German pianist Anna Caroline de Belleville was one of the foremost virtuoso pianists in the 1820s and 1830s, deemed the “Chamber Virtuoso of Her Royal Highness” by Princess Louise of Prussia and “Queen of the Piano” by Paganini. Although a few modern biographical accounts provide an overview of her life and career, there has been no critical examination of her virtuosity within the context of early nineteenth-century performance culture. Drawing on periodicals, magazines, correspondence, memoirs, and contemporary writings, this article reconstructs Belleville’s early career and illustrates her significance by examining her strategic programming, pianism, and reception. I argue that Belleville’s reorientation of her public concert repertory in the mid-1830s, particularly her incorporation of works considered “classical” or “serious,” enabled her to mediate the conflicting musical tastes of her critics and audiences, and to reinvent herself as a pianist renowned not for a bravura style but for a versatile, eclectic virtuosity centering on the faithful interpretation of “serious” works. This course of action marked Belleville as a significant forerunner to the interpreter-performer pianists who came to dominate the virtuoso scene from the mid-nineteenth century onward.
{"title":"Constructing a Versatile Virtuoso Persona","authors":"Peng Liu","doi":"10.1525/jm.2023.40.1.73","DOIUrl":"https://doi.org/10.1525/jm.2023.40.1.73","url":null,"abstract":"German pianist Anna Caroline de Belleville was one of the foremost virtuoso pianists in the 1820s and 1830s, deemed the “Chamber Virtuoso of Her Royal Highness” by Princess Louise of Prussia and “Queen of the Piano” by Paganini. Although a few modern biographical accounts provide an overview of her life and career, there has been no critical examination of her virtuosity within the context of early nineteenth-century performance culture. Drawing on periodicals, magazines, correspondence, memoirs, and contemporary writings, this article reconstructs Belleville’s early career and illustrates her significance by examining her strategic programming, pianism, and reception. I argue that Belleville’s reorientation of her public concert repertory in the mid-1830s, particularly her incorporation of works considered “classical” or “serious,” enabled her to mediate the conflicting musical tastes of her critics and audiences, and to reinvent herself as a pianist renowned not for a bravura style but for a versatile, eclectic virtuosity centering on the faithful interpretation of “serious” works. This course of action marked Belleville as a significant forerunner to the interpreter-performer pianists who came to dominate the virtuoso scene from the mid-nineteenth century onward.","PeriodicalId":44168,"journal":{"name":"JOURNAL OF MUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83158480","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In interviews, jazz saxophonist Sonny Rollins has described himself as a “primitive” or intuitive musician. Manuscripts in his personal archive dating from the 1960s indicate that this is not true. During this period, he closely studied several published instrumental primers and handwrote many highly systematic practice exercises using staff notation, along with much technical and introspective prose commentary. In a holistic quest for self-knowledge, he also read a wide variety of literature, including texts on music theory and acoustics, works on human anatomy and the physiology of breathing, and esoteric theories of pitch and color. The contradiction between Rollins’s claims to rely on subconscious knowledge and his extensive private engagement with written, self-analytical modes of musical conceptualization reflects a recurrent tendency among early generations of jazz musicians, noted by pianist and educator Billy Taylor, to publicly deny the actual extent of their own conscious, technical musical knowledge.
{"title":"Sonny Rollins’s Musical Thought","authors":"B. Givan","doi":"10.1525/jm.2023.40.1.1","DOIUrl":"https://doi.org/10.1525/jm.2023.40.1.1","url":null,"abstract":"In interviews, jazz saxophonist Sonny Rollins has described himself as a “primitive” or intuitive musician. Manuscripts in his personal archive dating from the 1960s indicate that this is not true. During this period, he closely studied several published instrumental primers and handwrote many highly systematic practice exercises using staff notation, along with much technical and introspective prose commentary. In a holistic quest for self-knowledge, he also read a wide variety of literature, including texts on music theory and acoustics, works on human anatomy and the physiology of breathing, and esoteric theories of pitch and color. The contradiction between Rollins’s claims to rely on subconscious knowledge and his extensive private engagement with written, self-analytical modes of musical conceptualization reflects a recurrent tendency among early generations of jazz musicians, noted by pianist and educator Billy Taylor, to publicly deny the actual extent of their own conscious, technical musical knowledge.","PeriodicalId":44168,"journal":{"name":"JOURNAL OF MUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75668770","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In Handel’s oratorio Samson (1742), the aria “Total eclipse” compares Samson’s blindness, inflicted by the enemy’s gouging out of his eyes, to darkness during the total solar eclipse. The librettist Newburgh Hamilton drew the astronomical metaphor as well as the majority of his text for the oratorio from John Milton’s closet drama Samson Agonistes (1671). With respect to scientific knowledge on the eclipses, however, the two works are from very different eras. Examining changing perspectives on eclipses in Britain from the seventeenth to the eighteenth century provides a hitherto unexplored historical context for recognizing the difference in their metaphorical treatments of the phenomenon. It brings to the fore Hamilton’s portrayal of Samson’s sense of divine judgment in his blindness and presents a new textual basis for understanding Handel’s musical setting. The aria reveals the composer’s careful consideration in his choice of key and use of enharmonicism to convey Samson’s apprehension. Studying Handel’s musical language in the context of eighteenth-century music theory and in comparison to other movements in Samson and his earlier works offers deeper insight into his dramatic purpose. This article explores the history of eclipse science, the literary and biblical background to the libretto, and Handel’s compositional technique. It shows their deep interconnection in depicting Samson’s pathos, offering a new perspective not only on the aria and its impact on the rest of the oratorio but also on the contribution of Samson to mid-eighteenth-century musico-dramatic style.
