Eighteenth Century Music最新文献_第6页

The Making of Jamaica's ‘First Composer’: Rethinking Samuel Felsted 牙买加“第一个作曲家”的形成:重新思考塞缪尔·费尔斯特德

IF 0.1 2区艺术学

Eighteenth Century Music

Pub Date : 2023-08-25 DOI: 10.1017/s1478570623000209

Wayne Weaver

Abstract This article examines the links between the music of Anglo-Jamaican organist and composer Samuel Felsted (1743–1802) and his environment of late eighteenth-century Kingston, building on research published since the 1980s. Although Felsted, a person of English-American heritage who was born in Jamaica, was part of the island's European-origin community, most of his local contemporaries were people of African descent. Like many of his friends, family members and acquaintances, Felsted was a slave owner, and, as I argue here, his various literary and artistic outputs demonstrate how he was influenced by the kinds of issues – such as slavery, servitude, sovereignty and nationhood – that surfaced in the public and private discourses of his time. Considering what Felsted's cultural legacy might mean today, I turn to his undated and virtually unknown oratorio The Dedication, for which he wrote both the text and the music. The Dedication contains literary themes that allow its connections to Felsted's world and its setting of ancient Babylon to be explored. I also suggest the early 1790s as a possible time of composition for this work.

本文以20世纪80年代以来发表的研究为基础，探讨了盎格鲁-牙买加管风琴家和作曲家塞缪尔·费尔斯特德(Samuel Felsted, 1743-1802)的音乐与他在18世纪后期金斯顿的环境之间的联系。费尔斯特德出生在牙买加，拥有英美血统，是岛上欧洲裔社区的一员，但与他同时代的大多数当地人都是非洲裔。像他的许多朋友、家人和熟人一样，费尔斯特德是一个奴隶主，正如我在这里所说的，他的各种文学和艺术作品表明，他是如何受到他那个时代公共和私人话语中出现的各种问题的影响的——比如奴隶制、奴役、主权和国家。考虑到费尔斯特德的文化遗产在今天可能意味着什么，我转向了他的未注明日期且几乎不为人知的清唱剧《奉献》，他为这部剧写了文本和音乐。奉献包含文学主题，允许它与Felsted的世界和古代巴比伦的背景联系起来进行探索。我也认为十八世纪九十年代早期可能是这部作品的创作时间。

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Becoming a Virtuosa: Advice from Vienna, 1769 成为名家:来自维也纳的忠告，1769年

IF 0.1 2区艺术学

Eighteenth Century Music

Pub Date : 2023-08-25 DOI: 10.1017/S1478570623000039

Clare Beesley

Abstract First-hand accounts explaining how a young British virtuosa went about establishing an international career in the later eighteenth century are scant. However, a previously unstudied handwritten page contained within the Rackett Family of Spettisbury Archive at the Dorset History Centre provides new insights into this underexplored area. In this article, I examine an anonymous 1769 document entitled ‘a Vienne’ from which the guiding voices of eminent musicians at the Vienna court, including Johann Adolf Hasse, Faustina Bordoni, Marianna Martines and their circle, emerge. I argue that this item is in fact an aide-mémoire memorializing intimate glimpses of private conversations, career-shaping advice and impressions that helped mould its author into a virtuosa. Further, by means of palaeographical and biographical evidence I identify the author as the young British glass-armonica player Marianne Davies and assert that her recollections, preserved in this hitherto overlooked piece of ephemera, reconstruct how the educational process of becoming a virtuosa took place.

