The characteristic symphony in the age of Haydn and Beethoven 9780511101427, 9780521057172, 9780521802017

Table of contents :
Frontmatter
Acknowledgments (page ix)
Note to the reader (page xi)
Introduction (page 1)
1 Paradise lost: Dittersdorf's Four Ages of the World and the crisis of Austrian enlightened despotism (page 29)
2 Preaching without words: Reform Catholicism versus divine mystery in Haydn's Seven Last Words (page 83)
3 The boundaries of the art: characteristic music in contemporary criticism and aesthetics (page 129)
4 Paradise regained: time, morality, and humanity in Beethoven's Pastoral Symphony (page 156)
5 Making memories: symphonies of war, death, and celebration (page 188)
Appendixes (page 242)
1 Index of characteristic symphonies (page 249)
2 Pastoral symphonies and movements (page 294)
3 Symphonies and movements by subject (page 299)
Bibliography (page 304)
Index (page 319)

Citation preview

The Characteristic Symphony in the Age of Haydn and Beethoven Associated through descriptive texts with literature, politics, religion, and other subjects, “characteristic” symphonies offer an opportunity to study instrumental music as it engages important social and political debates of the eighteenth and early nineteenth centuries: the

nature of individual and collective identity in an era of violent . political transformation; the effects of a perceived acceleration of history after the French Revolution; the conflicts between “Enlightened” and “Romantic” ideals of artistic expression. This first full-length study of the genre illuminates the relationship between symphonies and these larger contexts by focusing on the musical

representation of feeling, human physical movement, and the passage | of time. The works discussed include Beethoven’s Pastoral and Eroica Symphonies, Haydn’s Seven Last Words of our Savior on the Cross, Carl

Ditters von Dittersdorf’s symphonies on Ovid’s Metamorphoses, and | orchestral battle reenactments of the Revolutionary and Napoleonic eras. A separate chapter details the aesthetic context within which characteristic symphonies were conceived, as well as their subsequent reception, and a series of appendixes summarizes bibliographic information for over 225 relevant examples. RICHARD WILL is Associate Professor of Music at the University of Virginia. He has articles on Beethoven, Haydn, and other topics in eighteenth- and early nineteenth-century music in the Journal of the American Musicological Society, Music and Letters, and Beethoven Forum.

He has also written a series of critical essays on Jimi Hendrix for the

International Dictionary of Black Composers. |

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New perspectives in music history and criticism GENERAL EDITORS JEFFREY KALLBERG, RUTH SOLIE, AND ANTHONY NEWCOMB

This series explores the conceptual frameworks that shape or have shaped the ways in which we understand music and its history, and aims to elaborate structures of explanation, interpretation, commentary, and criticism which make music intelligible and which provide a basis for argument about judgments of value. The intellectual scope of the series is broad. Some investigations will treat, _ for example, historiographical topics, others will apply cross-disciplinary methods to the criticism of music, and there will also be studies which consider music in its relation to society, culture, and politics. Overall, the series hopes to create a greater presence for music in the ongoing discourse among the human sciences. PUBLISHED TITLES

Leslie C. Dunn and Nancy A. Jones (eds.), Embodied voices: representing female vocality in western culture Downing A. Thomas, Music and the origins of language: theories from the French Enlightenment Thomas S. Grey, Wagner’s musical prose Daniel K. L. Chua, Absolute music and the construction of meaning Adam Krims, Rap music and the poetics of identity Annette Richards, The free fantasia and the musical picturesque Richard Will, The characteristic symphony in the age of Haydn and Beethoven

Christopher Morris, Reading opera between the lines: orchestral interludes and cultural meaning from Wanger to Berg Emma Dillon, Medieval Music-Making and the “Roman de Fauvel'’

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