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Zusammenfassungen / Abstracs (Band 57 / 2000 bis 60 / 2003)

Christian Ahrens, Verrillons und Carillons in der Musik des frühen 18. Jahrhunderts (Band 60, Seite 31)

Gottfried Heinrich Stoelzel (1690-1749), who se activities at the court in Gotha began in 1719, composed many works for the neighboring court in Sondershausen, where more than 350 compositions, mainly religious and secular cantatas, are preserved. In a twenty-two movement cantata written for the birthday of Prince Günther von Schwartzburg-Sondershausen’s wife on 12 April 1732, the use of a "verrillon" is called for in movement no. 15, an aria for soprano and bass duet. Probably struck rather than rubbed, the verillon’s range here is a1 to b2, if the notation does not assume an octave transposition. Its use is restricted to the A section of the da capo aria, together with the soprano, 2 violins, and 2 oboes. Though German theorists such as J. Mattheson (1725), G. Walther (1732), and P. Eisel (1738) indicate that verrillons and carillons were known at the beginning of the eigtheenth century, very few parts exist for these instruments, and with the exception of the newly discovered Stoelzel part, all of them are for carillon. Advertisements in early eighteenth-century Hamburg newspapers evidence the use of carillons and verillons there, while the section in Stoelzel’s cantata also seems to indicate that the verillon was at least known in central Germany. Apparently a type of keyboard was added to the carillon at the turn of the eighteenth century to facilitate its use with other instruments.

Nicholas Baragwanath (Wellington), Alban Berg, Richard Wagner und Leitmotive der Symmetrie (Band 58, S. 23)

Alban Berg’s lifelong passion for the music of Richard Wagner suggests the possibility of specific musical parallels in both his tonal and post-tonal work. If, as Berg claimed, his move away from tonality after 1908 was the result of a continuation of nineteenth century developments, then there may be evidence, however underdeveloped, of corresponding non-tonal designs in Wagner’s music. Analyses of Tristan, Der Ring, and Parsifal show that Wagner made use of symmetry, cyclical patterns, and cellular manipulation to connect passages with similar dramatic meaning. This article argues that such non-tonal designs in Wagner function as precursors of the language of atonality. In conclusion, Berg’s analyses, sketches, and handwritten entries in his personal copies of Wagner scores demonstrate that he was not only aware of these designs but also exploited them in his own compositions.

Tobias Bleek (Berlin), Entrückung: Text und musikalische Struktur im Schlußsatz von Arnold Schönbergs II. Streichquartett (Band 57,. S. 362)

In a radio discussion in 1931 Arnold Schoenberg suggested that the increasing number of vocal compositions associated with the decisive historical shift toward atonality is due to the functional importance of a poetical text in composition. He contended that poetry is able to be utilized both as a means of formal organisation for the composer and as an aid in listener comprehension, thus serving as a two-fold guide, leading the composer in the process of composing and as the listener’s initiator to the music. This notion of the interaction between poetry and music is particularly fruitful when applied to an analysis of the last movement of Schoenberg’s Second String Quartet op. 10, Entrückung, a pivotal movement in the composer’s development toward a new, atonal style of composition. It will be shown that the five stages of development in Stefan George’s poem constitute the movement’s formal scaffolding. The reminiscences of the sonata form found in Entrückung do not arise merely out of formal necessities, but may be interpreted as an attempt to translate the poem’s content into the musical structure. In return, the poem translates the musical development into words. The musical structure of the instrumental introduction of Entrückung, in which the centripetal power of tonality is suspended by a preponderance of fifths and whole-tone elements, is thus verbally explained and legitimized by the first line of the poem "Ich fühle luft von anderem planeten."

Peter Bloom (Northampton, MA), Berlioz und Wagner. Èpisodes de la vie des artistes (Band 58, S. 1)

When in 1839 Wagner met Berlioz in Paris, the nearly thirty-six-year-old French composer was already established as the controversial composer of a Requiem Mass, an opera that had recently failed at the Académie Royale de Musique, and three unconventional symphonies in which "story" and structure were combined in novel ways. As he attempted to make his way in Paris, Wagner was disturbed not only by hearing the Ninth Symphony played more brilliantly than he had ever imagined but also by hearing Berlioz’s dramatic symphony Roméo et Juliette, which surely caused him to further clarify his own notions of music and drama. From 1839 until Berlioz’s death in 1869 and beyond, Wagner seems always to have had mixed feelings about Berlioz when reflecting on earlier experiences. This article considers the impact of Berlioz on Wagner — his absorption of Berlioz’s procedure of "réunion de thèmes," for example — and Berlioz’s impression of Wagner: his respect for the German’s ability to attract attention to himself and to compose his own librettos. Although Wagner’s renown became far greater than Berlioz’s, he had a tendency to "fear" Berlioz as a compositional rival and, because Berlioz was so vital an artistic figure, as a rival for the mantle of Beethoven, which Wagner hoped to inherit alone.

