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Stefanie Acquavella-Rauch Stefanie Acquavella-Rauch - 978-3-631-81212-9 Heruntergeladen von PubFactory am05/18/2020 09:12:24AM via Universitätsbibliothek Mainz Stefanie Acquavella-Rauch - 978-3-631-81212-9 Heruntergeladen von PubFactory am05/18/2020 09:12:24AM via Universitätsbibliothek Mainz Musikgeschichten: Von vergessenen Musikern und ›verlorenen Residenzen‹ im 18. Jahrhundert Stefanie Acquavella-Rauch - 978-3-631-81212-9 Heruntergeladen von PubFactory am05/18/2020 09:12:24AM via Universitätsbibliothek Mainz Methodology of Music Research Methodologie der Musikforschung Edited by / Herausgegeben von Nico Schüler and / und Stefanie Acquavella-Rauch Vol. / Bd. 11 Stefanie Acquavella-Rauch - 978-3-631-81212-9 Heruntergeladen von PubFactory am05/18/2020 09:12:24AM via Universitätsbibliothek Mainz Stefanie Acquavella-Rauch Musikgeschichten: Von vergessenen Musikern und ›verlorenen Residenzen‹ im 18. Jahrhundert Amateure und Hofmusiker – Edinburgh und Hannover Stefanie Acquavella-Rauch - 978-3-631-81212-9 Heruntergeladen von PubFactory am05/18/2020 09:12:24AM via Universitätsbibliothek Mainz 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. ISSN 1618-842X ISBN 978-3-631-80600-5 (Print) E-ISBN 978-3-631-81211-2 (E-PDF) E-ISBN 978-3-631-81212-9 (EPUB) E-ISBN 978-3-631-81213-6 (MOBI) DOI 10.3726/b16546 Open Access: This work is licensed under a Creative Commons Attribution 4.0 unported license. To view a copy of this license, visit https://creativecommons.org/ licenses/by/4.0/ © Stefanie Acquavella-Rauch Peter Lang GmbH International Academic Publishers Berlin 2019 Peter Lang – Berlin · Bern · Bruxelles · New York · Oxford · Warszawa · Wien This publication has been peer reviewed. www.peterlang.com Stefanie Acquavella-Rauch - 978-3-631-81212-9 Heruntergeladen von PubFactory am05/18/2020 09:12:24AM via Universitätsbibliothek Mainz Vorwort Die vorliegende Studie entstand über den Zeitraum von rund viereinhalb Jah- ren am Musikwissenschaftlichen Seminar der Universität Paderborn und der Hochschule für Musik Detmold und wurde 2016 von der Universität Paderborn als Habilitationsschrift angenommen. Der dortige anregende wissenschaftliche Austausch hat dazu geführt, dass ich meine Gedanken stetig weiter schärfen und dieser Arbeit schließlich seine letztendliche Form geben konnte. Dafür danke ich ausdrücklich allen damaligen Kolleginnen und Kollegen im Seminar sehr herzlich, allen voran Herrn Prof. Dr. Werner Keil und Frau Prof. Dr. Rebecca Grotjahn, die mir über Diskussionen Anregungen gaben und meine Forschung unterstützten. Im Rahmen des Detmolder Forschungskolloquiums konnte ich von dem vielfältigen Themenspektrum aller Forschenden des Seminars profi- tieren und meine Einsicht in die unterschiedlichsten Gebiete der Musikwissen- schaft erweitern, auch dafür danke ich allen Beteiligten. Ebenso wichtig beim Entstehen der Studie war die Unterstützung mei- ner Hilfskraft Stephan Summers, der mir nicht nur beim Korrekturlesen und mit diversen Zuarbeiten half, sondern mir auch immer wieder ein kritischer Gesprächspartner war, ihm sei ebenfalls herzlich gedankt. Mein besonderer Dank für das äußerst akribische, schnelle und kritische Korrekturlesen meiner Texte gebührt ferner Frau Dr. Karin Martensen. Danken möchte ich außerdem Herrn Prof. Dr. Nico Schüler, der mich als Mitherausgeber der Reihe Methodoloy of Music Research bei der Drucklegung unterstützt hat. Darüber hinaus bin ich in den Bibliotheken und Archiven auf große Hilfe gestoßen und danke den Mitarbeiter*innen in der Sächsischen Landesbiblio- thek – Staats- und Universitätsbibliothek Dresden, in der Edinburgh City Library, in der Edinburgh University Library, in der Gottfried Wilhelm Leibniz Bibliothek – Niedersächsische Landesbibliothek, insbesondere Frau Anja Fleck und Herrn Dr. Reinhard Laube, sowie Herrn Darryl Martin von den Musical Instruments Museums Edinburgh in St Cecilia’s Hall. Dazu den Mitarbeiter*innen im Kirch- buchamt Hannover, in den National Archives of Scotland, in der National Library of Scotland, im Niedersächsischen Landesarchiv – Hauptstaatsarchiv Hannover –, insbesondere Herrn Dr. Sönke Thalmann und seiner Durchlaucht, Prinz Ernst August von Hannover, für die Genehmigung der Einsicht ins Welfische Haus- archiv, Herrn Dr. Detlef Kasten von der Stadtbibiothek Hannover sowie den Mitarbeiter*innen im Stadtarchiv Hannover, namentlich Frau Christine Peters, Herrn Holger Horstmann und Herrn Dr. Christian Heppner. Stefanie Acquavella-Rauch - 978-3-631-81212-9 Heruntergeladen von PubFactory am05/18/2020 09:12:24AM via Universitätsbibliothek Mainz 6 Vorwort Eine Arbeit wie diese zu schreiben, war für mich nur durch die besondere Unterstützung, den unerschütterlichen Rückhalt und den festen Glauben an mich aus dem Kreis meiner Familie möglich. Hierfür danke ich sehr herzlich meinen Eltern, Herrn Hans-Joachim Rauch und Frau Beate Rauch, meiner Großmutter, Frau Elfriede Schmiedeke, und allen voran meinem Mann, Herrn Christopher Acquavella. Stefanie Acquavella-Rauch Mainz, im September 2019 Stefanie Acquavella-Rauch - 978-3-631-81212-9 Heruntergeladen von PubFactory am05/18/2020 09:12:24AM via Universitätsbibliothek Mainz Inhalt Vorwort ................................................................................................................ 