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The Woman Singer and Her Song in French and German Prose Fiction (Circa 1790-1848)

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The Woman Singer and Her Song in French and German Prose Fiction (Circa 1790-1848) The Woman Singer and her Song in French and German Prose Fiction (circa 1790-1848) Julia Irmgard Effertz A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Oxford Brookes University November 2008 8863 8 11,1001111Ill 111111111IN103 IIIlill To my mother, Irmgard Effertz (nee Pelz), and to her mother, Gertrud Pelz (nee Salewski), two exceptionally strong women. Contents Acknowledgments v Conventions vi Abbreviations usedforjoumals throughoutthe thesis vi Abstract ix 1 Introduction Methodology 9 The Questionof Otherness 10 Performance,Subversion and the Possibility of FemaleAgency 14 2 Writing in Context: 18'h- and 19th- Century Musical Culture 19 The Reality of Literature: Court Culture and BourgeoisPastimes 20 The Rift Within the Myth: Femaleand Feminine Music 25 Idle Pursuits:Educating the Muses 29 Negotiating Ideal and Performance:Real-Life Singers 35 3. Conceptualising Female Song: 18'h-and 19'h- Century Musical-Literary Aesthetics 43 Finding the Original Language:Musical Aesthetics and the RousseauesqueTradition 45 Literary Conceptsof the Singer 53 Writing Otherness 55 Sublime Eroticism: Writing the Singing Body 57 Questionsof Life and Death 61 Genius 63 4 Goethe's Mignon and Madame de StaEl's Corinne: Creating a Literary Archetype (1795-1807) 68 (1) The Poeticsof Performance:Mignon 68 Existing Scholarship 70 Born from Song:Mignon in the Context of Goethe'sLied Aesthetics 74 A Poetic Cipher?Mignon's Existencethrough Song 80 Genderand Performance 91 (2) A French Soul Mate? Madamede Stadland Corinne, ou 17talie 97 The Genesisof a FemaleMyth 97 Existing Scholarship 100 Creatingthe FemaleArtist of Genius 101 The Doubts of Musical Utopia 102 From Improvisationto Opera:The Ambivalenceof the Artist's Voice 112 W done est votre belle Italie'? The Possibility of Artistic Reconciliation 117 5 Beyond the Canon: Singing Strategies in the Works of Caroline Auguste Fischer (1808-1818) 123 Piecing togethera 'Woman of Letters' 124 Rediscoveringa Phenomenon:Fischer's RecentCritical Appraisal 128 Writing Music, Writing Difference 130 Playing the Harp Until DeathDo Them Part: Der Giinstling (1808) 133 Anything But Music: Margarethe (1812) 142 A Songof Freedom?Justine (1818) 153 6 French-German Entgrenzung: The Singer in the Works of E. T. A. Hoffmann, Honork de Balzac and Hector Berlioz (1814-1844) 161 (1) Facinga Phantasm:the Singer in E.T. A. Hoffmann's Literary Work 162 Hoffmann's Aestheticsof Entgrenzungand Dissonance 164 Hoffmann's Singers 170 Musical Mechanicsand the Human Instrument:Rat Krespel 173 Glimpsesof Emancipation?Das Sanctus 178 Male Phantasms?Kreisler and Julia 181 (2) From Peripheryto Centre:France and the Artist as CentreStage 185 The Trivia of Genius:the Literary Output of the Singer 185 Hoffmann Legacies1: Honord de Balzacmusicien-littirateur 191 A Singing Illusion: Sarrasine 193 The Mystery of Artistic Legacy:Zambinella and Marianina 197 Tuer Piddal 1:Massimilla Doni 201 Conceptsof the Voice: Genovese,Tinti, Massimilla 205 From Entgrenzungto Reconciliation:Moving Away from Hoffmann 209 Hoffmann Legacies11: The Singer in Hector Berlioz's Les Soirjes de Vorchestre 212 'Voild I'dcrivain': the Poet-Musician 213 The Berliozian Singer:Goddess or Monster? 214 A Utopian Space?Les Soiries de Vorchestre 217 Tuer Piddal 11:Euphonia, or Musical Dystopia 218 7 Realistic Expectations: The Singer in Female-Authored Texts of the July Monarchy (1730-1848) 226 (1) Facing Reality: Emmeline,ou lajeune musicienne 228 (2) The Prima Donna Question 236 HoffmannesqueEchoes: George Sand, La Prima Donna 238 Trivial Surprises:Madame Taunay, Une Cantatrice 244 Marceline Desbordes-Valmore,Domenica 252 8 Conclusion 265 Bibliography 272 iv Acknowledgments It would have beenimpossible for me to write this thesiswithout the help, support and friendship of many different people. First and foremost,my supervisoryteam, to whom I am most grateful: to Professor Valerie Worth who oversawthe entire thesisprocess as my incredibly knowledgeableDirector of Studiesfrom day one, and who continuedto supervise me despitemoving to a different university; to Dr. Nathalie Aubert, who graciously took over as Director of Studiesduring my final year and whoseongoing support and encouragementsafely saw me through to thesiscompletion. To ProfessorHans Hahn, who supervisedthe Germanside of this thesis,taking over from Dr. James Hodkinson,who had beenmy Germansupervisor during the first year of research.I furthermorereceived invaluable input for the musicologicalside of things from Dr. Alexandra Wilson. I am most grateful for the many networking and socialising opportunitiesprovided by different conferencesthat I was able to