Rudolf Bockholdt, Über die Vorteile der Wahrnehmung einer materielosen Zeitgliederung in der Musik (Band 59, S. 1)

Dem Gedenken an Thrasybulos Georgiades zum 25. Todestag am 15. März 2002

The intention of this article is articulated in the title: "On the advantages of perceiving an immaterial articulation of time in music." Discussions of three examples taken from the Viennese Classics (Haydn, Mozart, and Beethoven) will show how music is incomprehensible if the reliance of the musical material on an immaterial division of time in the background is overlooked. Not only is it appropriate to discern the dualism of musical material and the immateriality of the measurment of time within the Viennese Classics but within all polyphonic music since the High Middle Ages. The notion of tactus, which came into use in the fifteenth century, refers to a musician’s consistent measurement of time–a concept, therefore, for both practical usage and musical immateriality. Tactus also refers to concrete musical material, which, conversely, is itself related to tactus. Accordingly, the notion of tactus can assist in a more adequate understanding of designations like "leerer" or "materieloser Takt" (Georgiades). These concepts, anchored in a broader perception of music that considers the segmentation of time and the materiality of music as a two-fold property, have significance for Western music as a whole. Philosophical theory (Hegel) lends unexpected support for this line of thought. One must acknowledge, however, that during the nineteenth and twentieth centuries (as illustrated in statements made by Berlioz, Wagner, and Schoenberg, as well as by musicologists) tendencies in both theoretical analyses and in the music itself took hold that contradict this point of view.

Beatrix Borchard (Detmold), Amalie Joachim und die gesungene Geschichte des deutschen Liedes (Band 58, S. 265)

An anthology of the history of German song is associated today with the name Dietrich Fischer-Dieskau, and yet, before the advent of recordings, Amalie Joachim (1839—1899) developed – together with the music historian, Heinrich Reimann – a recital series to illustrate the entire history of German song. These programs, ranging from anonymous folksongs in the oral tradition to known and less known written compositions, were designed to bring the history and genre of the German lied to life. In 1891 Amalie Joachim began taking these "historische Liederabende" abroad, touring both Russia and the United States. Measured by today’s standards, her repertory was more diverse and less dictated by the question of gender. The majority of the songs she sang were composed by contemporaries, extending up to and including Mahler; throughout her career, however, Amalie Joachim was particularly committed to introducing and promoting Brahms’s songs. Despite this, her name has all but fallen into oblivion and is no longer associated with the composer, in contrast to the legacy of her husband. Are recitals that review the history of song less valid historically than those dedicated to the string quartet? Factors that have led to the disparity in the cultural and historical relevance of the two genres are cited.

Werner Braun, Die Musik im Delitzscher Kulturkampf (1643) (Band 60, Seite 1)

Plato’s "syllogism" regarding alterations in music practice being concomitant to changes in public legislation came to be replaced by Cicero’s more differentiated variant and was further altered by the later Christian conviction that war and chaos in society were brought on by sin in contemporary life. In spite of these modifications to Plato’s initial assumption, the authorities suspiciously viewed proponents of church music practices in Delitzsch in 1643 in a "platonic" way. Christoph Schultze countered by placing the blame for the general decline on the local governmental patrons’ neglect of church and school. While holding no contempt for the former masters, Schultze hastens to defend the Italian-influenced composers of German art music of his time, the four "S" composers Schütz, Schein, Scheidt, and Selich. In this conflict, the bone of contention centered on the villanellas of Johann Hermann Schein, regarded by Schultze’s opponents as belonging to the dangerous species of "Reuterliedlein."

Fred Büttner (München), Abbé Voglers "Coro de’ Mostri" aus Castore e Polluce (1787) und die Bedeutung der Unterwelt in Opern des 18. Jahrhunderts (Band 57, S. 222)

Although the ancient underworld has always occupied a salient position in operatic plots, it was not until Rameau’s Castor et Pollux that heroes, breaching the gates leading to subterranean realms, struggled with demons and monsters — not unlike Christ, who in medieval plays descends into Hell for the salvation of mankind. By availing itself of this concept Opera gained an impressive scenario, utilized by many operas during the eighteenth century. Among these one finds several adaptations of the libretto used by Rameau, first in Italy and then in other countries. With his Castore e Polluce Vogler created a version for the German stage which in turn served as a stimulus for Winter’s Il Trionfo dell’ Amor Fraterno. This becomes evident when one compares Vogler’s "Coro de’ Mostri" with the opening of the Hades scene in Winter’s work. But the "Coro de’ Mostri" had yet another impact on the history of opera: for decades it was used to expand upon the finale of Mozart’s Don Giovanni by underscoring the hero’s punishment through divine intervention, thus intimating the Christian tradition.