{"title":"From Milton to Hamilton and Handel","authors":"Minji Kim","doi":"10.1525/jm.2023.40.1.34","DOIUrl":"https://doi.org/10.1525/jm.2023.40.1.34","url":null,"abstract":"In Handel’s oratorio Samson (1742), the aria “Total eclipse” compares Samson’s blindness, inflicted by the enemy’s gouging out of his eyes, to darkness during the total solar eclipse. The librettist Newburgh Hamilton drew the astronomical metaphor as well as the majority of his text for the oratorio from John Milton’s closet drama Samson Agonistes (1671). With respect to scientific knowledge on the eclipses, however, the two works are from very different eras. Examining changing perspectives on eclipses in Britain from the seventeenth to the eighteenth century provides a hitherto unexplored historical context for recognizing the difference in their metaphorical treatments of the phenomenon. It brings to the fore Hamilton’s portrayal of Samson’s sense of divine judgment in his blindness and presents a new textual basis for understanding Handel’s musical setting. The aria reveals the composer’s careful consideration in his choice of key and use of enharmonicism to convey Samson’s apprehension. Studying Handel’s musical language in the context of eighteenth-century music theory and in comparison to other movements in Samson and his earlier works offers deeper insight into his dramatic purpose. This article explores the history of eclipse science, the literary and biblical background to the libretto, and Handel’s compositional technique. It shows their deep interconnection in depicting Samson’s pathos, offering a new perspective not only on the aria and its impact on the rest of the oratorio but also on the contribution of Samson to mid-eighteenth-century musico-dramatic style.","PeriodicalId":44168,"journal":{"name":"JOURNAL OF MUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75293178","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.1525/jm.2023.40.1.103
Hilary Poriss
Maria Malibran (1808–36), the most famous opera star of her day, suffered a violent, protracted, and gory death. Although the story of her final days has been told time and again, this article offers a new reading, focusing on the abuse that she sustained as a child at the hands of her father, Manuel Garcia, and the subsequent trauma that followed her for the rest of her life. This rereading of Malibran’s death draws on the growing body of scholarship dedicated to understanding the daily life and contributions of performers, especially prima donnas. In reevaluating some of the key moments of her development as an artist and person, I nevertheless take a largely biographical approach, adding elements to her story while casting new light on other established narratives. In so doing, my aim is not only to correct long-standing assumptions surrounding the causes of her illnesses and death but also to illustrate that many of the pressures Malibran faced throughout her career reveal a set of burdens shared by many other prima donnas as well as some leading men. By exploring how Malibran responded to these pressures, I expand the picture of the conditions in which nineteenth-century prima donnas were trained and worked, and suggest that their heroism can be taken at face value, without the guise of mythical Romanticism.