attendduring my research:most notably, I am much indebtedto the Societyof Dix-Neuvidmistes (UK), The Stadl Society (F) and the FrenchLiterature Conferenceat the University of South Carolina (USA). I was fortunateto haveaccess to the excellentresearch facilities at Oxford's Bodleian library and to the fantasticarchives of the Bibliothýque Nationale in Paris,without which I could neverhave accomplished this work. For the difficult, lonely momentsduring this researchproject, I will always be indebtedto the Oxford University Drama Society,which gaveme the opportunityto reconcilethe actresswith the researcher,and to the colleaguesand friends who were there for me: to the Goldfish Bowl researchers(Nicola, Alma, Ahmad, Javad,Mai, Rawiwan),to the PhD studentsin Arts and Humanitiesand thosewho madeit through: Joannaand Barbara.To my colleagueAlexandra Kleinlercher for relaxing coffee breaks,and to my flat-matesNapaporn and Jaturongfor manyjoyous eveningsof discussionsand delicious Thai food. Finally, thanksgo to my Strasbourg friends, Nassir and SimoneNaderi. Most importantly, I could not have donethis work without the constant, unconditionaland loving supportof my wonderful family back home in Germany,to whom I am forever indebted. V Conventions In this thesis I havefollowed the guidelineslaid down in the Modern Humanities ResearchAssociation style book. The following principles apply to my treatmentof primary texts. Due to the comparativenature of this thesis,all quotationsfrom primary texts are given in the original language. In the caseof lesser-knownauthors, especially those discussed in chapters5 and 7,1 havechosen to give slightly longer quotationsas I felt it importantto give the reader a tasteof the author's writing style and tone, as well as samplesof works that are not generally well-known. Quotationsare taken from the critical edition of the author's work. In the caseof the lesser-knownauthors treated in chapter7,1 havechosen the edition(s) availableto me, all of which are held at the Bibliothýque nationalein Paris. The full referencefor eachedition is given the first time the work is cited, together with the abbreviationthat will be usedthereafter. A specialcase applies to Johann Wolfgang von Goethe,whose complete works are available in a numberof critical editions. I have followed Germanistconventions by using the standardsigla outlined in the bibliography. vi Abbreviations used for journals throughout the thesis AFM Archivftr Musikwissenschaft AMU Acta Müsicologica ALZ Allgemeine Literatur-Zeitung A UK Ästhetik und Kommunikation AMZ Allgemeine Musikalische Zeitung Coi CambridgeOpera Journal DAI DissertationAbstracts International DEP La Dimocratie pacifique DES Dalhousie French Studies D VJ DeutscheVierteljahresschrift ELI, LEurope littiraire FHS French Historical Studies FQR TheForeign Quarterly Review GJB Goethe-Jahrbuch GYB Goethe-Yearbook GLL GermanLife and Letters GRM Germanisch-RomanischeMonatsschrift GQU German Quarterly HJB Heine-Jahrbuch JDS Jahrbuch der deutschenSchillergeselischaft JGG Jahrbuch der Goethe-Gesellschaft JIG Jahrbuchffir Internationale Germanistik JRM Journal ofthe Royal Musical Association LAB LAnnje halzacienne LFH La France musicale LLZ Leipziger Literaturzeitung MA L Music and Letters vii MDF Mercure de France MLN Modern LanguageNotes MLR TheModem LanguageReview MUB Musik und Bildung NPH Neophilologica: A Journal of Germanicand RomanceLanguages and Literature PMLA Publications ofthe Modem LanguageAssociationofAmerica RCL Revuecritique des livres nouveaux RDT RevuedHistoire du Thidire RGA RevueGinirale RHL RevuedHistoire littiraire de la France RLC Revuede littirature comparje RLV Revuedes languesvivantes RDM Revuedes Deux Mondes RDP Revuede Paris RGM Revueet GazetteMusicale de Paris RMU Revuede Musicologie ROF RomanistischeForschungen RSH Revuedes Sciences Humaines RUO Revuede I'Universitj d'Ottawa VST Victorian Studies WFS Womenin French Studies viii Abstract This thesisexamines the woman singerand her songas a literary motif in French and Germanprose fiction between1790 and 1848.In the form of selectedcase studies,I establishhow, for someauthors of this period,the singerconstituted an important cipher for femaleartistic empowerment.Although substantialresearch on the cross-fertilizationbetween music and literatureexists, this specific motif hasso far receivedvery little attention in ComparativeLiterature studies.Additionally, literary critics have not previously exploredthe potentialof the woman singer beyondthe stereotypesassociated with woman and song. By outlining the socio- cultural backgroundof singersat the time in chapter2, and the theoreticalcontext of idealizedfemale song in chapter3,1 first show the strong ideologicaldimension of the singer as a characterof ambivalence.I then investigatehow I iteratureresponded to this theme,and how key authorsdeveloped
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