解释一位年轻的英国艺术大师如何在18世纪后期开始国际事业的第一手资料很少。然而，在多塞特历史中心的拉科特家族斯派蒂斯伯里档案馆中，一份以前未经研究的手写页面为这个未被充分探索的地区提供了新的见解。在这篇文章中，我研究了1769年一份名为“维也纳人”的匿名文件，其中包括维也纳宫廷中著名音乐家的指导声音，包括约翰·阿道夫·哈斯，福斯蒂娜·博尔多尼，玛丽安娜·马丁内斯和他们的圈子。我认为，这本书实际上是一本备忘录，记录了一些私密的谈话片段、塑造职业生涯的建议和印象，正是这些东西将作者塑造成了一位艺术大师。此外，通过古生物学和传记证据，我确定作者是年轻的英国玻璃风琴演奏家玛丽安·戴维斯(Marianne Davies)，并断言，她的回忆保存在这本迄今为止被忽视的短暂作品中，重构了成为一名演奏家的教育过程是如何发生的。

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Latin Pastorellas Joseph Anton Sehling (1710–1756), ed. Milada Jonášová Prague: Academus, 2017 pp. xli + 49, ISBN 978 8 088 08117 3 拉丁Pastorellas Joseph Anton Sehling(1710-1756)，编，Milada Jonášová布拉格:Academus, 2017 pp. xli + 49, ISBN 978 8 088 08117

IF 0.1 2区艺术学

Eighteenth Century Music

Pub Date : 2023-08-25 DOI: 10.1017/S1478570623000143

Robert Rawson

Milada Joná š ová and the rest of the editorial team at Academus Editions are to be congratulated for this splendid and enterprising volume of tuneful Christmas pastorellas by the Bohemian composer

米拉达·约什·奥夫 (Milada jonš ov)和Academus Editions编辑团队的其他成员，为这位波西米亚作曲家创作的这部美妙而富有进取精神的圣诞意大利面饼，受到了我们的祝贺

引用次数: 0

Modern Premiere of Franz Weiss's ‘Razumovsky’ Quartets 弗兰兹·韦斯“拉祖莫夫斯基”四重奏的现代首演

IF 0.1 2区艺术学

Eighteenth Century Music

Pub Date : 2023-08-25 DOI: 10.1017/s1478570623000076

Mark C. Ferraguto

Franz Weiss (1778–1830) is best known as the violist of the Schuppanzigh Quartet, the ensemble that premiered and popularized many of Beethoven’s string quartets. But he was also a celebrated composer in his own right, one whose ‘ingenious compositions, related to Beethoven’s spirit, have long received the loudest and most deserved approval both at home and abroad’ (‘dessen geniale mit Beethovens Geist verwandte Compositionen im Inund Auslande längst die lauteste und gerechteste Anerkennung gefunden haben’). So wrote a Viennese critic in the Allgemeine Theaterzeitung und Unterhaltungsblatt für Freunde der Kunst, Literatur und des geselligen Lebens of 4 December 1828 (582). Fortunately, many of Weiss’s compositions have survived, but most are preserved only in rare archival manuscripts or early nineteenth-century performing editions. As a result, his music remains unfamiliar to scholars, performers and audiences. In the autumn of 2019 I began working on the first modern edition of Weiss’s Op. 8, a set of two string quartets dedicated to Andrey Razumovsky, the Ukrainian-born Russian diplomat to whom Beethoven famously dedicated his Op. 59 quartets. As my edition neared completion in early 2022, I contacted the Toronto-based Eybler Quartet about a possible collaboration. Through a supreme stroke of luck, my email landed in the inbox of the group’s violist, Patrick Jordan. Patrick proved to be as enthusiastic as I was to bring Weiss’s quartets – almost certainly unheard since the 1820s – back to life. We set a date of 31 January 2023 for Op. 8’s ‘modern premiere’ at the Pennsylvania State University. Over the nine months that followed, the members of the Eybler Quartet were extremely generous with their time and expertise, playing through the edited parts, suggesting emendations, making and discussing recordings and more. We haggled over accidentals, debated slurs and ties and often struggled to reach a consensus about Weiss’s intentions. The erratic nature of Op. 8’s only surviving source – a set of parts printed by the Vienna firm S. A. Steiner in 1814 – posed a significant challenge. Ultimately, this collaborative effort enriched both my edition and (if I might say so) the ensemble’s approach to Weiss’s virtuosic but intricate quartets. It is our hope that this exciting concert will have served as a springboard for generating interest in this underappreciated contemporary of Beethoven and Schubert. The concert was held in the School of Music’s new recital hall, a 420-seat, acoustically superb venue. It was also live-streamed. I introduced Weiss and his quartets in a pre-concert lecture, after which the Eybler Quartet performed Op. 8 No. 1 in the first half and the longer Op. 8 No. 2 in the second half. The first quartet, in G major, opens with a cello drone on G and D, evoking a pastoral topic that provides a touchstone for the Allegro ma non troppo. But the first movement – like the rest of Op. 8 – is also replete with bravura passagework. Indeed

