s catalogue did not properly acknowledge the fluidity of genre at the time, but remained faithful to the labels found on the works’ wrappers, resulting in a complex web of generic cross-references that makes it hard even to say how many such works he thought Waṅhal composed. This will be my next contribution to the catalogue over the coming few years. Beyond this, I will be acting as general editor for the catalogue at large.We are currently looking for specialists whomay be interested in taking on the responsibility for chartingWaṅhal’s contributions to particular genres and as found in particular collections. We are especially interested in assisting students who are writing (or planning towrite) their theses onmusic collections in central Europe and can help us better to understand the role Waṅhal’s works played in the musical life of the institutions where manuscripts survive. One of the earliest decisions for the catalogue was to replace the quasi-Linnaean numbering system of Weinmann (reminiscent of Hoboken) with a single sequence of digits (as in Köchel), but to keep this organized according to genre. Whilst these digits are intended to be replaced by Waṅhal numbers in the future, we have created a temporary system of Nokki numbers that will remain in use until that numbering scheme is completed. (Nokki takes its name frommy parents’ cat, which was recovered two hundred and fifty kilometres from home after having been missing for several months.) As we believe that the complete numbering scheme is still far off, we recommend that Nokki numbers be fully embraced at this point, and promise they will remain supported by the catalogue.","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"3 1","pages":"327 - 329"},"PeriodicalIF":0.1,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77574578","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"BEETHOVEN THE EUROPEAN LUCCA, 4–6 DECEMBER 2020","authors":"Malcolm Miller","doi":"10.1017/S1478570621000087","DOIUrl":"https://doi.org/10.1017/S1478570621000087","url":null,"abstract":"Whilst Covid prevented so many of the year's promised commemorative activities, one positive outcome was the delay of the original ‘live’ Lucca event scheduled for March and its transformation into an online event in Beethoven's birth month. (Edited by his daughter Margaret O'Sullivan, this was part of his project ‘Beethoven's Irish Songs Revisited’, which sought to reconstruct those folksongs for which George Thomson never got around to supplying texts.) In his stimulating address, ‘Beethoven's Ninth Symphony as a Disputed Symbol of Community: From Thomas Mann's Doctor Faustus to the Brexiteers of 2019’, William Kinderman cast a wide intellectual net, developing themes from the final chapter of his most recent book, Beethoven: A Political Artist in Revolutionary Times (Chicago: University of Chicago Press, 2020). After this ingenious analysis we were then taken on a whirlwind video tour of performances of the ‘Ode to Joy’ in political events spanning almost a century, showing how – despite the movement's misappropriation by the Nazi regime and racist Rhodesia, and the way it is associated with aggression in Kubrick's A Clockwork Orange – Schiller's text was reinterpreted to suit each different historical context, whilst remaining ‘an untainted symbol’ of affirmation and resistance. The examples of performances included those given by Germans held in a Japanese prisoner-of-war camp in June 1918, the annual December ritual of massed choirs and orchestras in Japan, the Occupy Wall Street protests in New York in 2011, the struggle of Chilean opponents of Pinochet, the playing of cassette recordings with makeshift amplification by students protesting against martial law in China at Tiananmen Square in 1989, right up to Tan Dun's 2021 work Sound Pagoda – composed to be performed alongside the ‘Ode to Joy’ – for a concert dedicated to Wuhan's Covid victims.","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":"25 1","pages":"334 - 341"},"PeriodicalIF":0.1,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89877058","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}