Pub Date : 2022-02-14DOI: 10.1017/S1478570621000403
Stephen M. Kovaciny
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.
Michel-Paul Guy de Chabanon(1730-1792)是一位美学家，也是让-菲利普·拉莫和声理论的拥护者，他最常被人们记住的是他对音乐模仿的拒绝，以及他对音乐和语言的分离。在此过程中，他提出了音乐自主性的美学理论，即使不是第一个，也是第一个。然而，尽管取得了这样的成就，关于他如何或为什么得出这一结论的文章却很少。这篇文章提供了一个姗姗来迟的重建查巴农的主张自治，同时在18世纪的音乐话语还原他。通过对他的作品和支撑这些作品的互文的三段式阅读，我表明沙巴农是法国启蒙运动美学项目的一位富有洞察力的批评家。为了达到这个目的，我重新构建了他关于音乐能够激发听众审美体验的论证。正如我所主张的那样，Chabanon自己对这个问题的遭遇阐明了一种基于音乐物质性的美学理论，这种理论立即通过声学科学、感官体验的新理论和它们产生的音乐理论而建立起来。以他对拉莫的《皮格马利翁》(Pigmalion, 1748)的经验为出发点，我认为查巴农将音乐美学转变为一门自主的学科，有助于将早期现代的主体转变为现代的倾听自我。
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Pub Date : 2022-02-14DOI: 10.1017/s1478570621000440
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Pub Date : 2022-02-14DOI: 10.1017/S1478570621000294
E. Buurman
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
克莱夫·布朗版本的贝多芬小提琴和钢琴奏鸣曲全集是众多Bärenreiter贝多芬音乐的非文本版本之一，出版于2020年作曲家诞辰250周年之际。这只是该曲目的第二个现代批评版本，它是在Sieghard Brandenburg的所谓新作品版本(贝多芬作品，系列5，卷1和2(慕尼黑:Henle, 1974))之后的40多年，其中没有包括批评报告。然而，布朗的版本远远超出了我们目前对奏鸣曲文本和原始材料的理解。除了对奏鸣曲的批判性评论和历史介绍外，它还提供了有关历史表演的丰富信息。该版本有两个小提琴部分:编辑干预最少的文本，以及由历史启发的指法和弓弦编辑的表演部分，通常反映出“在这个曲目中不再熟悉”的做法(xxxvi)。序言材料包括一篇关于与贝多芬音乐相关的历史表演实践的扩展文章，该版本附带了与钢琴家Neal Peres da Costa共同撰写的在线表演实践评论。这包括对表演部分的许多编辑注释的逐条解释，以及对进一步了解历史的方法的建议。该版本的目的不仅是为奏鸣曲提供一个经过批判性编辑的文本，而且还使表演者能够尝试表演实践，“可以帮助我们重振[贝多芬]音乐，使其具有一些不熟悉和不可预测性，使其对同时代的人来说如此具有挑战性和令人兴奋”(x)。贝多芬小提琴奏鸣曲的原始材料并不丰富:就十首奏鸣曲中的前四首而言，最接近作曲家的资料来源是第一版，而一些亲笔签名和抄写员的手稿则从作品24号开始流传下来。不出所料，布朗版本的文本与新Gesamtausgabe的文本没有很大的不同，尽管关键报告详细说明了许多来源包含含糊不清或文本错误的例子。最一致的歧义之一是污语的位置，贝多芬和第一版的雕刻家显然都没有特别注意。因此，像小提琴奏鸣曲之前的编辑一样，布朗不得不在他对演奏部分的注释中做相当多的解释，但他在部分本身的批评音符和偶尔的脚注往往表明了合理的替代阅读。这篇文章“阅读贝多芬的符号之间的行”，这是在英语和德语超过60页，在钢琴部分的每卷的开始，提出了与贝多芬一生的表演实践的证据概述。虽然在古典剧目的现代无文本版本中，关于装饰、发音和节奏的历史方法的信息是司空见惯的，但布朗的文章也概述了丰富的
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Pub Date : 2022-02-14DOI: 10.1017/S1478570621000269
Ellen C. Stokes
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
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Pub Date : 2022-02-14DOI: 10.1017/S1478570621000427
Yonatan Bar-Yoshafat
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
{"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}
Pub Date : 2021-09-01DOI: 10.1017/s1478570621000014
Halvor K Hosar
{"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}
Pub Date : 2021-09-01DOI: 10.1017/s1478570621000221
{"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}
Pub Date : 2021-09-01DOI: 10.1017/S1478570621000166
A. Howard
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.
{"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}
Pub Date : 2021-09-01DOI: 10.1017/S147857062100004X
Marten Noorduin
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.
{"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}
Pub Date : 2021-09-01DOI: 10.1017/S1478570621000087
Malcolm Miller
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.
虽然新冠病毒阻止了今年承诺的许多纪念活动，但一个积极的结果是原定于3月在卢卡举行的“现场”活动被推迟，并在贝多芬出生月份改为在线活动。(由他的女儿玛格丽特·奥沙利文编辑，这是他“重新审视贝多芬的爱尔兰歌曲”项目的一部分，该项目试图重建那些乔治·汤姆森从未有时间提供文本的民歌。)在这场激动人心的演讲中，“贝多芬第九交响曲作为一个有争议的共同体象征:从托马斯·曼的《浮士德博士》到2019年的脱欧派”，威廉·金德曼(William Kinderman)运用了广泛的知识网络，从他最近的书《贝多芬:革命时代的政治艺术家》(芝加哥:芝加哥大学出版社，2020年)的最后一章中发展了主题。在这个巧妙的分析之后，我们接着被带进了一个关于《欢乐颂》在近一个世纪的政治事件中的表演的快速视频之行，展示了如何——尽管该运动被纳粹政权和种族主义的罗得西亚滥用，以及它与库布里克的《发条橙》中的侵略行为联系在一起——席勒的文本被重新解释以适应每个不同的历史背景，同时保持了肯定和抵抗的“干净的象征”。这些表演的例子包括1918年6月被关押在日本战俘营的德国人的表演、日本每年12月举行的集体合唱团和管弦乐队的仪式、2011年纽约的“占领华尔街”抗议活动、智利皮诺切特反对者的斗争、1989年在天安门广场抗议中国戒严令的学生用临时扩音器播放卡带录音。直到谭盾2021年的作品《声音宝塔》(Sound Pagoda)，这首歌将与《欢乐颂》(Ode to Joy)一起演奏，为武汉新冠肺炎患者举办音乐会。
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