David J. Burn, Mass-Propers by Henricus Isaac not Included in the Choralis Constantinus: The Case of TwoAugsburg Sources (Band 60, S. 186)

Henricus Isaac is known in particular for the composition of mass-proper cycles through the posthumously published collection entitled Choralis Constantinus. Due to the spectacular nature of the print, current scholarship has largely ignored Isaac’s mass-propers not included in the Choralis. This article reviews the scope of this non-Choralis repertory as it has come to be established in diverse ways over the last fifty years. In addition, one of the largest groups of these non-Choralis propers attributed to Isaac and found in two Augsburg sources will be more closely examined, due to evidence it may provide regarding Isaac’s mass-proper cycles specifically composed for Augsburg. Analyses of the sources and the music strongly suggest, however, that rather than being attributable to Isaac, these works were locally produced in Augsburg in the later sixteenth century. Nonetheless, the sources are a striking testimony in their own right for the Isaac-reception of that period.

Rolf Dammann, Nachtrag zu Manetti (Band 59, S. 310)

The cathedral in Florence was consecrated by Pope Eugene IV on 25 March 1436. The motet used for this occasion was composed by Dufay, the greatest musician of his time. Giannozzo Manetti, who witnessed the event, wrote a comprehensive report on the festivities. The sections of this document concerned with Dufay’s music will be discussed—not with an eye to question the validity of the source but as a plea for its credibility.

Hans Heinrich Eggebrecht (Freiburg i.Br.), Sinn von Musikwissenschaft heute (Band 57, S. 3)

One can study musicology in Germany today at forty universities and eight conservatories (with Ph. D. programs); the total number of majors enrolled in universities alone in 1996 was 5877; the academic teaching personnel in German speaking countries approaches 500. The motives for pursuing and practicing musicology are nonetheless questionable in spite of an objective increase in numbers. Complaints about losses and shifts in research priorities or interests fail to clarify the question of motive, nor do they take into consideration the human subject being addressed, the end for whom the research is intended. The author suggests that the motives leading to active involvement in musicological research rest in the scholar’s own existence. If the ego attempts to understand and reflect upon its role in an historical perspective, then the resulting existential motivation and engagement will automatically determine the parameters of musicology’s own existential justification, which in turn will be communicable to others.

Ludwig Finscher (Heidelberg), "Diversi diversa orant". Bemerkungen zur Lage der deutschen Musikwissenschaft (Band 57, S. 9)

German musicology—that is, historical musicology—is in a crisis which, only partly due to the disastrous policies of state governments, is in large part homemade. Vast areas of research are no longer cultivated, or they are taken care of by only a few specialists working more or less in isolation, as especially seen in renaissance and, to a lesser degree, medieval studies. With respect to the future of musicology within the universities, the development is even worse. These areas are so sparsely represented in university curricula that a vicious circle has already been established. In teaching and research, nineteenth and twentieth century studies prevail, but even in these fields there is a dangerous concentration on music aesthetics on the one hand, and a plethora of highly sophisticated and solipsistic interpretations of a handfull of established masterworks on the other (frequently in the wake of Adorno). There is also a strong tendency to satisfy market demands by producing more and more popular music history books at the expense of original research. Finally, the tendency to neglect the results of research beyond a country’s own borders, especially in the USA, is becoming commonplace (one receives little comfort in the fact that this seems to be a reciprocal process). The decline of the discipline can only be stopped by a thorough process of redefining its principal tasks and its role in the university and society.

Johannes C. Gall, Hanns Eislers Musik zu Sequenzen aus The Grapes of Wrath. Eine unbeachtete Filmpartitut (Band 59, S. 60 und 81)

Until now, Eisler’s alternative film music to selected excerpts from The Grapes of Wrath (the original film score was composed by Alfred Newman) has been known only by hearsay. Although Eisler maintained repeatedly that he had re-scored these excerpts as part of his work within the scope of the Rockefeller Film Music Project–he even described the score in relative detail in two publications–the alternate film sequences and corresponding music were considered lost. The following essay, however, asserts that three, falsely identified unpublished autographs in the Hanns Eisler Archive in Berlin are indeed the allegedly lost manuscripts. This premise is subsequently supported by a thorough analysis of form and content, whereby the relationship between the film sequences and the music, especially the music’s dramatic function, will be illustrated. Numerous references to other film scores by Eisler, to Eisler’s political convictions, to his book Composing for the Films (co-authored by Theodor W. Adorno), and to compositional practice around 1940 in Hollywood all serve to underscore the key role the alternative soundtrack to The Grapes of Wrath plays in the research of Eisler’s film music.

