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Female Opera Singers and Fandom ���������������������������������������������������������������������������������������������������������������������������������39

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Female Opera Singers and Fandom ���������������������������������������������������������������������������������������������������������������������������������39 36 2016 2016 Schweizer Jahrbuch für Musikwissenschaft Annales Suisses de Musicologie Annuario Svizzero di Musicologia Neue Folge Nouvelle Série Nuova Serie 36 Musikwissenschaft/Musicologie/Musicologia Herausgegeben von der Schweizerischen Musikforschenden Gesellschaft Publiées par la Société Suisse de Musicologie Pubblicato dalla Società Svizzera di Musicologia ISBN 978-3-0343-3747-2 36 2016 2016 Schweizer Jahrbuch für Musikwissenschaft Annales Suisses de Musicologie Annuario Svizzero di Musicologia Neue Folge Nouvelle Série Nuova Serie 36 Musikwissenschaft/Musicologie/Musicologia Herausgegeben von der Schweizerischen Musikforschenden Gesellschaft Publiées par la Société Suisse de Musicologie Pubblicato dalla Società Svizzera di Musicologia Schweizer Jahrbuch für Musikwissenschaft Annales Suisses de Musicologie Annuario Svizzero di Musicologia Neue Folge / Nouvelle Série / Nuova Serie 36 (2016) Schweizer Jahrbuch für Musikwissenschaft Annales Suisses de Musicologie Annuario Svizzero di Musicologia Neue Folge / Nouvelle Série / Nuova Serie 36 (2016) Beirat / Comité de lecture / Comitato scientifico: Gianmario Borio (Pavia-Cremona), Rémy Campos (Paris/Genève), Hermann Danuser (Berlin), Reinhard Strohm (Oxford), Therese Bruggisser-Lanker (Bern), Luca Zoppelli (Fribourg) Bern · Berlin · Bruxelles · New York · Oxford Schweizer Jahrbuch für Musikwissenschaft Annales Suisses de Musicologie Annuario Svizzero di Musicologia Neue Folge / Nouvelle Série / Nuova Serie 36 (2016) Herausgegeben von der Schweizerischen Musikforschenden Gesellschaft Publiées par la Société Suisse de Musicologie Pubblicato dalla Società Svizzera di Musicologia Andrea Garavaglia (Fribourg), Luca Zoppelli (Fribourg) Bern · Berlin · Bruxelles · New York · Oxford Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Gedruckt mit Unterstützung der Schweizerischen Akademie der Geistes- und des Departements für Musikwissenschaft der Universität Freiburg (CH) Editées avec le concours de l’Académie Suisse des Sciences Humaines et Sociales et du Département de Musicologie de l’Université de Fribourg (CH) Pubblicato col sostegno dell’Accademia svizzera di scienze morali e sociali e del Dipartimento di Musicologia dell’Università di Friburgo (CH) ISSN978-3-0343-2871-5 • ISBN 978-3-0343-3747-2 (Print) E-ISBN 978-3-0343-3748-9 (E-PDF) • E-ISBN 978-3-0343-3749-6 (EPUB) E-ISBN 978-3-0343-3750-2 (MOBI) • DOI 10.3726/b15085 Open Access: This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc-sa/4.0/ Diese Publikation wurde begutachtet. © Peter Lang AG Internationaler Verlag der Wissenschaften Bern 2019 Inhalt / Sommaire / Sommario Prefazione / Vorwort / Préface 7 Andrea Kammermann, Yannick Wey, Raymond Ammann (Luzern) Ferdinand Fürchtegott Huber, Initiator der musikalischen Beziehung zwischen Alphorn und Jodel 11 Susan Rutherford (Manchester) Divining the “diva”, or a myth and its legacy: female opera singers and fandom ���������������������������������������������������������������������������������������������������������������������������������39 Jacques Tchamkerten (Genève) L’« expatrié » et les « Mandarins » : Helvetia d’Ernest Bloch et la poétique de la « vieille Suisse » �����������������������������������������������������������������������������������������63 Angela Carone (Venezia) Dalla parola scritta alla parola detta: impegno e formazione del cittadino secondo Roman Vlad 91 Carlo Piccardi (Lugano) L’ascolto trasceso del ‘nuovo Orfeo’: un capitolo di arte radiofonica 119 Rezensionen / Comptes rendus / Schede critiche 177 Samuel Baud-Bovy (1906–1986) : néohelléniste, ethnomusicologue, musicien (Delphine Vincent, Fribourg) ���������������������������������������������������������������������������������177 Autoren / Auteurs / Autori 181 Notes for contributors 185 Prefazione L’Annuario Svizzero di Musicologia ha il compito di presentare i risultati della ricer- ca musicologica condotta nel paese, indipendentemente dal soggetto studiato; si onora inoltre di pubblicare i contributi di prestigiosi colleghi attivi nella comunità scientifica internazionale Il numero 36 comprende studi critici dedicati, da un lato, alla musi- ca svizzera e alle forme del discorso identitario che essa ha contribuito a sviluppare (Andrea Kammermann, Yannick Wey e Raymond Ammann su Ferdinand