{"title":"Heroic Artists, Critical Abuse, and the Death of Maria Malibran","authors":"Hilary Poriss","doi":"10.1525/jm.2023.40.1.103","DOIUrl":"https://doi.org/10.1525/jm.2023.40.1.103","url":null,"abstract":"Maria Malibran (1808–36), the most famous opera star of her day, suffered a violent, protracted, and gory death. Although the story of her final days has been told time and again, this article offers a new reading, focusing on the abuse that she sustained as a child at the hands of her father, Manuel Garcia, and the subsequent trauma that followed her for the rest of her life. This rereading of Malibran’s death draws on the growing body of scholarship dedicated to understanding the daily life and contributions of performers, especially prima donnas. In reevaluating some of the key moments of her development as an artist and person, I nevertheless take a largely biographical approach, adding elements to her story while casting new light on other established narratives. In so doing, my aim is not only to correct long-standing assumptions surrounding the causes of her illnesses and death but also to illustrate that many of the pressures Malibran faced throughout her career reveal a set of burdens shared by many other prima donnas as well as some leading men. By exploring how Malibran responded to these pressures, I expand the picture of the conditions in which nineteenth-century prima donnas were trained and worked, and suggest that their heroism can be taken at face value, without the guise of mythical Romanticism.","PeriodicalId":44168,"journal":{"name":"JOURNAL OF MUSICOLOGY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73776292","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.1525/jm.2022.39.4.469
Aurèlia Pessarrodona
While eighteenth-century Spanish folk airs such as the fandango and seguidilla are now gaining more recognition, there remains an important oversight: the tirana, a dance song that became particularly popular during the last third of the century onward, even inspiring foreign composers such as Luigi Boccherini, Ludwig van Beethoven, and Saverio Mercadante. Lacking a systematic study, the tirana has been regarded as a general name for Andalusian songs without clear typologies or concrete, identifying musical characteristics. Based on an analysis of approximately one hundred tiranas found in the repertoire of the old theaters of Madrid (held in the Biblioteca Histórica Municipal de Madrid) and dating from the late 1770s and 1780s, the period of development and consolidation of this dance song, this article verifies that the tirana has distinct attributes and evolved from its earliest forms, originating in Andalusia, to more complex and richer examples. In light of this analysis, it is now possible to investigate the circulation and impact of the tirana abroad in the late eighteenth century. For example, Vicente Martín y Soler’s “Viva, viva la Regina” from Una cosa rara (1786), long wrongfully considered the first onstage manifestation of the Viennese waltz, can now be identified as a tirana.
虽然18世纪的西班牙民谣，如fandango和seguidilla，现在得到了更多的认可，但仍然有一个重要的疏忽:tirana，这首舞曲在18世纪的最后三分之一时期变得特别流行，甚至启发了路易吉·波切里尼，路德维希·范·贝多芬和萨维里奥·梅尔卡丹特等外国作曲家。由于缺乏系统的研究，地拉那一直被认为是安达卢西亚歌曲的总称，没有明确的类型学或具体的音乐特征。根据对马德里老剧院(收藏于Histórica马德里市政图书馆)保留曲目中大约100首地拉那舞曲的分析，这些曲目可以追溯到1770年代末和1780年代，这是这首舞曲发展和巩固的时期，本文证实了地拉那舞曲具有独特的属性，并从最早的形式演变而来，起源于安达卢西亚，到更复杂和更丰富的例子。根据这一分析，现在有可能调查地拉那在18世纪后期在国外的流通和影响。例如，Vicente Martín y Soler在Una cosa rara(1786)中的“Viva, Viva la Regina”，长期以来被错误地认为是维也纳华尔兹的第一次舞台表现，现在可以确定为地拉那。
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Pub Date : 2022-01-01DOI: 10.1525/jm.2022.39.3.342
B. Milewski, B. Werb
Music scholars, critics, and popular writers have for generations told and retold the same tale about Fryderyk Chopin: namely, that the teenaged composer encountered Jewish folk musicians during his visits to the Polish countryside, was fascinated by their music, and even occasionally performed it. Our article endeavors to counter this and similar misconceptions about Chopin's connections to Jews and Jewish folk music, drawing on an array of historical, ethnographic, and literary sources previously discounted or overlooked by Chopin scholars, and freshly reexamining the composer's earliest correspondence. Having established an absence of primary documentation corroborating oft-repeated anecdotes about the young Chopin's interactions with Jewish music makers, we argue that the “Jewish tales” tenaciously clinging to the composer's biography reflect narratives rooted in later nineteenth-century nationalist rhetoric, anachronistic misreadings of Polish-Jewish relations, and unchallenged reliance on precedent writing. Finally, we offer a sampling of the folk and popular music Chopin would likely have heard, performed, and described to his family, citing material sourced from the work of the pioneering Polish ethnographer, and Chopin family friend, Oskar Kolberg.