Martin Geck (Dortmund), Das wilde Denken. Ein strukturalistischer Blick auf Beethovens op. 31,2 (Band 57, S. 64)

German musicology tends to regard sonata form not as a neutral compositional form but as an ultimate measure for progressiveness and solidity of composition. The more artistically and originally the model is applied, the more valuable the composition is estimated. Thus, Carl Dahlhaus describes the first movement of Beethoven’s Piano Sonata op. 31, no. 2 as a challenging attempt to simultaneously serve and overcome the scheme by understanding it as a "radical process of form". The author finds Dahlhaus’s thoughts unnecessarily sophisticated and narrow. If one were to view the structure of the movement according to Claude Lévi-Strauss’ description and classification of myths, the form would be easier to explain. Furthermore, a dimension of content based on that particular human experience (Welterfahrung) that the structure of myths according to Lévi-Strauss alone offers, could enlighten the form. An important element in this context is the binary opposition of the opening phrases (Largo-Allegro), which correspond to the beginning of Hölderlin’s hymn, Patmos. The author encourages a debate as to whether structuralistic thought according to Lévi-Strauss could offer new impulses to music analysis, impulses not strictly bound to the logic of musical forms, but to the creation of knowledge taken from analogous thought processes as seen, for instance, in the example of Robert Schumann.

Friedrich Geiger, Die "Goebbels-Liste" vom 1. September 1935. Eine Quelle zur Komponistenverfolgung im NS-Staat (Band 59, S. 104)

In Nazi Germany, censorship in the area of music began on a large scale at the latest by September 1935, as evidenced by a black list containing the names of 108 composers. This document–issued by Goebbels’s ministry for official use and published here for the first time–shows that antisemitism was the overriding factor governing inclusion, far more than reservations associated with a given composer’s style or political intentions.

Friedrich Geiger, ,Innigkeit‘ und ,Tiefe‘ als komplementäre Kriterien der Bewertung von Musik (Band 60, S. 265)

"Innigkeit" and "Tiefe" figure among the most frequently used criteria in written and spoken evaluations of music. Originally religious concepts, their usage in a musical context can be accredited to Johann Gottfried Herder, in whose pietistically suffused aesthetics of music the complementary nexus of the two terms came to be crystallized. In the nineteenth century they became doubly imbued with chauvinistic undertones, both in the sense of German nationalism and sexism. Serving as criteria for aesthetic judgment, they have continued up to today to be used in playing ideals of music based on art-religion and metaphysics against other musical designs that are thus intrinsically discredited as artistically insignificant.

Anselm Gerhard (Bern), "Kanon" in der Musikgeschichtsschreibung, Nationalistische Gewohnheiten nach dem Ende der nationalistischen Epoche (Band 57, S. 18)

The heated discussion within literary criticism about a eurocentristic "canon" has had only minimal consequences for musicology. A discipline that busied itself with the development of new fields of research in order to appease minorities also tended to deal with these issues through publications—notwithstanding some highly significant ones—devoted to the historical roots of an imaginary "museum" of musical works from the perspective of a specialized historiography. Among music historians there are apparently those who still barely tend to be aware of the fragility of a more implicitly than explicitly communicable repertoire of historical "masterpieces". By comfortably copying inherited teleological concepts of history and principles of organization based on national traditions, the historiography of music runs the danger of reducing the variety and the breathtaking quantity of outstanding music to a canonical repertoire, which in the end cements, fully unreflected, German-centered constructions.

Hermann Gottschewski (Berlin), Metrum und Takt in der Kleinform bei Johann Sebastian Bach (Band 58, S. 144)

While many pieces of J. S. Bach contain numbers of measures in each of their main parts that are divisible by four, this external regularity is not always reflected by an obvious internal regularity. Subdivisions by cadences, sequences, and thematic entries seem to contradict the assumption of an underlying four-measure structure. This article shows, however, that irregular segmentation and the overlapping of phrases (especially when a new section begins "too early" as a "bridge" to the next four-measure unit) can also be interpreted as an ornament of the underlying regular framework. The first four measures of a piece are often used to establish a metrical form that serves as a model for the whole piece. In the subsequent, more ambivalent sections, this metrical scheme gives the music a more distinctive shape. Sometimes a displacement of whole sections relative to the four-measure scheme can change their harmonic meaning. The metrical form tends to be overlooked by performers; in the case of the first Prelude of the Well-Tempered Clavier, it can be shown that this misinterpretation has led to formal problems which have virtually caused the supplementation of an additional measure.

