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The Lied D'ossian in Massenet's Werther: Intertextuality and Vocality In Journal of Musicological Research ISSN: 0141-1896 (Print) 1547-7304 (Online) Journal homepage: http://www.tandfonline.com/loi/gmur20 The Lied d’Ossian in Massenet’s Werther: Intertextuality and Vocality in the Long Nineteenth Century Jason R. D’Aoust To cite this article: Jason R. D’Aoust (2017) The Lied d’Ossian in Massenet’s Werther: Intertextuality and Vocality in the Long Nineteenth Century, Journal of Musicological Research, 36:1, 29-57, DOI: 10.1080/01411896.2016.1271239 To link to this article: http://dx.doi.org/10.1080/01411896.2016.1271239 Published online: 13 Feb 2017. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=gmur20 Download by: [208.66.213.54] Date: 13 February 2017, At: 17:45 JOURNAL OF MUSICOLOGICAL RESEARCH 2017, VOL. 36, NO. 1, 29–57 http://dx.doi.org/10.1080/01411896.2016.1271239 The Lied d’Ossian in Massenet’s Werther: Intertextuality and Vocality in the Long Nineteenth Century Jason R. D’Aoust Oberlin, Ohio ABSTRACT Research in intermediality and media archeology can be used to examine the intertextuality of vocality in Jules Massenet’sopera, Werther (1887). The historicization of the Lied d’Ossian and the particular definition of voice that James Macpherson’spoems convey offer tools to tease out an aesthetic tension between this song within an opera and the realism sought after by the drame lyrique.ThevocalityofWerther can be approached in three ways: by examining the sung poetic voices of Ossian, by exploring the musical “source” of Werther, and by looking at the opera’sunsung voices of Ossian. Werther’s intertextual and intermedial code demonstrates how the painstaking allusion to different vocal sono- rities through rhetoric and discursive metaphors were nonetheless subsumed by the conflation of sound and meaning. Voici le clavecin qui chantait mes bonheurs ou qui tressaillait ma peine, alors que votre voix accompagnait la mienne. —Massenet, Werther, Act 3 The study of music by literary means can build upon the study of literature by musical means. Werner Wolf’s classic book on intermediality, The Musicalization of Fiction, lists the categories of music’s literary presentation, which range from its thematic representation to alliterative and assonant literary texts.1 Without oversimplifying a complex intersection of artistic pursuits, one might generally observe that the closer fiction comes to imitat- ing music in striving for an immediacy of sonorous expression, the less it is properly investigated through a dualist conception of literature’s representa- tion of music.2 This is particularly evident when we compare literary and musical expressive voices as they meet in opera. The striving toward musical intermediality recalls the nineteenth-century art critic Walter Pater’s endur- ing pronouncement: “All art constantly aspires to the condition of music”:3 1Werner Wolf, The Musicalization of Fiction: A Study in the Theory and History of Intermediality (Amsterdam: Rodopi, 1999). 2For a discussion of electronic literature’s extension of intermedial categories, see Kiene Brillenburg Wurth, “Speaking of Microsound: The Bodies of Henri Chopin,” in Speaking of Music: Addressing the Sonorous, ed. Keith Chapin and Andrew Clark (New York: Fordham University Press, 2013), 193–211. 3Walter Pater, The Renaissance: Studies in Art and Poetry (Berkeley: University of California Press, 1980), 111. © 2017 Taylor & Francis 30 J. R. D’AOUST all art, that is, that aspires to autonomy of expression. Musical and literary discourse must now consider, however, the impact of media on their inter- relations, since the technological ability to reproduce sound changed how both art forms related to themselves and to each other. For over a century, alphabets and scales have no longer been the only means of inscribing sound, and noises along with other “minor” sonorities have infiltrated historical records. The mass production of sound record- ing technology in the twentieth century irrevocably put into question both literature and music’sclaimstoexpressasingle-mindedpurpose,whether that be art’s autonomy or otherwise. Only a few decades later, digital media facilitated in turn the postmodern multiplication of interpretations. IdepartherefromWolf’s definition of intermediality as the intersection of art forms in order to follow a material definition of media.4 The mechanical reproduction of sound was instrumental in transforming the study of literature, or any other knowledge transmitted through language for that matter. According to Friedrich Kittler, who cites Botho Strauss, lettersusedtobereadasifheardthroughthevoiceoftheabsent,an illusion apparently entertained not only through style but through