Pub Date : 2022-08-01DOI: 10.1017/s1479409822000350
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Pub Date : 2022-08-01DOI: 10.1017/s1479409822000349
{"title":"NCM volume 19 issue 2 Cover and Front matter","authors":"","doi":"10.1017/s1479409822000349","DOIUrl":"https://doi.org/10.1017/s1479409822000349","url":null,"abstract":"","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48889277","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-28DOI: 10.1017/S147940982200012X
R. Helmers
This article studies the interactions of travelling musicians with the Russian court and aristocracy from the 1830s to the 1870s. Drawing on a broad corpus of memoirs, travel reports and personal documents of musicians who visited St Petersburg and Moscow in the course of their careers, it discusses the courtly dimensions of the Italian Opera; the role of the aristocracy and court in the organization of concert life under Nicholas I (r. 1825–1855); the relevant changes and continuities under Alexander II (r. 1855–1881), when concert life would undergo rapid professionalization; and finally, the symbolic dimensions of the rewards offered by the Russian elites. The persistent significance of imperial and noble recognition in this period, it is argued, added considerably to Russia's appeal for foreign musicians. Many visitors developed a positive, reciprocal relation with the Russian regime and its elites, even if the values, hierarchies and traditions of the autocratic regime could be at odds with the social status and sense of independence of successful performers. In musical discourse, reports of musicians’ visits circulated an image of Russia – an urban image of luxury, refinement and high society – that contrasted with the stereotype of wild and barbarous expanses that have so far attracted most attention in music historiography; and their descriptions of the imperial court and family tended to match the image – of imposing authority and benevolence – the Romanov monarchy sought to project.
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Pub Date : 2022-07-28DOI: 10.1017/S1479409822000209
K. Clark
This article examines the creation and early dissemination of John Field's nocturnes, tracing this œuvre through initial publications in St Petersburg by Dalmas (1812; H24–25) to the posthumous collected editions by Schuberth and Liszt first released in the 1850s. Inspired by discourse on music and environment, I take the peculiar qualities of Russian night landscapes as a key factor in understanding how these works were composed and then marketed internationally. Although little documentation remains of Field's Russian experiences as described in his own voice, it is possible to reconstruct the place in which he worked through his musical publications, related contemporary descriptions, images and recollections of friends and admirers. These sources shed fresh light on his shift in musical style on relocation from England to Russia. Viewing Field's nocturnes through the lens of this landscape, both real and as imagined by later promoters such as Liszt, offers the opportunity to reach a newly nuanced understanding of Field's array of national identities – Irish, English and Russian – and of his nocturne as a Russia-based idiom.
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Pub Date : 2022-07-25DOI: 10.1017/S1479409822000131
A. Giust
This article investigates the role played by aristocrats in the exchange of repertoire and musical personnel between Russia and Western Europe in the late eighteenth and early nineteenth centuries. It discusses the involvement of three significant figures in the political and cultural milieus of the Russian Empire: Count Nikolay Petrovich Sheremetev (1751–1809), Prince Nikolay Borisovich Yusupov (1750–1831) and the Grand Duke Pavel Petrovich Romanov (who ruled as Paul I from 1796 to 1801). The central focus is on Sheremetev, whose correspondence with Marie-François Hivart, a Parisian cellist he met during a grand tour, allows us to reconstruct a clear picture of how French opera was imported and adapted at his estate theatres in the Moscow area. Yusupov and the grand duke likewise established international musical contacts during their European tours of the 1770s and 80s, and exploited them in their private and public theatrical activities in Russia. Yusupov, who was particularly fond of Italian opera, may be regarded as Sheremetev's counterpart in St Petersburg, while Tsarevich Pavel Petrovich channelled the musical contacts he established in Italy to the Russian court and crown theatres. Together, these cases suggest some of the ways in which Russia was entangled in European musical life around 1800, revealing mechanisms of exchange in which grand tours, diplomatic contacts and the personal interests of patrons played a significant part.
本文考察了18世纪末19世纪初贵族在俄罗斯和西欧之间的曲目和音乐人员交流中所扮演的角色。它讨论了三位重要人物在俄罗斯帝国政治和文化环境中的参与：尼古拉·彼得罗维奇·谢列梅捷夫伯爵（1751–1809）、尼古拉·鲍里索维奇·尤苏波夫亲王（1750–1831）和帕维尔·佩特罗维奇·罗曼诺夫大公（1796至1801年以保禄一世的身份统治）。焦点集中在谢列梅捷夫身上，他与巴黎大提琴家玛丽·弗朗索瓦·希沃特（Marie François Hivart）在一次盛大的巡演中相识，通过这封信，我们可以清晰地了解法国歌剧是如何在他位于莫斯科地区的庄园剧院进口和改编的。尤苏波夫和大公在17世纪70年代和80年代的欧洲之旅中同样建立了国际音乐联系，并在俄罗斯的私人和公共戏剧活动中利用他们。尤苏波夫特别喜欢意大利歌剧，可以被视为谢列梅捷夫在圣彼得堡的对手，而Tsarevich Pavel Petrovich则将他在意大利建立的音乐联系引导到了俄罗斯宫廷和皇家剧院。总之，这些案例表明了俄罗斯在1800年左右与欧洲音乐生活纠缠在一起的一些方式，揭示了盛大的巡演、外交接触和赞助人的个人利益在其中发挥了重要作用的交流机制。
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Pub Date : 2022-07-20DOI: 10.1017/S1479409822000271
Tamsin Alexander, R. Helmers
Extract The articles in this issue address and illustrate elements that are essential for furthering the current understanding of Russia's embeddedness in the international musical culture of the long nineteenth century: the exchange of musicians and repertoires; the social and political conditions in which these exchanges took place; the range of mediators, from aristocratic patrons to musical professionals; the methods of movement; and the ways in which Russia was imagined and experienced by foreigners.