弗朗茨·韦斯(1778-1830)最为人所知的身份是Schuppanzigh Quartet的中提琴手，这个乐团首演并推广了贝多芬的许多弦乐四重奏。但他本身也是一位著名的作曲家，他的“与贝多芬精神有关的巧妙作品长期以来在国内外都得到了最响亮和最值得的认可”(“dessen genale mit Beethoven Geist verwandte Compositionen im Inund Auslande längst die lauteste und gerechteste Anerkennung gefunden haben”)。一位维也纳评论家在1828年12月4日(582年)的《艺术与文学》杂志上写道。幸运的是，韦斯的许多作品幸存下来，但大多数只保存在罕见的档案手稿或19世纪早期的表演版本中。因此，他的音乐对学者、表演者和观众来说仍然陌生。2019年秋天，我开始创作韦斯作品8的第一个现代版本，这是献给安德烈·拉祖莫夫斯基(Andrey Razumovsky)的两首弦乐四重奏，他是乌克兰出生的俄罗斯外交官，贝多芬将作品59四重奏献给了他。当我的版本在2022年初接近完成时，我联系了总部位于多伦多的Eybler四重奏，讨论合作的可能性。幸运的是，我的邮件被送到了乐队中提琴手帕特里克·乔丹(Patrick Jordan)的收件箱里。帕特里克和我一样热衷于把韦斯的四重奏——自19世纪20年代以来几乎闻所未闻的四重奏——带回来。我们将2023年1月31日定为《Op. 8》在宾夕法尼亚州立大学的“现代首演”。在接下来的九个月里，Eybler四重奏的成员们非常慷慨地投入了他们的时间和专业知识，演奏了编辑过的部分，建议修改，制作和讨论录音等等。我们为意外事件讨价还价，争论诽谤和关系，常常很难就韦斯的意图达成共识。《Op. 8》唯一保存下来的来源——维也纳公司S. a . Steiner于1814年印刷的一套零件——不稳定的性质构成了一个重大挑战。最终，这种合作的努力丰富了我的版本和(如果我可以这么说的话)乐团对韦斯精湛但复杂的四重奏的态度。我们希望这场激动人心的音乐会能成为一个跳板，让人们对这位被低估的贝多芬和舒伯特的同时代人产生兴趣。音乐会在音乐学院的新独奏厅举行，这是一个拥有420个座位的声学一流的场地。它还进行了直播。我在音乐会前的演讲中介绍了韦斯和他的四重奏，之后Eybler四重奏在上半场演奏了第8号作品，在下半场演奏了更长的第8号作品。第一个四重奏，在G大调中，以大提琴低音G和D开始，唤起了一个田园主题，为“不向troppo快板”提供了试金石。但是第一乐章——就像作品8的其他部分一样——也充满了华丽的通道。的确，这两个四重奏都对演奏者提出了相当高的要求，尤其是第一小提琴手;在这场运动中，小提琴家茱莉亚·韦德曼(Julia Wedman)以技巧和沉着引领了这场运动。在第二乐章中——E小调行板，平行大调中有舞蹈般的部分——大提琴家玛格丽特·盖伊用她尖锐的低音线条和富有表现力的协奏曲式独奏抢尽了风头。Menuetto是作品8中最适度的乐章，表现得优雅而优雅。作品8一号的终曲充满了和谐的惊喜和难以抑制的幽默，是当晚最受观众欢迎的曲目;小提琴家

