Pub Date : 2022-08-04DOI: 10.1017/s1478570622000136
F. Kiernan
their annual on the music of Jan Zelenka addressed issues relevant to critical of Zelenka programme is on past, pre-sent and future in
他们每年关于简·泽伦卡的音乐讨论了与泽伦卡计划的过去，现在和未来有关的问题
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Pub Date : 2022-08-04DOI: 10.1017/S1478570622000082
Felix Diergarten
The year 2020 will enter the history books for many things – but probably not for Beethoven’s two hundred and fiftieth birthday in December. Around the world, concerts, projects and conferences had to be either cancelled or postponed. On the other hand, some day one will probably remember the years 2021 and 2022 as the longest Beethoven year ever, with all postponed events now slowly being caught up on. One of these was a conference organized by Hans-Joachim Hinrichsen (Universität Zürich) at the Fritz Thyssen Stiftung in Cologne. The conference focused on the Missa solemnis, a notoriously contentious composition, the pièce de résistance of Beethoven’s late style, a work whose reception vacillates between the highest superlatives on the one hand and frank rejection on the other. The first superlative was spread by Beethoven himself, who famously referred to the Missa as his ‘greatest’ work. It is a moot point (and so it was at this conference) whether this should be considered a reference to the spiritual qualities of the work, or rather a reference to its mere outer dimensions – or just as sales talk altogether. And this is where the stakes still seem to be in discussions of the Missa, returning periodically to the question of whether Beethoven composed this piece for specific (liturgical) circumstances and necessities or, rather, against them. If that is a question to be answered, it can certainly only be answered from a multidimensional perspective, combining documentary studies, reception history, and aesthetic, liturgical and methodological issues, and that was the aim of Hinrichsen’s conference, which brought together scholars from these different fields. The event opened with Jürgen Stolzenberg (Martin-Luther-Universität Halle-Wittenberg), who drew a picture of the philosophy of religion ‘between reason and sentiment’ in Beethoven’s time. Stolzenberg avoided positioning Beethoven within this field, as reliable documents are missing, but made a strong point that one should not hastily identify Beethoven’s position with Kant’s rational religion (Vernunftreligion), notwithstanding his acquaintance with some of Kant’s ideas. Stolzenberg suggested including Johann Michael Sailer and Ignaz Aurelius Feßler in the picture, as writings of both authors were present in Beethoven’s library. While Feßler did follow Kant’s philosophy of religion, all in all he stands for a more eclectic version of it, and Sailer, though in some senses an ‘enlightened’ Catholic, was an anti-Kantian: he argued that a pure Vernunftreligion is deprived of two substantial components, Gefühl and Liebe (feeling and love). Was Beethoven maybe more Catholic than we would like him to have been? That was the question behind the presentation on Beethoven and church music by Julia Ronge (Beethoven-Haus Bonn). She presented a wealth of documents that shed light on Beethoven’s lifelong contact with Catholic institutions. It was late nineteenth-century German musicology, with its anti-
{"title":"Beethovens Missa solemnis: Das ‘gröste Werk, welches ich bisher geschrieben’ Cologne, 4–6 November 2021","authors":"Felix Diergarten","doi":"10.1017/S1478570622000082","DOIUrl":"https://doi.org/10.1017/S1478570622000082","url":null,"abstract":"The year 2020 will enter the history books for many things – but probably not for Beethoven’s two hundred and fiftieth birthday in December. Around the world, concerts, projects and conferences had to be either cancelled or postponed. On the other hand, some day one will probably remember the years 2021 and 2022 as the longest Beethoven year ever, with all postponed events now slowly being caught up on. One of these was a conference organized by Hans-Joachim Hinrichsen (Universität Zürich) at the Fritz Thyssen Stiftung in Cologne. The conference focused on the Missa solemnis, a notoriously contentious composition, the pièce de résistance of Beethoven’s late style, a work whose reception vacillates between the highest superlatives on the one hand and frank rejection on the other. The first superlative was spread by Beethoven himself, who famously referred to the Missa as his ‘greatest’ work. It is a moot point (and so it was at this conference) whether this should be considered a reference to the spiritual qualities of the work, or rather a reference to its mere outer dimensions – or just as sales talk altogether. And this is where the stakes still seem to be in discussions of the Missa, returning periodically to the question of whether Beethoven composed this piece for specific (liturgical) circumstances and necessities or, rather, against them. If that is a question to be answered, it can certainly only be answered from a multidimensional perspective, combining documentary studies, reception history, and aesthetic, liturgical and methodological issues, and that was the aim of Hinrichsen’s conference, which brought together scholars from these different fields. The event opened with Jürgen Stolzenberg (Martin-Luther-Universität Halle-Wittenberg), who drew a picture of the philosophy of religion ‘between reason and sentiment’ in Beethoven’s time. Stolzenberg avoided positioning Beethoven within this field, as reliable