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Published online by Cambridge University Press: 01 January 1975
There seems to be evidence in German and French-language opera in the second half of the 18th century and beginning of the 19th, that certain musical phenomena could carry extra-musical connotations. Some work, for example, has been carried out on the significance of wind instruments, particularly in relation to Masonic ceremonies. The extension of the enquiry into purely instrumental music has also been pursued, both from the point of view of a single composer's oeuvre and that of the presence of folk material. On the whole, the expressive power of the Classical orchestra and the ubiquity of opera in the repertory under discussion provide a solid basis for the type of empirical enquiry necessary in this type of investigation.
1 Jacques Chailley, The Magic Flute, Masonic Opera (London, 1972).Google Scholar
2 See, for example, Arnold Schering, ‘Bemerkungen zu J. Haydns Programmsinfonien’, Jahrbuch der Musikbibliothek Peters fur 1939 (Leipzig, 1940), 9–27.Google Scholar
3 David Charlton, Orchestration and Orchestral Practice in Paris, 1789–1810 (unpublished dissertation, Cambridge University, 1973), 352, 486Google Scholar
4 Charles Talbut Onions, ed., The Shorter Oxford English Dictionary (Oxford, 1933), s v. ‘Medium’ There is an incidental echo in the theatrical meaning of a ‘screen fixed in front of a gas-jet in order to throw a coloured light upon the stage’, in that the accompaniment parallels the screen and the melody the tinted image.Google Scholar
5 Bernard Germain Étienne Médard de la Ville, Comte de La Cépède, La Poétique de la musique (Paris, 1785, reprinted 1970), 1, 223–4: ‘toujours à la tête des grandes vertus, ou toujours suivi de grands crimes’.Google Scholar
6 Michel Chabanon, De la musique considérée en elle-même (Paris, 1785, reprinted 1969), 149. 'La musique gracieuse tient naturellement à la situation d'une âme tranquille, qui repose dans une sorte d'impassibilité heureuse c'est ainsi que chanteront tous les hommes qui jouiront des voluptés de la nonchalance: il ne leur faut point de rhythme trop actif. Une des nuances de ce caractère est le gracieux tendre et sensible, Vamoroso.Google Scholar
7 Harald Heckmann, ed., La Rencontre imprévue: Die Pilger von Mekka, Christoph Willibald Gluck-Samtliche Werke, iv/7 (Kassel, Basle, etc, 1964), 134.Google Scholar
8 Rudolph Angermuller, ed, Bastien und Bastienne, Wolfgang Amadeus Mozart: Neue Ausgabe samtlicher Werke, ii/5/3 (Kassel, Basle, etc, 1974), 80.Google Scholar
9 Collection complète des oeuvres de Grétry, xxviie livraison (Leipzig and Brussels, n. d.), 22 3Google Scholar
10 Günter Thomas, ed., La Fedeltà premiata: dramma pastorale giocoso, 1780, Joseph Haydn Werke, xxv/10 (Munich and Duisburg, 1968), i, 153.Google Scholar
11 Mozart, W. A., Die Zauberflöte, ed. H. Abert (London. Eulenburg, n. d), 342–3.Google Scholar
12 Luigi Cherubini, Lodoiska (full score) (Paris: Naderman, n. d., copy in King's College Library, Cambridge), 410Google Scholar
13 Luigi Cherubini, Lodoiska (full score of overture) (Leipzig Brettkopf und Hartels Parutur-Bibliothek no 186, n. d), 48–9. Since the music of (vi a) is identical with that of (vi. b) except for tiny scoring details, I have illustrated them together by superimposing the vocal parts on (vi. b).Google Scholar