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引用次数: 0

Topics and Schemata 主题和模式

IF 0.1 2区艺术学

Eighteenth Century Music

Pub Date : 2023-08-25 DOI: 10.1017/S147857062300012X

Danuta Mirka

In my Introduction to The Oxford Handbook of Topic Theory I asked, ‘What are musical topics?’. In answer, I posited that topics are conventions, yet they do not subsume all kinds of conventions: ‘Other conventions, subsumed under this concept by other authors, are not topics’. Among them are contrapuntal-harmonic schemata. If schemata are not topics, they can, nevertheless, combine with topics ‘into more or less stable amalgam[s] that are conventional in their own rights’ (‘Introduction’, in The Oxford Handbook of Topic Theory, ed. Danuta Mirka (New York: Oxford University Press, 2014), 2). This idea was developed by Vasili Byros in the same volume with reference to the schema–topic amalgam made up of the le–sol–fi–sol and the ombra (‘Topics and Harmonic Schemata: A Case from Beethoven’, in The Oxford Handbook, 381–414) and by William Caplin in the following chapter, dedicated to the lament topic (‘Topics and Formal Functions: The Case of the Lament’, in The Oxford Handbook, 415–452). In the wake of the volume’s publication, the expressive qualities of schemata and their interaction with topics have been explored by other authors. In two articles, one of them published in this journal, John A. Rice presented two schemata that he called the Heartz and the Morte, and proposed that the Heartz is ‘not only . . . a schema but also . . . a topic’, in that it conveys ‘a sweetness and tenderness characteristic of a certain strain of the galant style’ (‘The Heartz: A Galant Schema from Corelli to Mozart’, Music Theory Spectrum 36/2 (2014), 318, 315). By contrast, the Morte is an emblem of lament and thus akin to ombra (‘The Morte: A Galant Voice-Leading Schema as Emblem of Lament and Compositional Building-Block’, Eighteenth-Century Music 12/2 (2015), 164). Olga Sánchez-Kisielewska established a link between the ‘sacred hymn’ topic and the Romanesca schema, yielding what she calls a sacred Romanesca (‘Interactions between Topics and Schemata: The Case of the Sacred Romanesca’, Theory and Practice 41/1 (2016), 47–80, and ‘The Romanesca as a Spiritual Sign in the Operas of Haydn, Mozart, and Beethoven’, in Singing in Signs: New Semiotic Explorations of Opera, ed. Gregory J. Decker and Matthew R. Shaftel (New York: Oxford University Press, 2020), 163–191). Nathaniel Mitchell came up with the Volta, a schema which has no strong topical implications, yet frequently performs a dramatic function as a gesture of culmination (‘The Volta: A Galant Gesture of Culmination’, Music Theory Spectrum 42/2 (2020), 280–304). And, again in this journal, Ewald Demeyere touched upon the affective implementations of a schema consisting of a dominant pedal accompanied by a chromatic descent (DPCD) (‘Yet Another Galant Schema: The Dominant Pedal Accompanied by a Chromatic Descent’, Eighteenth-Century Music 19/2 (2022), 173–199). Two of these authors framed the relation between schemata and topics in terms of that between syntax and semantics. Although independent in principle, ‘s

