Giuliani's Guitar and Vienna's Musical Markets, 1806–1819
Total Page：16
File Type：pdf, Size：1020Kb
Music by the Ducat: Giuliani’s Guitar and Vienna’s Musical Markets, 1806–1819 by Lindsay Jones A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Faculty of Music University of Toronto © Copyright by Lindsay Jones 2020 Music by the Ducat: Giuliani’s Guitar and Vienna’s Musical Markets, 1806–1819 Lindsay Jones Doctor of Philosophy Faculty of Music University of Toronto 2020 Abstract Amidst ambivalent attitudes held toward the guitar, Italian-born guitar virtuoso Mauro Giuliani (1781-1829) composed and performed in Vienna from 1806 to1819. Giuliani’s time in the city was punctuated by his participation in the market for goods related to the Congress of Vienna. He entered this market by gearing his performances and publications towards representing the Congress’s mandate of cooperation and conversation, as well as the recent interest in Austrian folk songs alongside patriotic sentiments for an emerging Austrian state. Giuliani’s solo guitar performances were defined by his unique ability to overcome what critics regarded as the guitar’s seemingly unsurmountable deficiencies. His active participation in the virtuoso concert culture of Vienna—a market that was removed from a growing “serious” concert culture—was defined by his increasing involvement in the commercially-driven subscription concert. Underlying Giuliani’s participation in the Congress of Vienna and the popular virtuoso concert was his interest in the burgeoning folk music movement. Related to Austrian patriotic sentiments, Giuliani’s folk-inspired Ländler and variation sets reveal his preoccupation with a more quotation-based approach to folk song composition, an approach that—while attractive in terms of print music sales—jeopardized the longevity of his folk-inspired works by obscuring his authorial ingenuity. The early nineteenth century is regarded by guitar scholars as the “Golden Age of the Guitar,” and Giuliani is often positioned as one of the foremost contributors to the development of classical guitar repertoire during this time. However, I argue that Giuliani’s approach to guitar composition and performance reveals not a desire to cultivate a solo classical guitar repertoire, ii but a concerted effort to present the guitar, and by extension, himself, as a commodity for Viennese markets associated with the Congress of Vienna celebrations, the lucrative virtuoso concert, and the burgeoning folk music movement. Underlying each of these markets was a demand for public and private performances, as well as a desire for printed music. The result of Giuliani’s efforts were performances and works that, while meant for consumption by the wider public, engage with the intimate, easily digestible, and sociable aspects of Vienna’s musical culture. iii Acknowledgments This project is twenty-four years in the making. I have loved the guitar for as long as I can remember—even before I received my first guitar for Christmas in December 1995. In a way, I feel like the instrument, with its quiet voice but great capacity for lyricism, suits me very well. Getting to this point in my academic studies, however, has not been easy, and—in my experience—life is especially determined to challenge you when you are in graduate school. When I think about my time at the University of Toronto these past six years, I realize how much this project was shaped by the people around me as much as it was by marathon writing sessions at my carrel in Robarts Library, and acknowledging the contributions of these people seems like fitting way to end what has been an incredibly formative experience in my life. I am eternally grateful to Sherry Lee, my advisor, whose unparalleled scholarly instincts always led to exciting new avenues for the project. Her vision guided me through the many challenges of writing on a topic about which little work has been done, while her generous editing and thought-provoking questions helped me focus my ideas and lines of inquiry. I am often struck by how much I have learned from Sherry. From writing mechanics to methodologies, I owe much of my recent growth as a scholar to her. My decision to return to U of T to pursue my doctorate was inspired by a desire to study with Sherry, and I have not once regretted it. I am also grateful for the generous support and guidance of the other members of my committee: Ellen Lockhart and Caryl Clark. Ellen’s unwavering belief in the project as well as her support for my other academic activities have been nothing short of inspirational. Ellen believed in the project before I did, and I am grateful for her keen critical eye and sense of humour. Working with her has truly been one of the most positive experiences of my graduate studies. I would like to thank Caryl Clark for her help with writing and her invaluable knowledge of the history of the Habsburg Empire and the Enlightenment legacies that inform this project. I first met Caryl as a third-year undergraduate student, and it is my sincerest hope that, twelve years later, I have made her proud. iv I have truly found a sense of community and belonging at the University of Toronto, Faculty of Music, and the friends I made here are amongst the finest scholars and musicians I have ever met. Thank you to Scott Hanenberg and Nadia Younan, two members of my cohort whose friendship made navigating the stressful early years of this degree more manageable. I would also like to thank the friends with whom I bonded with more recently for providing a much- needed sense of camaraderie this past year, which has been one of the most difficult of my life. I am especially grateful for the friendship of Sadie Menicanin, Tegan Niziol, Carolyne Sumner, and Erin Scheffer. A special thank you to Amanda Hsieh for being a stalwart friend, and for scanning sections of The Giulianiad at the British Library for me. Thank you to Joyce McGill, my friend of fourteen years, for supporting me through this process, and for always believing in me. I would not have the discipline and strength to see this project through if it were not for the love and encouragement of my family. I would like to thank my sister, Morgan, whose sharp wit and sense of humor have always been a source of comic relief, while her brilliant mind and incredible autodidactic abilities are a constant inspiration for me. I am grateful for the support of my father, Dave, whose unshakeable work ethic and ambition influenced my own. Lastly, I would like to thank my mother, Suzy, whose kindness, grace, and generosity made me the person I am today. My mother has not once doubted me, and she has supported my every endeavour with a fierce and palpable love. She raised me to be a confident, independent woman, and there is no doubt in my mind that I owe all my success to her. It is to my mother that this work is dedicated. v …an audience must not expect too much; they must not expect to hear from our little instrument, a tone as that produced by the discharge of the monster mortar at Antwerp. Let them be as critical as they like on its quality of tone and expression, but expect not the roar of the lion when the dove puts forth its plaintive voice. – “On Public Performances on the Guitar,” The Giulianiad vol.1, no.4 (April 1833) vi Table of Contents Acknowledgments.......................................................................................................................... iv Table of Contents .......................................................................................................................... vii List of Figures ................................................................................................................................ ix List of Examples ............................................................................................................................. x Chapter 1 Introduction: Mauro Giuliani and His World ................................................................. 1 1.1 The Guitar in the Early Nineteenth Century ...................................................................... 1 1.2 Giuliani in Context .............................................................................................................. 3 1.3 Chapter Outline and Methodology...................................................................................... 6 1.4 Guitar Construction in the Early Nineteenth Century....................................................... 10 1.5 The “Golden Age” of the Guitar: Between Adoration and Derision ................................ 14 1.6 Giuliani in Existing Scholarship ....................................................................................... 18 1.7 Giuliani’s Professional Network: Publishers and Collaborators ...................................... 24 1.8 Toward a New Perspective on Early Nineteenth-Century Vienna ................................... 32 Chapter 2 Giuliani and the Congress of Vienna: Musical Representations of Power and Politics .................................................................................................................................................. 33 2.2 Vienna 1814: The City of Many People ........................................................................... 34 2.3 Public Music Celebrations at the Congress of Vienna ...................................................... 39 2.4 Giuliani at the Vienna Congress ....................................................................................... 44 2.5 Austrian Patriotism and Music in the Late Eighteenth and