Music, Orientalism and Exoticism Rana Gediz İren Boğaziçi University İstanbul Philharmonic Society 1838

HUM 102 Cultural Encounters II

The Beauties of the Bosphorous by Miss Pardoe, Illustrated by W. H Bartlett Orientalism noun

1. Style, artefacts, or traits considered characteristic of the peoples and cultures of Asia.

1.1 The representation of Asia in a stereotyped way that is regarded as embodying a colonialist attitude.

- Oxford Dictionaries

Orientalism noun

Western ideas about the Middle East and about East and Southeast Asia, especially ideas that are too simple or not accurate about these societies being mysterious, never changing, or not able to develop in a modern way without Western help.

- Cambridge Dictionary Edward Said, Orientalism, 1978

«The Orient has helped to define Europe as its contrasting image, idea, personality, experience» Said, 1979, p. 1

“…the orientalist, poet or scholar, makes the Orient speak, describes the Orient, renders its mysteries plain for and to the West. He is never concerned with the Orient except as the first cause of what he says. What he says and writes, by virtue of the fact that it is said or written, is meant to indicate that the Orientalist is outside the Orient, both as an existential and as a moral fact” Said, 1979, p. 21 “The European, whose sensibility tours the Orient, is a watcher, never involved, always detached, always ready for…bizarre jouissance” Said, 1979, p. 103 1838

The Beauties of the Bosphorous by Miss Pardoe, Illustrated by W. H Bartlett 1828

Jean-Auguste-Dominique Ingres, The Little Bather - Inside the Harem, 1828, Louvre Museum, Paris 1814

Jean-Auguste-Dominique Ingres, La Grande Odalisque, 1814, Louvre Museum, Paris

Alla turca/Janissary style

• Use of percussion instruments – cymbals, triangle, bass drum and the piccolo flute • Loud playing in full orchestration • Duple meter – usually 2/4 • Rapid tempo • Basic harmony • Sudden shifting from one tonal area to another • Quick melodic decorations Exoticism in music is a quality that links a work to some especially fascinating, attractive or fearsome place.

Beethoven’s 9th (Choral) Symphony (1824)

Why is there an alla turca section in there?

• Had musical codes of joy in Europe come to rely on the devices learned from Janissary bands? • Celebration of the decline of the Ottoman Empire? • Or an all encompassing humanity embracing even the Ottomans as a result of the European Enlightenment period?

Beethoven’s 9th (Choral) Symphony (1824)

Why is there an alla turca section in there?

Marie Antoinette’s Turkish Boudoir in Fontainebleau, France 1766

Antoine de Favray, Portrait of Charles Gravier Count of Vergennes and French Ambassador in Turkish Attire, 1766, Pera Museum, Istanbul 1756

Jean Etienne Liotart, Lady Mary Wortley Montagu in Turkish Dress, 1756 1755

Carle van Loo, Madame de Pompadour as Sultana Taking Coffee, 1752-1755 1753

Etienne Liotard, Marie-Adelaide of France dressed in Turkish costume, 1753, Galleria degli Uffizi, Florence 1753 The «Solimano Craze» Johann Adolph Hasse 1753 Dresden Domenico Fischietti 1755 Venice Giovanni Battista Pescetti 1756 Reggio Emilia Giovanni Battista Pescetti 1757 Verona Michelangelo Valentini 1756 Torino Michelangelo Valentini 1756 Naples Davide Perez 1757 Lisbon Antonio Ferradini 1757 Florence Pasquale Enrichelli 1757 Rome Tommaso Traetta 1758 Parma Pasticcio 1758 London Baldassare Galuppi 1760 Padua Pasticcio 1765 London Gregorio Sciroli 1766 Venice David Perez 1768 Lisbon Johann Gottlieb Naumann 1773 Venice Giuseppe Maria Curci 1782 Torino Franz Xaver Süssmayr 1799 Vienna 1600’s

Il Solimano, Tragedia 1619, Florence Il Mustafa, Tragedia 1636, Florence 1561

Gabriel Bounin’s La Soltane, Tragedie, Paris, 1561 1750

Jean-Etienne Liotard, Maria Theresa in Turkish costume holding a mask, c. 1750 1750s 1745 1738

Jean-Etienne Liotard, 1738 William Ponsonby, 1st Viscount of Duncannon 1737

The kiosque of the château of Lunéville in France by Emmanule Héré, 1737 Turquerie is the name of the fashion for all things Turkish in Western Europe in the 16th-19th Centuries. 1735, Les Indes Galantes