在我的《牛津话题理论手册》的导言中，我问:“什么是音乐话题?”作为回答，我假设主题是惯例，但它们不包含各种惯例:“其他惯例，被其他作者纳入这个概念，不是主题”。其中有对位和声图式。然而，如果图式不是主题，它们可以与主题“结合成或多或少稳定的汞合金[s]，这些汞合金本身就是传统的”(《牛津话题理论手册》，Danuta Mirka主编，《引言》，2)。这一想法是由Vasili Byros在同一卷中提出的，参考了由le - sol - i - sol - sol和ombra组成的图式-主题汞合金(“主题与谐波图式:来自贝多芬的案例”，牛津手册，381-414)和威廉·卡普林在接下来的章节中，致力于哀叹主题(“主题和正式功能:哀叹的案例”，牛津手册，415-452)。在该卷的出版之后，图式的表达特性及其与主题的相互作用已被其他作者探索。在两篇文章中，其中一篇发表在本刊上，约翰·a·赖斯提出了两种图式，他称之为“赫茨”和“莫特”，并提出“赫茨”不仅是……一种模式，但也…一个主题”，因为它传达了“某种豪迈风格的甜蜜和温柔特征”(“心脏:从科雷利到莫扎特的豪迈图式”，音乐理论光谱36/2(2014)，318,315)。相比之下，Morte是悲歌的象征，因此类似于ombra(“Morte:作为悲歌和组成构件象征的卓越的声部主导模式”，《十八世纪音乐12/2》(2015)，164)。Olga Sánchez-Kisielewska在“圣歌”主题和罗曼内斯卡图式之间建立了联系，产生了她所谓的神圣罗曼内斯卡(“主题与图式之间的互动:神圣罗曼内斯卡的案例”，理论与实践41/1(2016)，47-80)和“罗曼内斯卡作为海顿，莫扎特和贝多芬歌剧中的精神符号”，在标志中歌唱:歌剧的新符号学探索，编辑:Gregory J. Decker和Matthew R. Shaftel(纽约:牛津大学出版社，2020)，163-191)。纳撒尼尔·米切尔(Nathaniel Mitchell)提出了Volta，这是一个没有强烈的主题含义的图式，但经常作为高潮的姿态发挥戏剧功能(“Volta:一个伟大的高潮姿态”，音乐理论光谱42/2(2020)，280-304)。而且，在本刊中，Ewald Demeyere再次触及了由属音踏板伴随半音下降(DPCD)组成的图式的情感实现(“另一个伟大的图式:属音踏板伴随半音下降”，18世纪音乐19/2(2022)，173-199)。其中两位作者从句法和语义的角度来阐述图式和主题之间的关系。虽然原则上是独立的，“语法和语义在认知语言学家所谓的语法-词汇连续体中相互连接”，并导致形式-意义对的出现:“形式-意义对的音乐对等物是图式-主题的融合”(Byros，“主题和谐波图式”，382,383)。因此，神圣的罗曼内斯卡是“音乐语法和语义之间的流动混合体”(Sánchez-Kisielewska，“主题和图式之间的互动”，65)。这就提出了一个问题，即在什么条件下这种汞合金是可能的。

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引用次数: 0

ECM volume 20 issue 2 Cover and Back matter ECM第20卷第2期封面和封底

IF 0.1 2区艺术学

Eighteenth Century Music

Pub Date : 2023-08-25 DOI: 10.1017/s1478570623000246

引用次数: 0

IF 0.1 2区艺术学

Eighteenth Century Music

Pub Date : 2023-08-25 DOI: 10.1017/S1478570623000118

Maxime Margollé

引用次数: 0

Ocho Responsorios para los Maitines de la Santísima Trinidad Antonio Juanas (1762/1763–after 1816), ed. R. Ryan Endris Leinfelden-Echterdingen: Carus, 2019 pp. viii + 72, ISBN 979 0 007 18884 9 Antonio Juanas(1762/1763 - 1816年后)，R. Ryan Endris Leinfelden-Echterdingen编辑:Carus, 2019 pp. viii + 72, ISBN 979 0 007 18884 9

