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MUSIC in the EIGHTEENTH CENTURY Western Music in Context: a Norton History Walter Frisch Series Editor

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MUSIC IN THE EIGHTEENTH CENTURY Western Music in Context: A Norton History Walter Frisch series editor Music in the Medieval West, by Margot Fassler Music in the Renaissance, by Richard Freedman Music in the Baroque, by Wendy Heller Music in the Eighteenth Century, by John Rice Music in the Nineteenth Century, by Walter Frisch Music in the Twentieth and Twenty-First Centuries, by Joseph Auner MUSIC IN THE EIGHTEENTH CENTURY John Rice n W. W. NORTON AND COMPANY NEW YORK ē LONDON W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By midcentury, the two major pillars of Norton’s publishing program— trade books and college texts—were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees. Copyright © 2013 by W. W. Norton & Company, Inc. All rights reserved Printed in the United States of America Editor: Maribeth Payne Associate Editor: Justin Hoffman Assistant Editor: Ariella Foss Developmental Editor: Harry Haskell Manuscript Editor: JoAnn Simony Project Editor: Jack Borrebach Electronic Media Editor: Steve Hoge Marketing Manager, Music: Amy Parkin Production Manager: Ashley Horna Photo Editor: Stephanie Romeo Permissions Manager: Megan Jackson Text Design: Jillian Burr Composition: CM Preparé Manufacturing: Quad/Graphics—Fairfield, PA Library of Congress Cataloging-in-Publication Data Rice, John A. Music in the eighteenth century / John Rice. —1st ed. p.cm.— (Western music in context: a Norton history) Includes bibliographical references and index. ISBN 978-0-393-92918-8 (pbk. : alk. paper) 1. Music—18th century—History and criticism. I. Title. ML195.R53 2013 780.9'033—dc23 2012040077 W. W. Norton & Company, Inc., 500 Fifth Avenue, New York, NY 10110-0017 wwnorton.com W. W. Norton & Company Ltd., Castle House, 75/76 Wells Street, London W1T3QT 1 2 3 4 5 6 7 8 9 0 CONTENTS IN BRIEF Contents vii Anthology Repertoire x Series Editor’s Preface xiii Author’s Preface xv CHAPTER 1 The Encyclopedic Century 1 CHAPTER 2 Learned and Galant 16 CHAPTER 3 Naples 30 CHAPTER 4 Carnival Opera in Rome and Venice 44 CHAPTER 5 Instrumental Music in Italy and Spain 59 CHAPTER 6 Paris of the Ancien Régime 73 CHAPTER 7 Georgian London 88 CHAPTER 8 Vienna under Empress Maria Theresa 106 CHAPTER 9 Leipzig and Berlin 122 CHAPTER 10 Courts of Central Europe: Mannheim, Bayreuth, and Eisenstadt/Eszterháza 139 CHAPTER 11 Galant Music in the New World 153 CHAPTER 12 St. Petersburg under Catherine the Great 171 CHAPTER 13 Foreigners in Paris: Gluck, Mozart, Salieri, Cherubini 186 CHAPTER 14 Mozart’s Vienna 200 v vi contents in brief CHAPTER 15 Prague 222 CHAPTER 16 London in the 1790s 237 CHAPTER 17 Vienna in the Napoleonic Era 254 GLOSSARY A1 ENDNOTES A9 CREDITS A17 INDEX A19 CONTENTS Anthology Repertoire x Series Editor’s Preface xiii Author’s Preface xv CHAPTER 1 The Encyclopedic Century 1 The Grand Tour 4 ē The “Fish-Tail” 5 ē Demographics and Religion 6 ē A Musicological Grand Tour 10 ē For Further Reading 14 CHAPTER 2 Learned and Galant 16 Old and New Musical Styles 19 ē Binary and Da Capo Form: Musical Common Ground 22 ē Coexistence and Interaction of Styles 23 ē Teaching and Learning 27 ē For Further Reading 29 CHAPTER 3 Naples 30 Musical Education 32 ē The Musico and