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Pub Date : 2022-01-01DOI: 10.1525/jm.2022.39.2.209
J. Grier
While almost everyone agrees that the Beatles set the bar for the concept album, many would argue about possible precursors, rivals, and imitators. Two releases frame the Beatles’ two most important albums: the Byrds’ Fifth Dimension appeared on July 18, 1966, just weeks before the release of Revolver on August 5 and 8 (the British and US releases, respectively); while Jefferson Airplane’s After Bathing at Baxter’s was released in late November 1967, nearly six months after Sgt. Pepper’s Lonely Hearts Club Band appeared on June 1 and 2. Fifth Dimension and After Bathing at Baxter’s each provides its own interpretation of how thirty to forty minutes of music, articulated by a break halfway through between the end of side one and the beginning of side two, should proceed. The Byrds create an artful succession of songs familiar from single releases and new material, generating a multitude of stylistic cross-references and binding the album together despite the variety of styles it embraces, including Dylanesque psychedelia, Coltrane-inspired jazz, and items from the traditional folk repertory. The Airplane, on the other hand, attempt to string groups of two or three songs together into “suites,” as the band terms them on the jacket, with greater or lesser success. But the overall structure of the album depends on the strength of the material with which each side begins and ends. Both Fifth Dimension and Baxter’s contribute their own perspectives on how the album could become a well-integrated, thoughtful, and creative collection of material.
虽然几乎每个人都同意披头士为概念专辑设定了标准，但许多人会争论可能的先驱，竞争对手和模仿者。披头士最重要的两张专辑分别发行了两张:1966年7月18日，伯德乐队的《第五维度》发行，几周后，《左轮手枪》分别于8月5日和8日发行(分别在英国和美国发行);而Jefferson Airplane的《After Bathing at Baxter’s》发行于1967年11月下旬，也就是在Pepper中士的《Lonely Hearts Club Band》于6月1日和2日发行近6个月之后。《第五次元》和《在巴克斯特洗澡后》都对30到40分钟的音乐如何进行提供了自己的解释，在第一面结束和第二面开始之间有一个中途的中断。伯德乐队巧妙地继承了来自单曲发行和新材料的熟悉歌曲，产生了大量的风格交叉参考，并将专辑结合在一起，尽管它包含了各种各样的风格，包括迪伦式的迷幻，科尔特兰式的爵士，以及传统的民间曲目。另一方面，飞机乐队试图将两到三首歌组合成“组曲”，正如乐队在夹克上所说的那样，取得了或多或少的成功。但专辑的整体结构取决于每一面开始和结束的材料的强度。无论是第五维度和Baxter的贡献他们自己的观点，如何专辑可以成为一个很好的整合，周到的，和创造性的材料集合。
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Pub Date : 2022-01-01DOI: 10.1525/jm.2022.39.1.109
J. Prins
The rediscovery of ancient ideas about the power of music inspired Renaissance scholars to formulate a tantalizing view of the restoration of the wonderful music of the ancient Greeks. But from the start of this revival, skeptical voices questioned the feasibility of any attempt to establish a historically informed music practice. This article explores the changing status and authority of classical music-theoretical sources in sixteenth-century Italy by analyzing the famous debate between Girolamo Cardano and Julius Caesar Scaliger on ancient ideas about sound, hearing, and the power of music. Both voices mark a pivotal early stage in the emergence of early modern musical science, in which scholars began to study musical phenomena in accordance with a new philosophy of nature but had no established research agenda upon which to rely when doing so. Their attempts to theorize, in terms of natural phenomena, the seemingly inexplicable musical wonders recounted in traditional sources demonstrate that the tradition of Pythagorean and Platonic mathematics could not be easily discarded in the mid-sixteenth century. Cardano and Scaliger inspired later generations of scholars to formulate new theories in which music was valued less for its numerical perfection and supernatural power than for its sensory qualities and natural effect on the passions of the soul—ideas that would come to underpin the development of acoustics and music aesthetics in later centuries.
