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University of Groningen Between Music Tourism and Fandom Gessel University of Groningen Between music tourism and fandom Gessel, van, Jeroen Published in: Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite from it. Please check the document version below. Document Version Publisher's PDF, also known as Version of record Publication date: 2019 Link to publication in University of Groningen/UMCG research database Citation for published version (APA): Gessel, van, J. (2019). Between music tourism and fandom: The operatic exploits of Ferdinand de Beaufort (1797–1868). Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 69(1), 91- 108. Copyright Other than for strictly personal use, it is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), unless the work is under an open content license (like Creative Commons). Take-down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from the University of Groningen/UMCG research database (Pure): http://www.rug.nl/research/portal. For technical reasons the number of authors shown on this cover page is limited to 10 maximum. Download date: 24-09-2021 TIJDSCHRIFT VAN DE KONINKLIJKE VERENIGING VOOR NEDERLANDSE MUZIEKGESCHIEDENIS DEEL LXIX, 2019 Eindredacteur: ERIC JAS Redactie: ROBERT ADLINGTON, JACQUES BOOGAART, ALBERT CLEMENT, WALTER VAN DE LEUR INHOUD DAVID FALLOWS: Charles the Bold as patron, singer and composer 3 SIMON GROOT: Flarden van Amersfoortse cantilenae? Drie Nederlandstalige kerstliederen uit Amersfoort en refreinen van de Latijnse school 19 HENRI VANHULST: La musique dans un catalogue de vente de Loth de Haes, libraire à Leiden (1671) 57 RUDOLF RASCH: Roger, Bach and Walther. Musical relations between Amsterdam and Weimar 75 JEROEN VAN GESSEL: Between music tourism and fandom. The operatic exploits of Ferdinand de Beaufort (1797–1868) 91 RALPH HENSSEN: ‘Het vormen in modernen geest van theoretisch en practisch veelzijdig ontwikkelde toonkunstenaars’. De orkestschool van het Concertgebouw (1890-1898) 109 FANNY MOJET: Carl Oberstadt (1871-1940). Dutch pianist and composer 121 BOEKBESPREKING Senfl-Studien 3, ed. by S. GASCH, B. LODES & S. TRÖSTER – MICHAEL MEYER 139 SIGNALEMENT 144 CONTRIBUTORS TO THIS ISSUE 147 Jeroen van Gessel BETWEEN MUSIC TOURISM AND FANDOM The operatic exploits of Ferdinand de Beaufort (1797-1868) For over three decades Ferdinand de Beaufort (1797-1868), member of a Dutch pa- trician family with roots tracing back well into the sixteenth century, used the sum- mer holidays to travel through Europe, with a special preference for the most impor- tant capitals of the continent: Berlin, Paris, and, especially, London. It was probably the wide array of arts and sciences on offer that attracted him to the latter city and Britain in general. He would go see the latest architectural and industrial landmarks, seek (and get) permission to visit country estate houses, attend lectures about scien- tific discoveries, go to horticultural shows, visit exhibitions of fine arts, especially painting, but more than anything he enjoyed going to the opera. He summarized his impressions in a travel diary but also shared his experiences with members of his family, mostly with his younger brother Arnoud Jan de Beaufort (1799-1866) and his sister Antoinette Charlotte de Beaufort (1814-1876). Remarkably enough, his let- ters make almost no mention of visiting opera performances in the Netherlands and contain only few remarks concerning concerts he attended when he was not abroad. Of course, Ferdinand de Beaufort was not the only Dutchman in the nineteenth century who would use a trip abroad as a nice opportunity to take in an opera. Reac- tions and motivations, however, could diverge quite a bit. During his stay in Vienna in the winter semester of 1863-1864, the medical student Jacob Baart de la Faille (1839- 1918) regularly went to the opera. As he explained to his fiancee, he considered it a treat to hear the well-known operas performed to such a high standard, especially since he would not be able to do so at home – at the time he lived in Leeuwarden, she in Groningen.1 When an unidentified member of the Rotterdam patrician family Staal van Piershil took a trip to Aachen in 1829, he also fancied seeing an opera, but for entirely different reasons, as his report illustrates. He visited a performance of Rossini’s Tancredi (1813), but focused his attention entirely on the lead soloist, Amalie Schütz (1803- 1852). Her succesfull debut in Vienna had secured her an engagement at the Théâtre Italien in Paris as the lead soloist in another Rossini opera in the 1829-1830 season. It was soon followed by an invitation to sing that role in London as well. The anonymous visitor mentioned these achievements in his account, noting that Schütz was ‘première cantatrice du Théatre Italien de Paris & de Londres’. He also remarked that the audi- ence had turned up in huge numbers and that Schütz had sung her part ‘aux aplaudis- sémens inintérompus des Spectateurs.’2 That, apparently, was the only thing of interest to him, because he did not care to comment on the opera or the other performers, and 1 See, for example, Jacob Baart to his fiancee Geertje Tresling, 29 October 1863, 7 November 1863; Den Haag, Nationaal Archief [NA], Family Archive Baart de la Faille, no. 2.21.015, inv. no. 485. 