Norbert Graf, "Generöse Weltliebe" oder "schwüle Erotik"?- Kunstapatriotismus auf einer neutralen Bühne. Zur Uraufführung von Alban Bergs Lulu1937 in Zürich (Band 60/2003, S. 236)

The 1937 premiere of Alban Berg’s Lulu in Zurich generated considerable attention in the national and international press. A survey of reviews in Swiss newspapers and journals renders an insightful depiction of the intellectual climate surrounding the first performance. The Stadttheater and the local press initially refrained from focusing on the production in a political context, the general prestige associated with the premiere with its impact on the interests of tourism being more pressing. Debate of the opera’s successful premiere in the service of the Geistige Landesverteidigung did however surface later. Commentaries in the Swiss press were in general moderate, even positive in tone, considering the opera’s salacious content, while other critics declined to publish their views on the opera altogether. One critique, by Othmar Schoeck’s Swiss biographer, Hans Corrodi, looms conspicuously in this configuration. Published in the Nazi daily, the Völkischer Beobachter, Corrodi’s drastic attack on Lulu could be interpreted as an attempt to disassociate Berg’s work from Schoeck’s Massimilla Doni, which was also performed in Zurich. Schoeck’s opera rivaled Berg’s, the "sultry eroticism" of Lulu in stark opposition to the "magnanimous love for the world" of Massimilla Doni.

Kadja Grönke: Cajkovskijs Liza (Pikovaja dama) — eine Projektionsfigur (Band 59, S. 167 )

Aside from the title and basic structural content, Tchaikovsky’s opera Pikovaya dama (The Queen of Spades) and Alexander Pushkin’s tale have little in common. The essential alterations the composer made to the storyline can best be demonstrated by examining the central female character, Liza. In turn, this process further serves to illustrate how the artistic conception that began in the operas Evgeny Onegin and Mazepa was perpetuated. Each opera deals with the fate of a woman struggling with unrequited love for a desired mate–his motivation for the liaison running along different lines than hers. The tragic circumstances surrounding the heroines’ romantic adventures escalate from opera to opera. Until now, it has been assumed that Tchaikovsky identified with his male characters; this article suggests that he projected himself onto the female roles, which were developed during critical junctures in his life. Staging the end results of these crises enabled him to circumvent bitter consequences for himself in reality. The operas, thus, serve as an experimental training ground for life, and their solutions assist the composer in solving his own problems. This hypothesis of projection leads to a shift in the relationship between biography and oeuvre, elevating life experience into the realm of conceptualized art.

Jürgen Heidrich (Göttingen), Die Missa Beata progenies im Chorbuch Jena 32. Eine bisher unerkannte Komposition Jacob Obrechts? (Band 57, S. 151)

It is a fundamental problem of musicological research that the majority of polyphonic music before 1500 has been handed down without the names of composers. As keen as the interest is to establish the authorship of this anonymous repertoire, the delicacy of respective individual investigations persists. The practice of earlier research, focusing exclusively on questions of style, led in part to drastically erroneous conclusions. As a result, the general consensus today is that a combination of various research criteria leads to the most favourable results and, ultimately, to an overall critique of authenticity. However, the best method to be applied to the music of the late Middle Ages must be proven anew in each individual case. The examination of the only transmitted source of the Mass Ordinary discussed here profits from the fact that the composition is able to be linked to a veritable host of circumstancial evidence – philological, historical, biographical, liturgical, etc. After taking these aspects into consideration, one must come to the conclusion that the anonymous mass Beata progenies is a work by Jacob Obrecht.

Michael Heinemann (Dresden), Modale Mehrstimmigkeit als Problem der Musiktheorie im frühen 19. Jahrhundert (Band 58, S. 300)

The discussion surrounding the correct polyphonic treatment of modal cantus firmi that arose in the second half of the eighteenth century was concerned with the problem of chord progressions following the logic of harmonic function while preserving the integrity of the modes. The solution of Kirnberger, Kiesewetter and, in part, Vogler, which established correct harmonic progressions by adding alterations, was contrasted by Mortimer’s and, in particular, Reicha’s idea that pointed toward the establishment of a "new" harmonic system. In spite of these intentions, the paradigm of harmonic tonality was still regarded in a historical sense (Fétis), not yet as the "nature" of music. The dissolution of this paradigm that followed in the early nineteenth century resulted from combining several voices according to modal principles as illustrated in compositions by Reicha and his Parisian pupils, Berlioz and Liszt, around 1830.

Michael Heinemann, Oberon: Tonkünstler Webers Traum (Band 59, S. 298)

Weber’s last opera Oberon is often considered a regressive work. Yet its medieval scenario, the motif of Europeans‘ wielding arbitrary power over women and citizens of other cultures, and its character of the magician—all three belonging to traditional topoi of romantic opera—are subtly reinterpreted. Going beyond mere hackneyed conventions which are often regarded as an indication of a late work, they become a critique of theater through their ironic subtexts, utilizing the play as a play. Weber incorporates dreams within various scenes of the libretto, a method he used in an early sketch for a novel in which he presented his vision for a new musical theater.