对音乐力量的古代观念的重新发现，激发了文艺复兴时期的学者们对古希腊美妙音乐的复兴提出了一种诱人的看法。但从这种复兴开始，怀疑的声音质疑任何尝试建立一个历史知情的音乐实践的可行性。本文通过分析吉罗拉莫·卡尔达诺(Girolamo Cardano)和朱利叶斯·凯撒·斯卡利格(Julius Caesar Scaliger)之间关于声音、听觉和音乐力量的古代观念的著名辩论，探讨了16世纪意大利古典音乐理论来源的变化地位和权威。这两种声音都标志着早期现代音乐科学出现的关键早期阶段，在这个阶段，学者们开始根据一种新的自然哲学来研究音乐现象，但在这样做的时候没有既定的研究议程可以依靠。他们试图从自然现象的角度，将传统资料中描述的看似无法解释的音乐奇迹理论化，这表明毕达哥拉斯和柏拉图的数学传统在16世纪中期是不能轻易抛弃的。卡尔达诺和斯卡利格启发了后世的学者，形成了新的理论，在这些理论中，音乐的价值不在于其完美的数字和超自然的力量，而在于它的感官品质和对灵魂激情的自然影响——这些思想在后来的几个世纪里奠定了声学和音乐美学的发展基础。
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Pub Date : 2022-01-01DOI: 10.1525/jm.2022.39.3.371
Jessica Gabriel Peritz
This article considers the spectral afterlives of castrati in nineteenth-century music historiography, reading them as transhistorical mediators between the “stuff” of archives and embodied musical experience. The article first sketches out the germane late eighteenth-century notions of feeling, art history, and aesthetics—from the empirical potential of sensibility to J. J. Winckelmann's systematization of classical art—that invited people to imagine certain bodies as capable of sensing history and, in turn, of rendering history “sense-able” through artistic style. Bringing these historical threads into dialogue with recent theories of queer temporality and queer aesthetics, the article argues that castrato singers were cast as once-living art objects and thereby invested musically, dramaturgically, and bodily with the same hybrid temporalities associated with artifacts of material culture—enabling later writers to invoke castrati as having materialized both the ephemerality and the historical situatedness of past musical styles. Moving from the generalized castrato figure to one particularly salient example, the article then focuses on three writers' representations of Gasparo Pacchierotti (1740–1821). The authors discussed here—Alessandro Pepoli (1790s), Stendhal (1820s), and Vernon Lee (1880s)—each portrayed Pacchierotti as embodying the frictions between the singer's late eighteenth-century moment and the writer's own hybrid present. Imaginatively encountering Pacchierotti as, respectively, a living body, a remembered voice, and material remains, each grappled with the limitations—and the stakes—of music histories. Ultimately, the castrato emerges from these scattered remains as a ghost of the feelings, fictions, and fantasies that haunt historiography.
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Pub Date : 2022-01-01DOI: 10.1525/jm.2022.39.3.255
Andreas Giger
Shortly before the premiere of Cavalleria rusticana, Pietro Mascagni cut 246 measures from his opera. This substantial section of music has remained largely unknown and has never been examined. Recent access to the original prompter's score, the score once in the possession of the first conductor (Leopoldo Mugnone), autograph letters, unexplored reviews, and a rediscovered staging manual have made a thorough evaluation of the cuts possible. These cuts fall into three categories: (1) those tightening the pace, (2) those reducing the taxing part of the chorus, and (3) those accommodating transpositions requested at the last minute by the star singers Gemma Bellincioni (Santuzza) and Roberto Stagno (Turiddu). The article argues that the cuts had consequences beyond their originally intended function, affecting the staging, drama, and formal conception. In the “Introduzione,” for instance, they lead to confusion about the way in which the scene should be staged; in the “Sortita di Alfio,” they eliminate music that functioned as the culmination of the aria's large-scale formal plan; and in the composite No. 5, they exaggerate the so-called dramaturgy of harsh junctures. In short, these cuts shed important light on the composer's original dramatic intentions and technical aspirations, and have lingered for over one hundred years without being considered for reinstatement.
在《乡村骑士》首演前不久，彼得罗·马斯卡尼从他的歌剧中删减了246小节。音乐的这一重要部分在很大程度上仍然是未知的，从未被研究过。最近获得的原始提示者的乐谱，曾经由第一指挥(莱奥波尔多·穆格内)拥有的乐谱，签名信，未探索的评论，以及重新发现的舞台手册，使得对剪辑的彻底评估成为可能。这些删减分为三类:(1)加快节奏的删减，(2)减少合唱部分的删减，以及(3)明星歌手杰玛·贝利乔尼(桑图扎)和罗伯托·斯塔格诺(图里杜)在最后一刻提出的换位要求。文章认为，删减的后果超出了其最初的功能，影响了舞台、戏剧和形式概念。例如，在《导言》(Introduzione)中，他们让人对这场戏应该如何上演感到困惑;在《阿尔菲奥奏鸣曲》(Sortita di Alfio)中，他们删去了作为咏叹调大规模正式计划的高潮部分的音乐;而在第五幅合成图中，他们夸大了所谓的严酷时刻的戏剧效果。简而言之，这些剪辑揭示了作曲家最初的戏剧意图和技术抱负，并且在一百多年的时间里一直没有考虑恢复。
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