IF 0.1 2区艺术学

Eighteenth Century Music

Pub Date : 2023-08-25 DOI: 10.1017/S147857062300009X

Jesús Herrera-Zamudio

Antonio Juanas is the composer with the largest number of musical manuscripts in the Archivo del Cabildo Catedral Metropolitano de México (hereafter ACCMM), which is the biggest repository of vice-regal music from Hispanic America. Despite what one might imagine given this fact, Juanas is one of the least studied chapel masters from Mexico City Cathedral. Fifteen years ago Javier Marín López wrote that ‘con un catálogo que supera las 500 composiciones, Juanas pertenece al grupo de compositores hasta ahora prácticamente desconocidos’ (with an [extant] output of more than five hundred compositions, Juanas belongs to the group of composers who have been practically unknown until now) (‘Consideraciones sobre la trayectoria profesional del músico Antonio Juanas (1762/63–después de 1816)’, Cuadernos Musicat 2 (2007), 14). At the time these words were written, there was only one edition of music by Juanas, which had appeared in a DMA dissertation (Teresa Bowers, University of Maryland, 1998), and not a single recording was available. Now, at the time of publication of the score reviewed here, there has only been one more edition of Juanas’s music, in a PhD dissertation by Dianne Lehmann Goldman (‘The Matins Responsory at Mexico City Cathedral, 1575–1815’, Northwestern University, 2014), and one CD (Antonio Juanas: Premiere Recordings of Selected Choral Works (Centaur CRC3663, 2018)), recorded by the Collegium Mundi Novi and conducted by Ryan Endris, the editor of the Ocho Responsorios para los Maitines de la Santísima Trinidad. Three years ago, another CD appeared, by La Real Capilla del Pópulo (Antonio Juanas: música coral para la Catedral de México (Sociedad Española de Musicología, 2020)). As Marín has noted, Juanas belongs to a group of composers active in New Spain whose music is unknown to us, and there is a common characteristic that links some of these musicians: they worked in Mexico during its colonial period. In practically all of the research investigating this repertory published in the twentieth century, there has been a common prejudice that ‘Mexican music was unfortunately in a depressed state at the end of the colonial period’, as Robert Murrell Stevenson put it in his Music in Mexico ((New York: Crowell, 1952), 173). It is generally assumed that since the vice-regal regime was in decline at that time, the quality of its music must have been declining too. I say ‘prejudice’ because even today – in 2023 – listeners have not really been able to hear the music created in Mexico at that time, especially those works composed for Mexico City Cathedral in the final decades of the vice-regal period. Although there has been significant work to bring music composed in Mexico to light over the last few decades, the scope of the source material means that there is still much left to do. Moreover, there is one additional element to highlight: that the country that we now call Mexico was a part of the Spanish Empire between 1521 and 1821. For this re

安东尼奥·胡安纳斯是在西班牙裔美国最大的副帝王音乐储存库——墨西哥卡布尔多大教堂大都会档案馆(以下简称ACCMM)中拥有最多音乐手稿的作曲家。尽管人们可能会想到这个事实，但胡安娜斯是墨西哥城大教堂中被研究最少的教堂大师之一。15年前，Javier Marín López写道，“con un catálogo que supera las 500 composiciones, Juanas pertenece al grupo de compositores hasta ahora prácticamente desconocidos”([现存的]超过500首作品的输出，Juanas属于迄今为止几乎不为人知的作曲家群体)(“conceraciones sobre la trayectoria professional del músico Antonio Juanas (1762/63 - despuacims de 1816)”，Cuadernos Musicat 2(2007)， 14)。在写这些话的时候，只有一个版本的Juanas的音乐，它出现在DMA论文(Teresa Bowers, University of Maryland, 1998)，没有一个录音可用。现在，在这里评论的乐谱出版时，只有一个版本的胡安纳斯的音乐，在Dianne Lehmann Goldman的博士论文中(“墨西哥城大教堂的早晨回应，1575-1815”，西北大学，2014年)和一张CD(安东尼奥·胡安纳斯:《合唱作品精选首演唱片》(Centaur CRC3663, 2018)，由世界新学院录制，特立尼达Santísima《巴黎交响乐团》编辑Ryan Endris指挥。三年前，La Real Capilla del Pópulo发行了另一张CD (Antonio Juanas: música coral para La Catedral de m诈骗诈骗日(Sociedad Española de Musicología, 2020))。正如Marín所指出的那样，Juanas属于活跃在新西班牙的一群作曲家，他们的音乐对我们来说是未知的，并且有一个共同的特征将这些音乐家联系在一起:他们在墨西哥殖民时期工作。在几乎所有的研究调查这一保留在二十世纪出版，有一个共同的偏见，“墨西哥音乐不幸处于萧条状态在殖民时期结束”，正如罗伯特·莫雷尔·史蒂文森在他的音乐在墨西哥((纽约:克罗威尔，1952年)，173)。人们普遍认为，由于当时的副皇权政权正在衰落，其音乐的质量也一定在下降。我之所以说“偏见”，是因为即使在2023年的今天，听众也没有真正听到当时在墨西哥创作的音乐，特别是那些在副帝王时期的最后几十年为墨西哥城大教堂创作的作品。尽管在过去的几十年里，人们已经做了大量的工作来让墨西哥的音乐作品公布于众，但原始材料的范围意味着还有很多工作要做。此外，还有一个需要强调的因素:我们现在称为墨西哥的国家在1521年至1821年间是西班牙帝国的一部分。由于这个原因，也因为他是一个移民，他的作品可以被认为是“来自西班牙的音乐”，而不是“墨西哥音乐”。