Frank Hentschel (Berlin), Der Streit um die ars nova – nur ein Scherz? (Band 58, S. 110)

The Speculum musicae of Jacques de Liège has often been considered a conservative, narrow-minded treatise aimed at condemning ars nova. This article investigates its satiric and ironic elements particular to both style and argumentation, which may lead to a reassessment of how the author is characterized. Since Jacques de Liège provided the only written witness of what has been interpreted as the dispute between ars antiqua and ars nova, a challenge to this historiographical concept is thoroughly warranted. Undoubtedly not directed toward ars nova, Pope John XXII’s decree "Docta sanctorum patrum" cannot be counted as a second witness. It concerns itself rather with certain musical practices (within the church) that Jacques himself even favored. Be that as it may, the satirical tone of Jacques’ text is foreign to the style of the decree. It is unlikely, therefore, that Jacques would have referred to its existence, perhaps even dared to have mentioned it, provided he was acquainted with it. In the final analysis, it seems improbable that he was.

Christoph Henzel, Giuseppe Becces Musik zu Richard Wagner – Eine Filmbiographie (1913) (Band 60, S. 136)

Richard Wagner – Eine Filmbiographie by Carl Froelich und William Wauer (produced by Messter’s Projektions-G.m.b.H., Berlin) is important for its documentation of the social and artistic conditions surrounding German film in 1913. This is particularly obvious in Giuseppe Becce’s film score—partly compiled and partly composed music which utilizes both classic and romantic styles with a conspicuous dose of Wagnerian elements. To this comes an experimental bent that supersedes the accompanimental conventions found in silent movies. Becce distinguishes between apparent diegetic music and supportive background music while utilizing differing grades of rhythmic alterations for the action. By employing transitional passages and repetition, he ultimately manages to create an interface between the semantics and the music which, however, at times tends to thwart the progess of the chronological plot.

Hans-Joachim Hinrichsen (Zürich), Musikwissenschaft: Musik – Interpretation – Wissenschaft (Band 57, S- 78)

The term "interpretation" in German means performing music as well as analyzing or verbally describing music. Since musicological concepts of music can be understood to consist of various methods by which a complex phenomenon is reduced to mere texts (following the example given by the older philological disciplines), this article will attempt to shed some light on the now forgotten mutual influence between the aesthetics of musical performance (performance styles) and ways of thinking and writing about music. Musicology should not confine itself to the analysis of recorded musical performance, but should also discuss the methodological possibilities of reconstructing historical performance styles. The history of musical interpretation and its impact on the concept of aesthetics and musicological terminology (as demonstrated in Hugo Riemann’s concept of musicology) should be an important aspect of musicological research. Retracing the interrelationship between practical and hermeneutical interpretation could provide a deeper understanding of music and music history than the mere analysis of musical texts.

Hans-Joachim Hinrichsen (Zürich), "Eines der dankbarsten Mittel zur Erzielung musikalischer Formwirkung". Zur Funktion der Tonalität im Frühwerk Arnold Schönbergs (Band 57, S. 340)

Harmony in Arnold Schoenberg’s early instrumental works is usually examined within the context of the disintegration of tonality, which leads to the fact that its centrifugal tendencies are often emphasized. In view of the historic importance of Schoenberg’s harmony, this perspective is not unjustified, although ultimately too one-sided. Numerous remarks on the subject by the composer warrant a more serious consideration of the structural functions of his early harmony. This essay, citing examples from the First String Quartet op. 7 and the Second Chamber Symphony op. 38, examines the significance of harmonic inter-relatedness within different levels in Schoenberg’s formal construction—both sectional and global. Relationships between keys, such as "closeness" and "distance", find their definition solely within the confines of each work, and, particularly in the D Minor Quartet, are carefully and intentionally employed for the clarification of structural ideas. In this way, relations between different dimensions—the material of the exposition’s main theme and the over-all formal design—are not only of a motivic-thematic nature, as has hitherto been emphasized in Schoenberg studies, but also of a harmonic nature. Further research should determine whether Schoenberg replaced this important dimension of his formal thinking after he abandoned tonality, and if so, by what means.