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Pub Date : 2022-07-04DOI: 10.1017/s1479409822000222
Emily Eubanks
The recently released album Music for a Viennese Salon by the chamber ensemble Night Music transports listeners to one of Vienna’s leading musical salons during the late eighteenth and early nineteenth centuries. The host of the musical gathering is Fanny von Arnstein (1758–1818), a Jewish salonnière, notable amateur keyboardist and singer, music patron, and founder of Vienna’s Gesellschaft der Musikfreunde. According to Steven Zohn’s liner notes for the album, this imagined performance in Arnstein’s salon took place in 1801, two decades after Arnstein began hosting her salon (p. 4). During her nearly 40-year tenure as a salonnière, Arnstein became one of the best-known salon hosts in Viennese society. This album, then, offers a glimpse into the musical activities of a central figure in the city’s musical identity and ongoing legacy. The musical portion of this 1801 salon gathering includes three multi-movement works for chamber ensemble. Joseph Martin Kraus’s Quintet in D for Flute and Strings (VB188; 1799) begins the concert with three movements (I. Allegro Moderato, II. Largo, III. Finale: con brio). The next work attendees hear is Carl Ditters von Dittersdorf’s Duetto in E flat (Kr219) for viola and violone (I. Allegro, II. Menuetto I, III. Adagio, IV. Menuetto II, V. Andante [Tema con variazioni]). Johann Peter Salomon’s 1801 arrangement of Joseph Haydn’s Symphony No. 94 in G major ‘Surprise’ (Hob1:94) serves as the finale to the evening’s performance (I. Adagio – Vivace assai, II. Andante, III. Minuetto, IV. Allegro di molto). Arnstein’s salon was active in twomain periods – one beginning in 1780 and the second in 1803; this album thus emulates the musical performances that took place in the earlier salon. Lauded for its elaborate style and long guest lists, Arnstein’s salon gatherings during this earlier period were originally modelled on the grand French salons of the eighteenth century, like many other late eighteenthcentury salons in Germany and Austria. During the two decades of her earlier salon, Arnstein established a reputation for herself as one of the only successful Jewish salonnières in Vienna, a city in which religious freedom for the Jewish population had only been legally granted in 1781.
室内乐团Night Music最近发行的专辑《维也纳沙龙的音乐》将听众带到了18世纪末和19世纪初维也纳领先的音乐沙龙之一。音乐聚会的主持人是芬妮·冯·阿恩斯坦（1758-1818），一位犹太沙龙，著名的业余键盘手和歌手，音乐赞助人，维也纳音乐节的创始人。根据史蒂文·佐恩（Steven Zohn）为这张专辑所写的线性笔记，这场想象中的在阿恩斯坦沙龙的表演发生在1801年，也就是阿恩斯坦开始主持她的沙龙20年后（第4页）。在她近40年的沙龙生涯中，Arnstein成为维也纳社会最知名的沙龙主持人之一。因此，这张专辑让我们得以一窥这座城市音乐身份和持续遗产中一位核心人物的音乐活动。这场1801年沙龙聚会的音乐部分包括三首室内合奏的多乐章作品。约瑟夫·马丁·克劳斯（Joseph Martin Kraus）的长笛与弦乐D五重奏（VB188；1799）以三个乐章开始了音乐会（一、中快板、二、拉戈、三、终曲：con brio）。与会者听到的下一个作品是卡尔·迪特尔斯·冯·迪特尔斯多夫为中提琴和中提琴创作的《E大调二重奏》（Kr219）（I.快板，II.梅纽托I，III.柔板，IV.梅纽托II，V.Andante[Tema con variazioni]）。约翰·彼得·所罗门1801年编曲的约瑟夫·海顿G大调第94号交响曲《惊奇》（Hob1:94）是当晚演出的压轴曲（I.柔板-阿赛万岁，II.行板，III.米努埃托，IV.莫托快板）。阿恩斯坦的沙龙活跃在两个主要时期——一个始于1780年，第二个始于1803年；因此，这张专辑模仿了早期沙龙的音乐表演。Arnstein早期的沙龙聚会以其精致的风格和长长的宾客名单而闻名，最初是以18世纪的法国大沙龙为原型的，就像德国和奥地利的许多其他18世纪末的沙龙一样。在她早期沙龙的20年里，Arnstein作为维也纳唯一成功的犹太沙龙之一，为自己树立了声誉。1781年，在维也纳，犹太人的宗教自由才被合法授予。
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Pub Date : 2022-07-04DOI: 10.1017/s1479409822000258
Sevastiana Nourou
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Pub Date : 2022-06-10DOI: 10.1017/S1479409822000210
E. Bomberger
alsowho is included and excluded from academic conversations. To be clear, I do not wish to place blame onLacombe or anyofmy colleagues for this; I see this instead as a structural concern, albeit one that became visible with particular clarity while considering this book. In privileging archives as a precondition for determining originality and value, we quietly push to the side thosewho cannot access such resources due to disability, funds or distance, and we thus inadvertently create an increasingly homogeneous, wealthy, privileged, abled andwhite norm for scholars in our field. This has likely biased our field, but it can be overcome. It helps, for example, thatmassive digitization projects like Bibliothèque nationale’s Gallica have made an ever-growing number of sources from Paris available remotely. Such projects, however, continue to prioritize better-known materials whose scholarly value is readily apparent rather than materials whose potential may yet be unrecognized. This is especially true of material that remains uncatalogued. Thus – for now, at least – scholars able to consult materials in situ hold an advantage within a discipline that favours such archival work. Projects that embrace the globalization and creolization of archival work will also help: Jann Pasler’s current European Research Council project could prove a crucial litmus test here, just as Claire Rowden and Richard Langham Smith’s Carmen Abroad has already created an excellentmodel for howa project withworldwide aspirations might look. Beyond this, crafting scholarly space for critical rereadings and reconsiderations of pieces, practices and evidence (as happens constantly in the study of literature) could bring critical minds from more diverse backgrounds into the fold without demanding archival access as a precondition for academic value. Thus this collection does more than just highlight and celebrate the exemplary work on nineteenth-century French opera that has been conducted so far. Looking ahead, it also indicates both implicitly and explicitly the innovative work that remains. May it serve as a firm foundation for new scholars whose work will explore horizons we can barely see.