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引用次数: 0

Musique et société dans les Caraïbes françaises, 1750–1810 Centre d’études supérieures de la Renaissance, Tours, 5–7 May 2022 法属加勒比地区的音乐与社会，1750 - 1810文艺复兴高等研究中心，图尔，2022年5月5 - 7日

IF 0.1 2区艺术学

Eighteenth Century Music

Pub Date : 2023-02-08 DOI: 10.1017/S1478570622000276

J. Prest

This invited conference of nine speakers and ten papers was originally scheduled to take place in person in April 2021. For obvious reasons, it was postponed for just over a year

这次邀请9位演讲者和10篇论文的会议原定于2021年4月亲自举行。由于显而易见的原因，它被推迟了一年多

引用次数: 0

Antoine Reicha and the Making of the Nineteenth-Century Composer Fabio Morabito and Louise Bernard de Raymond, eds Bologna: Ut Orpheus, 2021 pp. xxix + 329, ISBN 978 8 881 09522 3

IF 0.1 2区艺术学

Eighteenth Century Music

Pub Date : 2023-02-08 DOI: 10.1017/S1478570622000264

Mark C. Ferraguto

Who was Antoine Reicha, anyway? Born 1770 in Prague, he was educated in Bavaria, served the court of Elector Maximilian Franz in Bonn, escaped Napoleonic aggression by moving to Hamburg, laboured as a composer in Vienna and finally settled in Paris, where he was appointed the Conservatoire’s professor of counterpoint and fugue. An unapologetic careerist, he was a tireless innovator, an unsuccessful opera composer and a brilliant if freewheeling pedagogue. He adored Haydn, had a cordial relationship with Beethoven, sparred with his colleagues Fétis and Cherubini and mentored such luminaries as Liszt, Berlioz and Franck. Though his name is now largely forgotten, in the musical world of the nineteenth century, all roads led to Reicha. No wonder, then, that in our age of networks, Reicha is staging a comeback. With Antoine Reicha and the Making of the Nineteenth-Century Composer, editors Fabio Morabito and Louise Bernard de Raymond have aimed to capture Reicha in his ‘efforts to navigate a variety of contexts, negotiating at the same time personal, financial, geographical, social, musical, professional and other priorities of self-representation’ (xix). Comprising seven essays in English and four in French, the book is a welcome addition to the growing literature on the composer, offering many perspectives that will engage scholars of eighteenthand nineteenth-century music. Morabito (chapter 1) draws attention to Haydn’s outsized role in Reicha’s autobiography. Central to Reicha’s historiographical project, Morabito argues, was his role as a symbolic link between Haydn and later generations of composers. Morabito characterizes Haydn as a modernist, arguing that for Reicha, ‘playing [the role of] Haydn’ amounted to ‘being yourself musically’ (19). Reicha’s Trente-six fugues composées d’après un nouveau systême (1803) were his most systematic and radical attempt to follow ‘the unruly Haydn blueprint’ (19), but the collection was poorly received. These eccentric fugues, Morabito suggests, were off-putting to Reicha’s contemporaries because of their didactic pretension as much as their novelty. Reicha’s fascination with fugue is further explored by Muriel Boulan (chapter 9), who investigates seven French treatises on ‘school fugues’ written between 1805 and 1840. These texts, she argues, reflect competing ideologies. While Francois-Joseph Fétis in his Traité du contrepoint et de la fugue (1824) characterized fugue as the summit of tradition, Reicha in his Traité de haute composition musicale (1826) viewed it as the essence of modern composition. Rather than including fugal examples by the likes of Palestrina, Handel and Bach in his treatise, Reicha quoted from works composed by himself and his former students. In so doing, he sought to demonstrate fugue’s relevance to the nineteenth-century composer, emphasizing, in his own words, ‘the effects produced by the fugal material’ rather than ‘the insignificant fugues with which students in counterpoint classe