Vocal Improvisation 35 ē Theaters 37 ē The Austrians in Naples, Vinci, and the Emergence of the Galant Style 38 ē Pergolesi and the Comic Intermezzo 41 ē For Further Reading 43 CHAPTER 4 Carnival Opera in Rome and Venice 44 Metastasio and Opera Seria 45 ē Theatrical Transvestism and the Roman Carnival: Latilla’s La finta cameriera 49 ē Venetian Ospedali 54 ē “I Boast of My Strength”: The Life and Music of Caterina Gabrielli 55 ē For Further Reading 58 vii viii contents CHAPTER 5 Instrumental Music in Italy and Spain 59 The Operatic Sinfonia, the Symphony, and the Orchestra 60 ē The Piano 62 ē Domenico Scarlatti 66 ē Boccherini and the Music Publishing Business 69 ē For Further Reading 72 CHAPTER 6 Paris of the Ancien Régime 73 Tragédie Lyrique at the Opéra 75 ē Opéra Comique 76 ē Instrumental Music in Parisian Salons 82 ē Public Concerts and the Chevalier de Saint-Georges 84 ē For Further Reading 87 CHAPTER 7 Georgian London 88 Metropolis on the Thames 88 ē Ballad Opera 90 ē Italian Opera 93 ē Public Concerts 99 ē “Ancient” and Modern Instrumental Music 101 ē For Further Reading 105 CHAPTER 8 Vienna under Empress Maria Theresa 106 The Court Theater and the Theater at the Kärntnertor 108 ē Crisis, Reform, and a New Court Theater 108 ē Maria Theresa as Musician and Patron 110 ē Gluck and Viennese Opéra Comique 113 ē Operatic Reform and Orfeo ed Euridice 114 ē Church Music: Vanhal’s Missa Pastoralis 116 ē Women at the Keyboard 118 ē For Further Reading 121 CHAPTER 9 Leipzig and Berlin 122 Leipzig in 1750 122 ē Hiller as Organizer of Concerts and Composer of Singspiele 124 ē A Musician-King’s Violent Coming of Age 126 ē Frederick’s Opera Company and Graun’s Montezuma 130 ē Carl Philipp Emanuel Bach 134 ē For Further Reading 138 CHAPTER 10 Courts of Central Europe: Mannheim, Bayreuth, and Eisenstadt/Eszterháza 139 Carl Theodor and Stamitz at Mannheim 140 ē Margravine Wilhelmina and Anna Bon at Bayreuth 143 ē Joseph Haydn in Vienna and Eisenstadt 146 ē Haydn at Eszterháza and the Farewell Symphony 149 ē For Further Reading 152 CHAPTER 11 Galant Music in the New World 153 The Gold Cities of Minas Gerais 156 ē An Italian Musician in Mexico City 162 ē The Slave Colony of Jamaica and Samuel Felsted’s Jonah 163 ē Music for the Moravian Lovefeast 166 ē For Further Reading 169 CHAPTER 12 St. Petersburg under Catherine the Great 171 Catherine the Great as Operatic Patron 174 ē Music and the Nobility: Nicholas and Prascovia 178 ē Giuseppe Sarti, Dmitry Bortniansky, and contents ix Russian Church Music 180 ē The Russian Horn Band 182 ē John Field’s Forward-Looking Piano Music 183 ēƎFor Further Reading 185 CHAPTER 13 Foreigners in Paris: Gluck, Mozart, Salieri, Cherubini 186 Gluck at the Opéra 186 ē Mozart in Paris’s Salons and Concert Rooms 190 ē Antonio Salieri and Les Danaïdes 193 ē Luigi Cherubini and the French Revolution 194 ē For Further Reading 199 CHAPTER 14 Mozart’s Vienna 200 Joseph as Enlightened Monarch 201 ē New Patterns of Patronage 205 ē Public Concerts 206 ē Music in the Home 210 ē Opera Buffa 216 ē For Further Reading 220 CHAPTER 15 Prague 222 In the Shadow of White Mountain 222 ē Italian Opera 225 ē Mozart in Prague 226 ē Don Giovanni 228 ē A Coronation Opera for the “German Titus” 233 ē For Further Reading 236 CHAPTER 16 London in the 1790s 237 Rival Concert Series 237 ē Haydn’s First Visit to England 239 ē Haydn’s Second Visit 246 ē For Further Reading 