5 Musikgeschichten: Von vergessenen Musikern und ›verlorenen Residenzen‹ ........................................................................................................ 11 Gedanken über das wissenschaftliche Darstellen ........................................ 20 Weitere Überlegungen zu ›verlorenen Residenzen‹ und vergessenen Musikern ............................................................................................................ 30 Erzählung 1: Musikgeschichte und Kontextualisierung – Edinburgh und die Edinburgh Musical Society im 18. Jahrhundert ............................................................ 43 Schottland und Edinburgh – Zu den Hintergründen und Kontexten der Musikkultur einer ›verlorenen Residenz‹ ............................................... 47 Perspektive 1: ›Scotland the Brave‹ – Eine kulturgeschichtliche Annäherung .................................................................................................. 49 Schottische Nationalkultur und Scottish song ................................ 51 Schottisches Erbe und kulturell geformte Erinnerung ................. 65 Perspektive 2: Politische Großereignisse – Schottlands Weg ins United Kingdom of Great Britain ................................................................ 69 Perspektive 3: Schottlands Wirtschaft und Gesellschaft im ausgehenden 17. und im 18. Jahrhundert ................................................. 74 Perspektive 4: Edinburgh – City of (the) Enlightenment ....................... 85 Leben in der Stadt .............................................................................. 89 Kulturelles Leben und schottische Aufklärung in Edinburgh ..... 95 Perspektive 5: Musik und Musikkultur in Schottland und Edinburgh – über die »complex situation in the music of Scotland« ... 104 Von der Nicht-Existenz des Theaters .............................................. 106 Schottland und ›das Singen‹ ............................................................. 108 Instrumentales Musizieren ............................................................... 115 Stefanie Acquavella-Rauch - 978-3-631-81212-9 Heruntergeladen von PubFactory am05/18/2020 09:12:24AM via Universitätsbibliothek Mainz 8 Inhalt Die Edinburgh Musical Society – Eine Musikgeschichte vergessener Musiker in einer ›verlorenen Residenz‹ ........................................................ 139 Eine musikalische Gesellschaft als Ausdruck aufgeklärten Zeitgeistes 139 »[F] or the performance of concerts of Musick« – Zum musikalischen Alltag der Edinburgh Musical Society .............................. 149 Urbaner Wandel und die Folgen für das Musikleben Edinburghs ........ 155 Der Wandel Edinburghs und die Bedeutung der Edinburgh Musical Society ............................................................................................. 165 Erzählung 2: Musikgeschichte in Mikrogeschichten – Hannover und seine vergessenen Musiker ............. 169 Geschichte 1: Eine Person und ein Ort – Heinrich Raacke und sein Konzertsaal ........................................................................................................ 177 Exkurs: Konstruierte Musikgeschichte in Hannover .............................. 179 Hofmusiker und Hofkapelle – Musik, Hof und Stadt ............................. 186 Musikliebhaber und musikalische Aktivitäten ........................................ 213 Geschichte 2: Musikalischer Alltag – Musikgeschichte und Fiktion ......... 234 Vorüberlegungen ......................................................................................... 234 Ein Tag im Leben Heinrich Raackes ......................................................... 239 Geschichte 3: Musikgeschichte durch den Filter eines regionalen Intelligenzblattes ............................................................................................... 255 Exkurs: Öffentlichkeit .................................................................................. 258 Hintergrund: Anzeigen, von allerhand Sachen, deren Bekanntmachung dem gemeinen Wesen nöthig und nützlich .................. 260 Ergänzende Vorüberlegungen
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