2 Report about a trip to Aachen, 1829. NA, Family Archive Staal van Piershil, nr. 3.20.54, inv. no. 797. © Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, Vol. LXIX, 2019 91 if his portrayal of the audience reaction is correct, most attendants were of the same opinion. The exploits of both men may be interpreted as an early form of music tourism, a subject that in recent years has increasingly come under scholarly attention, although mostly with reference to popular music.3 Simultaneously, especially the behaviour of Staal van Piershil is very akin to early manifestations of fandom, another phenomenon that in musicology has received attention mainly from popular music scholars.4 In his- torical musicology the subject has been scrutinized primarily in research on famous prima donnas as early examples of modern day ‘stars’ and the attempts of (sections of) audiences to appropriate them through objects and narrative, the latter not necessarily strictly based on facts.5 For lack of other sources, such research has had to rely mainly on the contemporary press as source material. The diaries and letters of Ferdinand de Beaufort provide a unique insight into the experience of enjoying opera in the nineteenth century. Initially, his observations focused on the works he saw, as did Baart’s remarks to his fiancee, but from about 1840 onwards his attention was increasingly directed at the (female) soloists, similar to the travel report from the member of the Staal van Piershil family. In other words, the source material reveals a transformation in De Beaufort’s appreciation of opera. With that changing perspective a different style of reporting emerged in his diaries and letters. It reveals how single audience members might construe their own self- image of a music lover through their identification with particular soloists. In other words, both the aspect of music tourism and fandom play an important role in this body of source material. Before this contribution embarks on a detailed discussion of the contents of De Beaufort’s letters and diaries, it will first offer some reflection on the nature of this source material NINETeeNTH-CENTURY PRIVATE CORRESPONDENCE AND DIARIES AS MUSIC HISTORY SOURCES The family of Ferdinand de Beaufort left behind a substantial family archive (hence- forth BFA), which today is preserved in the municipal archive of Utrecht (Het 3 See, for example, Sites of popular music heritage. Memories, histories, places, edd. S. Cohen et al. (New York 2014); T. Rommen, Sun, sea, and sound. Music and tourism in the circum-Caribbean (Oxford 2014); M. Brocken, The twenty-first century legacy of the Beatles. Liverpool and popular music heritage tourism (Farnham 2015). 4 See mainly M. Duffett, Popular music fandom. Identities, roles and practices (New York 2014). 5 See, for example, S. Rutherford, The prima donna and opera, 1815-1930 (Cambridge 2006); R. Grotjahn, ‘The most popular woman in the world. Die Diva und die Anfänge des Starwesens im 19. Jahrhundert’, in Diva. Die Inszenierung der übermenschlichen Frau, edd. R. Grotjahn & D. Schmidt (Schliengen 2011), 74-97. For the aspect of competing discourses see T. Kaufman, ‘The Grisi- Viardot controversy, 1848-1852’, in Opera Quarterly 14 (1997), 7-22; E. Cloutier, ‘Ways to possess a singer in 1830s London’, in Cambridge Opera Journal 29 (2018), 189-214. 92 Utrechts Archief). Besides the usual official documents, it contains substantial collec- tions of private correspondence, especially from the children of Willem Hendrik de Beaufort (1775-1829) and his wife Cornelia Anna van Westrenen (1777-1839). Fer- dinand, who would remain a bachelor all his life, was their first child. He had three sisters. The eldest, Anna Digna (1802-1853), married Frederik Christiaan Taets van Amerongen (1799-1849) and lived in Switzerland for the larger part of her married life, which might explain why nearly all correspondence addressed to her has been lost. The other two sisters were Antoinette (1814-1876) and Marie (1818-1869). Both Antoinette and Marie remained unmarried and lived together in Utrecht. Fer- dinand always addressed his letters to them both, but Marie almost never replied. Although there is no evidence to substantiate this, one suspects that she suffered from some form of physical or mental illness and that Antoinette had to take care of her.
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