{"title":"Katherine K. Preston, George Frederick Bristow (Urbana: University of Illinois Press, 2020). viii+204 pp. Cloth $110; Paper $29.95.","authors":"E. Bomberger","doi":"10.1017/S1479409822000210","DOIUrl":"https://doi.org/10.1017/S1479409822000210","url":null,"abstract":"alsowho is included and excluded from academic conversations. To be clear, I do not wish to place blame onLacombe or anyofmy colleagues for this; I see this instead as a structural concern, albeit one that became visible with particular clarity while considering this book. In privileging archives as a precondition for determining originality and value, we quietly push to the side thosewho cannot access such resources due to disability, funds or distance, and we thus inadvertently create an increasingly homogeneous, wealthy, privileged, abled andwhite norm for scholars in our field. This has likely biased our field, but it can be overcome. It helps, for example, thatmassive digitization projects like Bibliothèque nationale’s Gallica have made an ever-growing number of sources from Paris available remotely. Such projects, however, continue to prioritize better-known materials whose scholarly value is readily apparent rather than materials whose potential may yet be unrecognized. This is especially true of material that remains uncatalogued. Thus – for now, at least – scholars able to consult materials in situ hold an advantage within a discipline that favours such archival work. Projects that embrace the globalization and creolization of archival work will also help: Jann Pasler’s current European Research Council project could prove a crucial litmus test here, just as Claire Rowden and Richard Langham Smith’s Carmen Abroad has already created an excellentmodel for howa project withworldwide aspirations might look. Beyond this, crafting scholarly space for critical rereadings and reconsiderations of pieces, practices and evidence (as happens constantly in the study of literature) could bring critical minds from more diverse backgrounds into the fold without demanding archival access as a precondition for academic value. Thus this collection does more than just highlight and celebrate the exemplary work on nineteenth-century French opera that has been conducted so far. Looking ahead, it also indicates both implicitly and explicitly the innovative work that remains. May it serve as a firm foundation for new scholars whose work will explore horizons we can barely see.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-06-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43485078","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-18DOI: 10.1017/S1479409822000118
Tamsin Alexander
In the build-up to the French premiere of Tchaikovsky's Yevgeny Onegin in Nice in 1895, critics, speakers and writers on music were declaring the opera a masterpiece of psychological realism. Such a reading seems to resonate more with recent assessments of the opera; but in 1890s France, a combination of interest in the Russian realist novel and new trends in realist opera had led critics to make the literary link already. With the Franco-Russian Alliance recently finalized and hostility towards the Triplice mounting, many even suggested that the opera might form the lyric equivalent of the Russian realist novel and, in so doing, offer a morally and politically superior alternative to the so-called verismo operas of the new Italian school. The optimism surrounding Onegin, I'd like to show, was part of a broader move in late nineteenth-century France to celebrate cosmopolitanism, if not in the sense one might expect. Tchaikovsky and Onegin were very much deemed representatively Russian. What was cosmopolitan, and in turn modern, was the act of cultural transfer – exploiting international personal networks – and the opera's realism: its evocations of ordinary life and of the contemporary psychological condition. As such, a Russian opera like this could be applauded not for its revelations of an exotic or disconnected country, but for the potential it posed to integrate with and revitalize French culture.
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