Hans-Joachim Hinrichsen, Das "Wesentliche des Kleist’schn Dramas"? Zur musikdramatischen Konzeption von Othmar Schoecks Operneinakter Penthesilea (Band 59, S. 267)

Othmar Schoeck’s Penthesilea, the first opera based on Heinrich von Kleist’s drama of the same name, premiered in 1927. The distinctiveness of this particular Kleist drama, which was not given an adequate stage reception until the twentieth century, had a direct and consequential impact on the style of Schoeck’s opera. Not only does this opera enjoy a special place in Schoeck’s oeuvre, but it also reinterprets the traditions of music drama in a most novel and idiosyncratic way. This article illustrates how Schoeck’s attempts to do justice both to Kleist’s complicated language and the excessive plot led to a unique conception of music theater that deserves to be taken seriously as a veritable contribution to this genre during the early twentieth century.

Jürgen Hunkemöller, Klänge der Nacht in der Musik Béla Bartóks (Band 60, Seite 40)

Does night music in the works of Bela Bartók exist as a specific genre? Asserted repeatedly in musicological and theoretical writings, there have, however, been no attempts to date to prove this thesis according to the criterion of tradition, compositional means, or biographical facts. In order to determine the validity of this question, only those compositions which expressly refer to night music will be examined: "Music of the Night," from the piano suite Out of Doors; "Notturno," from Mikrokosmos; and the finale from Bluebeard’s Castle ("Henceforth all shall be darkness, darkness, darkness, darkness"). Anthropological considerations of nocturnal phenomena and a brief historical outline precede the three analyses. While "Notturno" follows along the general lines of a nineteenth-century nocturne, the "Music of the Night" for piano displays original and avowedly biographical elements. Rather than incorporating so-called night music elements, the opera’s finale seeks to do justice to the dramatic conclusion of events through both innovative methods and conventional typological means.

Helmut C. Jacobs (Duisburg), Die Rolle der Musik in der ästhetischen Diskussion der spanischen Aufklärung (Band 58, S. 181)

Observations and writings on music by eighteenth-century Spanish authors reveal the following developments. Until late into the second half of the century, a more conservative circle defined music as a science, in contrast to a group of more advanced writers who classified music within the recently formulated concept of the fine arts (bellas artes). It was not until the 1780’s that the fine arts in Spain came to be emancipated from the sciences and, finally, established in their own right. Most writers attempted to upgrade the position of music, and the resulting increase in its social relevance can be seen in a growing preoccupation with the discipline in newspapers and other writings. Under the influence of empirical and sensualist trends, the effect of music on society received considerable attention, as seen in the writings of the Benedictine, Feijoo, who awarded music the highest place among the fine arts. In addition, the rapid development of opera caused many authors to launch an intensive discussion on the compatibility and synthesis of the various art forms involved in that genre.

Martin Jira: E. T. A. Hoffmanns deutsche Übersetzung von Gasparo Spontinis Oper Olimpia (Band 59, S. 186)

An examination of the principles on which E.T.A. Hoffmann based his German translation of the French libretto of Gasparo Spontini’s opera Olimpia are juxtaposed with examples taken from the French libretto of 1819, from Hoffmann’s Textbuch of 1821, from the Dresden score of 1821, and from the bilingual piano score published by Schlesinger in 1821—22.

Kay-Uwe Kirchert (Bamberg), Das Floß der Medusa. Reale und bildnerische Hintergründe in Hans Werner Henzes Oratorium (Band 57, S. 264)

Alexandre Correard’s and Henri Savigny’s "vollständiger Bericht" (complete report) of the capsizement of a ship in 1816 became the subject of a painting by Théodore Géricault as well as the basis for Hans Werner Henze’s oratorio, Das Floß der Medusa. Henze’s composition is to some degree oriented toward pictorial aspects of Géricault’s painting such as color or principles of construction. In addition to providing an interpretation of Géricault’s painting, this article offers a detailed analysis of the montage of the libretto, an analysis which mainly deals with the fragments from Dante’s Commedia Divina found in the libretto. Henze’s usage of Pascal’s Pensées are also brought into a meaningfully logical relationship, while the political aspect of the oratorio will be opened up to discussion, particularly with respect to the differences between musical and visual possibilities of representation.

Michael Klaper, ,Verbindliches kirchenmusikalisches Gesetz‘ oder belanglose Augenblickseingebung? Zur Constitutio Docta sanctorum patrum Papst Johannes’ XXII

Music historiography has acknowledged Pope John XXII’s constitution Docta sanctorum patrum (1317/25?)–the most detailed of all papal statements concerning music–for more than two hundred years, although crucial questions concerning its genesis, publication, and dissemination have rarely been examined. To begin with, it is not entirely clear which liturgical chant practices were forbidden by the document, a fact that obscures the assessment of its influence on ecclesiastical chant at that time. A survey of the written evidence, however, suggests that Docta sanctorum first came to be universally known and respected as a text of undisputed canonical status in the sixteenth century. The historical significance of Docta sanctorum, resting less in the limited dimension of its relationship to Ars Nova, consists in its documentation of a particular position with respect to musical change at the beginning of the fourteenth century, a view that otherwise would not have been preserved.