安托万·雷查到底是谁?1770年出生于布拉格，他在巴伐利亚接受教育，在波恩为选帝侯马克西米利安·弗朗茨(Maximilian Franz)的宫廷服务，为了躲避拿破仑的侵略，他搬到汉堡，在维也纳当作曲家，最后定居巴黎，在那里他被任命为音乐学院的对位和赋格教授。他是一个毫无悔意的野心家，一个不知疲倦的革新者，一个不成功的歌剧作曲家，一个才华横溢但随心所欲的教育家。他崇拜海顿，与贝多芬关系亲密，与同事费姆斯提斯和凯鲁比尼争论不休，并指导过李斯特、柏辽兹和弗兰克等名人。虽然他的名字现在基本上被遗忘了，但在19世纪的音乐界，所有的道路都指向赖夏。因此，难怪在我们这个网络时代，Reicha正在卷土重来。在《安托万·雷查和19世纪作曲家的形成》一书中，编辑法比奥·莫拉比托和路易丝·伯纳德·德雷蒙德旨在捕捉雷查“在各种背景下的努力，同时在个人、财务、地理、社会、音乐、专业和其他自我表现的优先事项上进行谈判”(19)。这本书由七篇英语文章和四篇法语文章组成，是对这位作曲家日益增长的文献的一个受欢迎的补充。提供了许多视角，将吸引18世纪和19世纪的音乐学者。《莫拉比托》(第一章)让人们注意到海顿在赖夏自传中扮演的重要角色。莫拉比托认为，赖夏的史学计划的核心是他作为海顿和后世作曲家之间的象征性联系。莫拉比托把海顿描绘成一个现代主义者，他认为对蕾卡来说，“扮演海顿的角色”等于“在音乐上做你自己”(19)。Reicha的Trente-six fugues composises d ' apr s un nouveau systême(1803)是他最系统和激进的尝试，遵循“不羁的海顿蓝图”(19)，但该系列反响不佳。莫拉比托认为，这些古怪的赋格曲令赖夏同时代的人反感，因为它们既有说教的自命不凡，又很新奇。Reicha对赋格的迷恋在Muriel Boulan(第9章)中得到了进一步的探讨，她研究了1805年至1840年间写的七篇关于“学校赋格”的法国论文。她认为，这些文本反映了相互竞争的意识形态。弗朗索瓦-约瑟夫·法萨梅斯在他的《赋格曲》(1824年)中将赋格曲描述为传统的巅峰，而雷查在他的《高级作曲音乐剧》(1826年)中将赋格曲视为现代作曲的精髓。在他的论文中，赖夏没有引用帕莱斯特里纳、亨德尔和巴赫等人的赋格例子，而是引用了他自己和他以前的学生创作的作品。在这样做的过程中，他试图证明赋格与19世纪作曲家的相关性，用他自己的话说，强调“赋格材料产生的效果”，而不是“对位课上学生忙于处理的无关紧要的赋格”(286;我的翻译)。

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