Fürchtegott Huber; Jacques Tchamkerten su Ernest Bloch); d’altro lato agli aspetti mediatici e ai dibattiti sulla divulgazione culturale che hanno animato il mondo musicale nel XX se- colo (Carlo Piccardi sulla natura dell’ascolto radiofonico, Angela Carone sull’attività di Roman Vlad) Da una diversa prospettiva metodologica, Susan Rutherford offre la sua analisi della costruzione del mito della diva nel mondo dell’opera e del suo pubblico; in- fine, una scheda critica ci informa sui contenuti di una pubblicazione relativa alla storia intellettuale e musicale svizzera Un ringraziamento sentito va a tutti coloro che hanno contribuito alla preparazione di questo volume, così come all’Università di Fribourg per il suo sostegno Luca Zoppelli Fribourg, aprile 2018 Vorwort Das Schweizer Jahrbuch für Musikwissenschaft hat die Aufgabe, die Ergebnisse musikwis- senschaftlicher Forschung zu präsentieren, die im Land zu allen denkbaren Gegenständen betrieben wird Darüber hinaus werden Beiträge namhafter Kollegen der internationalen Forschergemeinschaft veröffentlicht Der vorliegende Band Nr 36 enthält Studien zur schweizerischen Musik und zu den Identitätsdiskursen, an deren Entwicklung sie betei- ligt war (Andrea Kammermann, Yannick Wey und Raymond Ammann über Ferdinand Fürchtegott Huber; Jacques Tchamkerten über Ernest Bloch) Daneben sind Beiträge zu mediengeschichtlichen Aspekten und Diskussionen über kulturelle Verbreitungsformen von Musik im 20 Jahrhundert enthalten (Carlo Piccardi über die Natur des radiopho- nen Musikhörens, Angela Carone über das Wirken von Roman Vlad) Aus einer anderen methodischen Perspektive analysiert Susan Rutherford die Struktur des Mythos, der die Operndiva und ihr Publikum verbindet Die Rezension am Ende des Bandes bespricht eine Publikation, die auf die intellektuelle und musikalische Geschichte der Schweiz eingeht Mein aufrichtiger Dank geht an alle, die zur Vorbereitung dieses Bandes beigetragen haben, sowie an die Universität Fribourg für ihre Unterstützung Luca Zoppelli Fribourg, April 2018 Préface Les Annales Suisses de Musicologie ont la tâche de présenter les fruits de la recherche musicologique menée dans le pays, quel que soit le sujet étudié ; elles sont également honorées de publier les apports de collègues prestigieux actifs dans la communauté scientifique internationale Le numéro 36 inclut des études critiques consacrées, d’un côté, à la musique suisse et aux formes du discours identitaire dont elle a été l’occasion (Andrea Kammermann, Yannick Wey et Raymond Ammann sur Ferdinand Fürchtegott Huber; Jacques Tchamkerten sur Ernest Bloch); de l’autre, aux aspects médiatiques et aux débats sur la vulgarisation culturelle qui ont animé le monde musical au XXe siècle (Carlo Piccardi sur la nature de l’écoute radiophonique ; Angela Carone sur l’activité de Roman Vlad) Dans une perspective méthodologique différente, Susan Rutherford nous offre son analyse sur la construction du mythe de la diva dans le monde de l’opéra et de son public ; finalement, un compte rendu est consacré à une publication ayant trait à l’histoire intellectuelle et musicale helvétique Je tiens à remercier chaleureusement tous ceux qui ont collaboré à la préparation de ce volume, ainsi que l’Université de Fribourg pour son soutien Luca Zoppelli Fribourg, avril 2018 Schweizer Jahrbuch für Musikwissenschaft / Annales Suisses de Musicologie pen Annuario Svizzero di Musicologia ― Neue Folge 36 (2016), Verlag Peter Lang, Bern, S. 11–37. ANDREA KAMMERMANN, YANNICK WEY, RayMOND AMMANN (Luzern) Ferdinand Fürchtegott Huber, Initiator der musikalischen Beziehung zwischen Alphorn und Jodel Einleitung Zu Beginn des 19 Jahrhunderts, als in Europa neue Staatsgrenzen festgelegt und So- zialstrukturen umgeformt wurden, erlebte die Schweiz politische und gesellschaftliche Umwälzungen Einige vom aufklärerischen Gedankengut inspirierte Schweizer Bürger suchten nach Wegen zu einer stabilen Staatsordnung und Gesellschaftsform Diese Su- che führte sie zu einer romantisierten Sichtweise auf die Schweizer Volkskultur und zu einer Begeisterung für das – dazumal beinahe in Vergessenheit geratene – Alphorn und das Jodeln1 Der Trompeter und Komponist Ferdinand Fürchtegott Huber (1791–1863) darf als zentrale Figur dieser frühen Schweizer Volksmusikbewegung angesehen werden Ihm gelang es, die Charakteristik der Alphornmelodien in seine Jodelkompositionen einzuar- beiten, das Jodellied entstehen zu lassen und seine einfachen Volksliedkompositionen bis zur Salonfähigkeit zu verfeinern2 Es versteht sich, dass diese musikalischen Experimente nicht frei von Kompromissen und Widersprüchen sein können 1 Zum Kontext und dem geistigen
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