hand- writing as well.5 The imitation of letters in early novels recalls the reader’s relianceon,orexpectationof,theirsonorousstand-inforthevoice.With sound recordings, however, the written sign no longer stood in direct relation with linguistic meaning: The sonorous intermediary of significa- tion—the signifier in Ferdinand de Saussure’s structural linguistics— increasingly made its appearance in all shapes of cultural life. In turn, poststructuralist thinkers were to study what literature had taken for granted up until modernism—that signs do not have an isolated, essential meaning; instead, their relative meaning derives from differences within the interplay of signs in a given system. In the half-century since then, literary critics have moved away from the study of fiction through bio- graphical criticism of its authors—as one would have read a letter for the voice of the absent—and instead, literary theory has insisted on the interplay of texts. In turn, the voice’s reproduction has become a sonorous object of study in its own right.6 This article studies Jules Massenet’soperaWerther (1887) by comparing some of its voices with those from the novel and poems it adapted, namely The Sorrows of Young Werther by Goethe and the Poems of Ossian by James Macpherson. The methodological context raised previously is especially impor- tant because the novel’s epistolary focalization is lost in its dramatic adaptation. Indeed, the opera stages the reading of Ossian’s song but not the reading of the 4Wolf, The Musicalization of Fiction,35–37. 5Friedrich Kittler, Gramophone, Film, Typewriter (Stanford, CA: Stanford University Press, 1999), 8–9. 6See, for example, the special issue edited by Annette Schlichter and Nina Eidsheim, “Voice Matters,” Postmodern Culture 24/3 (May 2014), https://muse.jhu.edu/issue/32352, accessed 8 September 2015. THE LIED D’OSSIAN IN MASSENET’S WERTHER 31 letters that constitute the novel. In the novel, Ossian’s poem comes to the reader by way of a narrator who testifies that the last letters were found after Werther shot himself and died. The song of Ossian, a symbol of Werther’s difficulty at self-expression, is therefore framed as the expressive paroxysm of a voice already dead. The opera’s narrative obscures, therefore, the paradox of vocality that endures in Werther’s unsung recital of the Ossian poem. I argue that the scene should transmit a “minor” sonority (as opposed to dominant) that subverts historiography but that artistic genres, because of their symbolic nature, unwit- tingly discriminate between sounds they record and others they obfuscate. I investigate this claim by unraveling the vocal intertexts in the opera’s Lied d’Ossian. Gary Tomlinson’s discourse analysis of opera’s voices and the musical semiotics of Carolyn Abbate’s “unsung voices” will bear on this discussion. In paying particular attention to the presentation of voices in the contexts of the Poems of Ossian, as well as in the novel and in the opera, I will be searching not so much for the “original sources” of the scene but rather situating them in a network of vocality spanning the long nineteenth century. In keeping with this goal, the article ultimately leaves the confines of a literary interpretation of the opera to adopt an intermedial approach that also includes insights from media theorists. My aim here is not to reverse the order of the interrelations that Wolf assiduously tabulates but to explore their implications on discourse. Werther in context Massenet’s Werther is a dramatic adaptation of Goethe’s novel. But do musical elements in the opera refer to other works of music on the same dramatic subject? In his background article for the Parisian premiere, Charles Darcours cites a previous comic opera based on the novel—Rodolphe Kreutzer’s Werther et Charlotte (1792)7—although it seems unlikely that Massenet would have known the work, since the score was not published.8 James Harding seems to follow Darcours when he writes of the “several other operatic versions preced[ing] Massenet’s,”9 but, unlike the French critic, he does not mention its Italian renditions. I have found only three such works, two of which were composed in the late eighteenth century: Simon Mayr’s Verter (1797) and Gaetano Pugnani’s “melologo” Werther (1792).10 Only the 7Charles Darcours, “Review of Werther,” Le Figaro, 17 January 1893, 3, http://gallica.bnf.fr/ark:/12148/bpt6k282416q/ f3.zoom.langEN, accessed 3 July 2015. 8According to the New Grove, Rouen municipal library has the manuscript, but it has not uploaded a scanned file. For the libretto, see M. Dejaure, Werther et Charlotte: Drame lyrique en un acte, en prose (Paris: Cailleau, 1792), https://archive.org/details/afv2029.0001.001.umich.edu,
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