• Opera-ballet • Music by Jean-Philippe Rameau • Libretto by Louis Fuzelier • 4 acts: • The Generous Turk • The Incas of Peru • The Flowers, the Persian Fete • The Savages – Indigenous Americans

The «Bajazet-Tamburlaine Craze»

Il Gran Tamerlano Ziani 1689 Venice Bajazeth und Tamerlan Förtsch 1690 Hamburg Il Gran Tamerlano Scarlatti 1706 Florence Il Bajazet Gasparini 1711 Venice Tamerlano Gasparini 1714 Genoa Il Bajazet Gasparini 1719 Reggio Emilia Bajazete, imperador de' Turchi Leo 1722 Naples Il Bajazet Gasparini 1723 Venice Tamerlano Handel 1724 London Tamerlano Giai 1727 Milan Il Gran Tamerlano Porta 1730 Florence Tamerlano Porpora 1730 Turin Tamerlano Bonomi 1732 Ljubljana Bajazet Vivaldi 1735 Verona Il Bajazet Colombi 1740 Alessandria Il Gran Tamerlano Dal Barba 1746 Venice Tamerlan Anonymous 1748 Hamburg Bajazette Jommelli 1754 Torino Tamerlano Anonymous 1755 Lübeck Il Gran Tamerlano Sarti 1764 Copenhagen Il Tamerlano Giuglielmi 1765 Venice ll Gran Tamerlano Mysliveček 1772 Milan Bajazette Marinelli 1799 Venice Tamerlano Mayr 1813 Milan 1676

Tamerlan, or the Death of Bajazet, Tragedie, Pradon 1676 1648

The Grand Tamburlaine and Bajazet, Tragedy by Jean Magnon, 1648 Christopher Marlowe, 1587 Nicholas Rowe, 1701 1724 Handel’s Tamerlano

Bajazet I would die strong and happy, If I could hide from my own thoughts my great love for my daughter. If it were not for her grief, You would see me prouder, I would die with more courage. 1670

• Comedy-ballet • Written by French poet and playwright Molière • Music by Jean-Baptiste Lully • Written at the command of Louis XIV and was one of his favourites

1632

Rembrandt van Rijn, Man in Oriental Costume 1632 1630s

Ritratto di Ferdinando II de' Medici vestito alla turca by Justus Suttermans, c. 1630-40. 1600’s

Il Solimano, Tragedia 1619, Florence Il Mustafa, Tragedia 1636, Florence 1588

Wedding celebrations of Ferdinando de’Medici to Christina of Lorrain in 1588 Buontalenti, 1589, Florence 1572

Ferdinando Bertelli, La Battaglia di Lepanto, Venice 1572 (Vatican Museums) Giorgio Vasari, La Battaglia di Lepanto, 1572-73, Sala Regia Vatican, Rome Gioviana Series at the Uffizi, Florence – 1550s onwards 1570

İznik Plate with coat of arms, c. 1570, possibly belonging to the Spingarolli de Dessa family from Dalmatia 1555

Sofonisba Anguissola, The Chess Game, c.1555 1533

Hans Holbein, The French ambassador Jean de Dinteville, 1533 1530

The Protonotary Giovanni Giuliano, c.1530-40 1460

Sandro Botticelli, Federico Montefeltro with humanist writer Cristoforo Landino, c.1460 Over the centuries the image of the Ottoman shifted and changed in music according to the prevailing political and cultural situation:

• Under the influence of the Enlightenment, the ‘Oriental’ was invested with qualities such as goodness, tolerance and strength of faith. • In previous centuries, when the Turks had represented a real danger to certain European countries, their reception swung from fear, hatred to admiration. • The characterization as quasi barbarian became increasingly redundant during the course of the 19th Century, as the Turks became an ally of European powers and as the Ottoman sought to modernise and Westernize itself. Ottoman Army Modernization and Music

• Vaka-i Hayriye: Mahmut II disbanded the Janissary troops and the Mehterhane in 1826 to modernise the army and reform the empire. Ottoman soldiers became outfitted as Western soldiers. • Western music was imported for the Ottoman army. Mızıka-i Humayün Mektebi was formed to provide the army with drummers and trumpeters and its Western style education was directed by Giuseppe Donizetti. • In 1829 Donizetti composed the Mahmudiye march in honur of Mahmut II, which became the Ottoman Imperial anthem and then the Mecidiye march in honour of Sultan Abdulmecit.

Bizet, 1863 Meyerbeer,1864 Verdi,1871 Bizet,1875

Massenet,1876 Delibes,1883 1904, Puccini 1926, Puccini