documents are missing, but made a strong point that one should not hastily identify Beethoven’s position with Kant’s rational religion (Vernunftreligion), notwithstanding his acquaintance with some of Kant’s ideas. Stolzenberg suggested including Johann Michael Sailer and Ignaz Aurelius Feßler in the picture, as writings of both authors were present in Beethoven’s library. While Feßler did follow Kant’s philosophy of religion, all in all he stands for a more eclectic version of it, and Sailer, though in some senses an ‘enlightened’ Catholic, was an anti-Kantian: he argued that a pure Vernunftreligion is deprived of two substantial components, Gefühl and Liebe (feeling and love). Was Beethoven maybe more Catholic than we would like him to have been? That was the question behind the presentation on Beethoven and church music by Julia Ronge (Beethoven-Haus Bonn). She presented a wealth of documents that shed light on Beethoven’s lifelong contact with Catholic institutions. It was late nineteenth-century German musicology, with its anti-","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80571652","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}
Pub Date : 2022-08-04DOI: 10.1017/S1478570622000185
H. Yang
{"title":"Listening to China: Sound and the Sino-Western Encounter, 1770–1839 Thomas Irvine Chicago: University of Chicago Press, 2020 pp. 263, ISBN 9 780226 667126","authors":"H. Yang","doi":"10.1017/S1478570622000185","DOIUrl":"https://doi.org/10.1017/S1478570622000185","url":null,"abstract":"","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81244359","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}
Pub Date : 2022-08-04DOI: 10.1017/s1478570622000203
{"title":"ECM volume 19 issue 2 Cover and Front matter","authors":"","doi":"10.1017/s1478570622000203","DOIUrl":"https://doi.org/10.1017/s1478570622000203","url":null,"abstract":"","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76287101","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}
Pub Date : 2022-08-04DOI: 10.1017/S1478570622000069
R. Grant
{"title":"Hypermetric Manipulations in Haydn and Mozart: Chamber Music for Strings, 1787–1791 Danuta Mirka New York: Oxford University Press, 2021 pp. 389 + xiii, ISBN 978 0 197 54890 5","authors":"R. Grant","doi":"10.1017/S1478570622000069","DOIUrl":"https://doi.org/10.1017/S1478570622000069","url":null,"abstract":"","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75480358","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}
Pub Date : 2022-08-04DOI: 10.1017/s1478570622000021
Ruth Padel
{"title":"The Life behind the Music, the Life behind the Words: On Writing Poems about String Quartets by Haydn, Beethoven and Schubert","authors":"Ruth Padel","doi":"10.1017/s1478570622000021","DOIUrl":"https://doi.org/10.1017/s1478570622000021","url":null,"abstract":"","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86264201","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}
Pub Date : 2022-08-04DOI: 10.1017/s1478570622000100
David Breitman
{"title":"Symposium on Beethoven's Pianos The Center for Beethoven Research, Boston University, 8 November 2021","authors":"David Breitman","doi":"10.1017/s1478570622000100","DOIUrl":"https://doi.org/10.1017/s1478570622000100","url":null,"abstract":"","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90816007","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}
Pub Date : 2022-08-04DOI: 10.1017/s1478570622000215
{"title":"ECM volume 19 issue 2 Cover and Back matter","authors":"","doi":"10.1017/s1478570622000215","DOIUrl":"https://doi.org/10.1017/s1478570622000215","url":null,"abstract":"","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90108419","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}
Pub Date : 2022-02-14DOI: 10.1017/s1478570621000439
Dorian Bandy, Yonatan Bar-Yoshafat, E. Buurman, Maria Christina Cleary
Dorian Bandy is Assistant Professor at McGill University’s Schulich School of Music, where he teaches musicology and historical performance. His research interests include Mozart and Beethoven, with a particular emphasis on improvisation and the relationship between composition and performance. Recent publications include articles in Early Music and the Cambridge Opera Journal, and current projects include a monograph on Mozart.
{"title":"Notes on Contributors","authors":"Dorian Bandy, Yonatan Bar-Yoshafat, E. Buurman, Maria Christina Cleary","doi":"10.1017/s1478570621000439","DOIUrl":"https://doi.org/10.1017/s1478570621000439","url":null,"abstract":"Dorian Bandy is Assistant Professor at McGill University’s Schulich School of Music, where he teaches musicology and historical performance. His research interests include Mozart and Beethoven, with a particular emphasis on improvisation and the relationship between composition and performance. Recent publications include articles in Early Music and the Cambridge Opera Journal, and current projects include a monograph on Mozart.","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81433315","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}
Pub Date : 2022-02-14DOI: 10.1017/s1478570621000452
{"title":"ECM volume 19 issue 1 Cover and Back matter","authors":"","doi":"10.1017/s1478570621000452","DOIUrl":"https://doi.org/10.1017/s1478570621000452","url":null,"abstract":"","PeriodicalId":11521,"journal":{"name":"Eighteenth Century Music","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75486458","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}
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