253 CHAPTER 17 Vienna in the Napoleonic Era 254 Beethoven in Vienna: The 1790s 256 ē Gottfried van Swieten and Haydn’s The Seasons 259 ē The Triumph of Cherubini’s Les Deux Journées 260 ē Church Music as Counter-Revolutionary Symbol 261 ē Beethoven’s Heroic Style 264 ē The Pastoral Symphony as Celebration of the Enlightenment 270 ē For Further Reading 274 Glossary A1 Endnotes A9 Credits A17 Index A19 ANTHOLOGY REPERTOIRE 1. Giovanni Battista Pergolesi, Stabat Mater: Stabat mater dolorosa 2. Giovanni Battista Pergolesi, La serva padrona: A Serpina penserete 3. Johann Adolf Hasse, Artaserse: Per questo dolce amplesso 4. Lodovico Giustini, Piano Sonata No. 1 in G Minor: Movement 2 5. Domenico Scarlatti, Sonata in C Major, K. 421 6. Joseph Boulogne, Chevalier de Saint-Georges, Violin Concerto in D Major, Op. 3, No. 1: Movement 2 7. Domenico Gallo, Trio Sonata No. 1 in G Major: Movement 1 8. Johann Christian Bach, Sonata in D Major, Op. 5, No. 2: Movement 1 9. Christoph Gluck, Orfeo ed Euridice: Act 2, Scene 1, to end of chorus Misero giovane 10. Johann Baptist Vanhal, Missa Pastoralis: Agnus Dei 11. Carl Philipp Emanuel Bach, Fantasia in C Minor, W. 63, No. 6 12. Johann Stamitz, Symphony in D Major, Op. 3, No. 2: Movement 1 13. Anna Bon, Keyboard Sonata in F Major, Op. 2, No. 3: Movement 1 14. Joseph Haydn, Symphony No. 8 in G Major (Le soir): Movement 1 15. Ignacio de Jerusalem, Matins for the Virgin of Guadalupe: Vidi speciosam 16. Tommaso Traetta, Antigona: Piangi, o Tebe 17. Giovanni Paisiello, Il barbiere di Siviglia: Finale of Act 4 (extract) 18. Wolfgang Amadeus Mozart, Piano Concerto No. 17 in G Major, K. 453: Movement 2 19. Joseph Haydn, String Quartet in Ea Major, Op. 33, No. 2 (“The Joke”): Movement 4 20. Wolfgang Amadeus Mozart, String Quartet in A Major, K. 464: Movement 2 x anthology repertoire xi 21. Wolfgang Amadeus Mozart, Così fan tutte: Fra gli amplessi in pochi istanti 22. Wolfgang Amadeus Mozart, Symphony No. 38 in D Major, K.
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  • An Essay in Carnal Musicology

    An Essay in Carnal Musicology

    Boccherini’s Body Boccherini’s Body An Essay in Carnal Musicology Elisabeth Le Guin UNIVERSITY OF CALIFORNIA PRESS Berkeley Los Angeles London University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2006 by Elisabeth Le Guin Library of Congress Cataloging-in-Publication Data Le Guin, Elisabeth, 1957– Boccherini’s body : an essay in carnal musicology / Elisabeth Le Guin. p. cm. Includes bibliographical references and index. isbn 0-520-24017-0 (cloth : alk. paper) 1. Boccherini, Luigi, 1743–1805—Criticism and interpretation. 2. Music—Interpretation (Phrasing, dynamics, etc.) I. Title. ml410.b66l4 2006 780'.92—dc22 2005023224 Manufactured in the United States of America 13 12 11 10 09 08 07 06 10987654321 This book is printed on Natures Book, which contains 50% post-consumer waste and meets the minimum requirements of ansi/niso z39.48-1992 (r 1997) (Permanence of Paper).8 But what do my cold and exaggerated expressions mean, my lines without character and without life, these lines that I have just traced, one on top of the other? Nothing, nothing at all; one must see the thing. Mais que signifient mes expressions exagérées et froides, mes lignes sans caractères et sans vie, ces lignes que je viens de tracer les unes au-dessus des autres? Rien, mais rien du tout; il faut voir la chose.