Haydn and the Performance of Rhetoric (Emersion: Emergent Village resources for communities of faith) - Hardcover

Hardcover

ISBN 10: 0226041298 ISBN 13: 9780226041292

Verlag: The University of Chicago Press, 2008

Inhaltsangabe

Haydn is the last major composer whose music was regularly discussed by his contemporaries in terms derived from the classical tradition of rhetoric. Within a generation of his death, that discourse had fallen from favor, but the historical relationship between Haydn and the rhetorical tradition endured. 

In this volume, a distinguished group of contributors in fields from classics to literature to musicology restores the rhetorical model to prominence and shows what can be achieved by returning to the idea of music as a rhetorical process. An accompanying DVD, specially designed for this project, presents performances and illustrations keyed to its chapters, making musicological arguments accessible to nonspecialists and advancing additional arguments of its own through the medium of performance. The volume thus reaches beyond musicology to enrich and complicate the larger debate over rhetoric's role in eighteenth-century culture.

Über diesen Titel

Über die Autorin bzw. den Autor

Tom Beghin is associate professor of music at McGill University. Sander M. Goldberg is professor of classics at the University of California, Los Angeles.
 

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Haydn and the Performance of Rhetoric

The University of Chicago Press

Copyright © 2007 The University of Chicago
All right reserved.
ISBN: 978-0-226-04129-2

Contents

List of Illustrations...............................................................................................................viiGuide to the DVD....................................................................................................................xiAcknowledgments.....................................................................................................................xviiAbbreviations.......................................................................................................................xixIntroduction The Editors...........................................................................................................11 A Visit to the Salon de Parnasse Elisabeth Le Guin...............................................................................142 Performing Theory: Variations on a Theme by Quintilian Sander M. Goldberg........................................................393 Ut Rhetorica Artes: The Rhetorical Theory of the Sister Arts Timothy Erwin.......................................................614 School, Stage, Salon: Musical Cultures in Haydn's Vienna James Van Horn Melton...................................................805 Rhetoric versus Truth: Listening to Haydn in the Age of Beethoven Mark Evan Bonds................................................1096 "Delivery, Delivery, Delivery!" Crowning the Rhetorical Process of Haydn's Keyboard Sonatas Tom Beghin...........................1317 The Rhetoric of Improvisation in Haydn's Keyboard Music James Webster............................................................1728 Clever Orator versus Bold Innovator Lszl Somfai................................................................................2139 The Poetry of Haydn's Songs: Sexuality, Repetition, Whimsy Marshall Brown........................................................22910 Haydn's London Trios and the Rhetoric of the Grotesque Annette Richards.........................................................25111 Rhetorical Truth in Haydn's Chamber Music: Genre, Tertiary Rhetoric, and the Opus 76 Quartets Elaine Sisman.....................281Coda The Editors...................................................................................................................327Works Cited.........................................................................................................................333Contributors........................................................................................................................355Index of Musical Works..............................................................................................................357Index of Significant Names..........................................................................................................361Index of Rhetorical Terms...........................................................................................................365

Chapter One

A Visit to the Salon de Parnasse ELISABETH LE GUIN

At the center of the Palais Royal is a large fountain, and around it are numerous green metal chairs, which people haul to and fro in order to sit exactly where they wish. I had been at large in the City of Light for some hours and was tired, so I found a vacant chair and propped my feet against the parapet of the fountain, feeling a bit of spray on my face when the breeze changed and half blinded by sunlight reflecting off the water. I shut my eyes and let my thoughts drift. I thought of the extraordinary ferment in this city over two centuries before, a ferment in which practices musical and social-indeed, musical and political, of music and the very rights of man-were utterly inextricable: concern yourself with the one and you were of necessity embroiled in the other. I thought of the heirs to that ferment, sitting around me reading newspapers and feeding pigeons, so casually proud of their splendid and difficult heritage. I thought of pigeons and the heirs of pigeons.... Perhaps a little nap was not far off when I was abruptly pulled into wakefulness by a distinctive, slightly nasal voice at my side. It said, "Of course, there's been quite a shift."

Although I could think of no reason for this to be addressed to me, I opened my eyes. There stood a short, slight gentleman with a receding hairline, very keen eyes, and a sensitive, slightly prissy mouth. He was wearing a gray plush frock coat that had seen better days and much-mended black stockings, which combination gave him a scholarly air. Altogether he looked familiar, though I could not immediately place him. He, for his part, was looking at me expectantly, so I begged his pardon, feeling a little stupid, and asked him to repeat himself.

HIM. I said, there's been quite a shift between your day and mine.

ME. I'm sorry, but in what regard?

He smiled a little ruefully, and with that smile I recognized him. For some reason-the lateness of the afternoon, the warmth of the sunlight, the spell of the city itself-it seemed not in the least strange that I should be speaking with a man dead these two and a quarter centuries.

HIM. Well, in many of course. But at the moment I'm referring to musical life.

ME. What do you consider to have shifted so hugely? We still play music written by your contemporaries.

HIM. I think I'll answer by asking you a question. What comes to your mind when you think of performing, say, an accompanied sonata? What do you see? Set the scene for me.

ME. I see musicians on a stage, or at one end of a room; an audience.... HIM. The audience on stage as well?

ME. Certainly not. They're separate-on the theater floor or arranged at the other end of the room.

HIM. So the two groups are separate?

ME. Oh yes. And that's true in more than one way: the musicians are experts, but the audience isn't. In fact, I'll be honest, when the concert is of music from your day, most of the audience has only a vague idea of what it is they're hearing or what it means.

HIM. Why do they bother?

ME. It's perfectly possible to get pleasure from something vague-in fact many people in my day seem to prefer it so. Not to mention the business of seeing and being seen. I know audiences in your day went to concerts for that reason.

HIM. Yes, but for us the place to do that is the concert spirituel or one of the big salons like the Prince de Cond's. When we listen to music at home, or at the house of close friends, we're all together in the same room, and we, or our sons and daughters, are the performers.

ME. Pardon my asking, but doesn't that condemn you to hearing a great many clumsy performances?

HIM. The truth is, when you are that close to the making of the music you don't judge the result in at all the same way you would at the concert spirituel.

ME. All the same, I think it might be painful to hear a good sonata blundered through by my neighbors and relations.

HIM. I am not sure what you mean; how can a sonata ever be better than its performance?

ME. Well, that very question does imply quite a shift. We tend nowadays to esteem the work independently of its execution; and we judge the execution according to the ethics of production and perfection that entered European society with the Industrial Revolution. But I'm sorry: that's after your day.

HIM (with that rueful smile). Not at all. We've discussed it many a time, and...

Details zur Ausgabe

• Verlag: The University of Chicago Press
• Erscheinungsdatum: 2008
• Sprache: Englisch
• ISBN 10: 0226041298
• ISBN 13: 9780226041292
• Einband: Gebundene Ausgabe
• Anzahl der Seiten: 352
• Herausgeber: Beghin Tom, Goldberg Sander M.
• Kontakt zum Hersteller: Nicht verfügbar
• Verantwortliche Person: Nicht verfügbar