14 Peter von Winter, Das unterbrochene Opferfest (vocal score) (Bonn and Cologne Simrock, n d), full score with Italian words, British Library, Add 16135, f 125.Google Scholar
15 Not in printed vocal store, full score, British Library, Add 16135, f 136Google Scholar
16 Peter von Winter, Tamerlan (full score) (Paris Naderman, n. d, copy in Cambridge Pendle bury Library), 261.Google Scholar
17 Franz Schubert, Complete Works, Brentkopf & Hartel Critical Edition of 1884–1897 (New York and Wiesbaden, 1965), ix/2, 526Google Scholar
18 ‘Sie durchwandern die Feuerhohle und umarmen sie sich’ libretto (London: Cassell, 1971), 90. Cf. Eulenburg score, 341–2: ‘Sobald sie vom Feuer herauskommen, umarmen sie sich, und bleiben in der Mitte’.Google Scholar
19 Lodoiska is discussed in Edward J. Dent, The Rise of Romantic Opera (Cambridge, 1976), 55 61.Google Scholar
20 No copy of the libretto has been traced in England, so I am for the moment ignorant of the precise dramatic context.Google Scholar
21 C. W Gluck, La Cythère assiégée (full score) (Paris Des Lauriers, n. d.), 112Google Scholar
22 Gasparo Spontini, La Vestale (full score) (Paris: Mlles Erard, n d), 147Google Scholar
23 London, British Library, Add 16135, f 19, words from vocal scoreGoogle Scholar
24 Alfred Orel, ed., Apollo und Hyacinth, Wolfgang Amadeus Mozart Neue Ausgabe samtlicher Werke, ii/5/1 (Kassel, Basle, etc, 1959), 82Google Scholar
25 William Mann, The Operas of Mozart (London, 1977), 33Google Scholar
26 Ibid, 31 The same music appears in Mozart's symphony in F, λi 43 (1767), as principal thematic material in the second movement.Google Scholar
27 Aria no 5, in Giovanni Paisiello, Le Barbier de Séville (full scores (Paris Le Duc, n d.), 39.Google Scholar
28 Manfred F. Bukofzer, ‘Allegory in Baroque Music’, Journal of the Warburg and Courtauld Institutes, iii (1939 40), 9, 21.Google Scholar
29 Ronald Paulson, Emblem and Expression (London, 1975), 18, 53Google Scholar
30 Ibid., 230.Google Scholar
31 Bukofzer, op cit., 10, 18, 21.Google Scholar
32 See La Cépède, op cit, i, 52–3.Google Scholar
33 Adam Smith, Essays on Philosophical Subjects [first published posthumously in 1795] ‘Of the nature ofthat imitation which takes place in what are called the Imitative Arts’ (London, 1869), 425. The essay was probably completed in 1782, when Sir Joshua Reynolds wrote (on September 12) ‘Smith intends publishing this winter an essay on the reason why imitation pleases’ Portraits by Sir Joshua Reynolds, ed. F W Hilles (London, 1952), 155.Google Scholar
34 Hugo Riemann, ed., Sinfonien des pfalzbayerochen Schule, Denkmaler der Tonkunst m Bavern, m/t (Braunschweig, 1902), 237Google Scholar
35 Cherubini's overtures are mentioned in Basil Deane, ‘The French Operatic Overture from Grétry to Berlioz’, Proceedings of the Royal Musical Association, xcix (19723), 67–80, but the question of thematic anticipation of an opera in its overture is not discussed.Google Scholar
36 Cf. the similar imagery in Beethoven's unfinished C major violin concerto (?1700–92), in Ludwig Schiedermair, Der junge Beethoven (Leipzig, 1925), 440–41.Google Scholar
37 Adolf Ruthard, ed., Sammlung beruhmter Sonaten von Muzio Clementi (Leipzig: Peters, n.d.), ii, 12. The extract is from the slow movement of op. 36 no. 3 (c. 1798).Google Scholar
38 For example, the second movement of Haydn's sonata Hob. XVI/33 (? before 1771; Anthony von Hoboken, Joseph Haydn: Thematisch-bibliographisches Werkverzeichnis, i (Mainz, 1957), 758, where it is tentatively dated 1777).Google Scholar