Kordula Knaus, Einige Überlegungen zur Geschlechterforschung in der Musikwissenschaft (Band 59, S. 319)

Within musicological research, gender studies have become an increasingly important area of analysis in recent years, especially in its association with Anglo-American Critical or New Musicology. Although this interpretative approach is both attractive and constructive, it runs the risk of generating misleading conceptions of gender. When in the process of musical analysis the categories of ‘male’ and ‘female’ are made synonymous with musical parameters, the reality of gender as a social construct fails to be acknowledged. Some of these problems will be discussed in the examination of two musical analyses from representatives of New Musicology—Lawrence Kramer (Mozart’s Divertimento, KV 563) and Susan McClary (Brahms’s Third Symphony, op. 90). Methodological approaches to gender issues in musicological research which attempt to take into account the dynamics and complexities of gender as a social, historical, and cultural construct are presented.

Ulrich Konrad (Würzburg), Alte Musik, musikalische Praxis und Musikwissenschaft. Gedanken zur Historizität der Historischen Aufführungspraxis (Band 57, S. 91)

Early music, performance practice and musicology have a relationship to one another that is as stimulating as it is contradictory. Historical performance practice in particular, both as a term and in itself, has exerted influence on this relationship in recent decades. Whereas formerly the consistent use of "current" performance practice attempted to soften or eradicate any estrangement that may have existed between a "historical type of music" (Handschin) and any given contemporary audience until well into the twentieth century, current musical performances appear to be governed by the idea of "historical" performance practice. What are the reasons for this development? What are the benefits of attempts to reconstruct authentic representations of early music and past realities? A reflection upon the historicity of all musical performance practices leads to the realization that historical performance practice, when based on the application of historical rules, takes on the role of a specific style of rendering the music of earlier times. The purpose of historical performance practice lies in the music and its listeners, who wish to experience the fleeting vision of a work at every hearing.

Ulrich Konrad (Würzburg), Aspekte musikalisch-theologischen Verstehens in Mariane von Zieglers und Johann Sebastian Bachs Kantate Bisher habt ihr nichts gebeten in meinem Namen BWV 87 (Band 57, S. 199)

The text of Bach’s cantata BWV 87 "Bisher habt ihr nichts gebeten in meinem Namen," composed for the Sunday Rogate in 1725, is based on John 16:23–30, the Gospel passage in which Jesus teaches his disciples how to pray in His name. The text Bach set to music was written by Mariane von Ziegler. Since the cantata’s text diverges from the first printing of Ziegler’s text in 1728 it seems possible, though this is merely an assumption, that Bach himself altered it. Regardless of who penned the cantata’s text, the following question arises. To what extent, if any, is the interpretation of Jesus’ comforting promise ("Until now you have not asked for anything in my name. Ask and you will receive, so that your joy may be complete, " John 16:24) as a word of warning to "alarm heart and soul" (BWV 87,2) theologically sound and within Lutheran sermon tradition? In order to answer this question one needs to examine how textual and musical structures in Bach’s composition are combined and how the musical setting of the text adds an important dimension to its theological message. This paper discusses possible ways in which Bach’s music may correspond to the "misreadings" of the linguistic and theological structure of the text. With regard to the latter, it will be considered how in Aria No. 3 Bach may have disguised the theological meaning while ignoring the linguistic structure of the text. With reference to the former, it will be shown how in Aria No. 6 Bach’s treatment of the siciliano closely corresponds to the topic of suffering.

Werner König (Bergen), Lulu und der Todeston ihrer Opfer (Band 58, S. 51)

In Alban Berg’s opera Lulu the death of Lulu’s victims is characterized by the note B-flat. It appears in various functions, either as (1) a single note integrated in a tonal setting where it is not the root, (2) the root, (3) the tonic together with the third or fifth, or (4) part of the tritone B-flat-E. Taken together, these cases seem to provide an explanation for the fact that Berg began the fundamental series (Urreihe) of Lulu with B-flat, as notated for his pupil, Willi Reich, thus characterizing Lulu as Pandora, the ruinous woman.

Constantijn Koopman (Nijmegen), Identifikation, Einfühlung, Mitvollzug. Zur Theorie der musikalischen Erfahrung (Band 58, S. 317)

This article examines various concepts, such as co-execution (Mitvollzug), aesthetic identification, and empathy (Einfühlung), which attempt to account for the intimate relationship between music and the individual. Eggebrecht’s theory of aesthetic identification and the theories of empathy put forward by Lipps, Volkelt, and Siebeck are first of all discussed. This is followed by a critical assessment of the basis on which these theories’ premise rests, namely, that musical encounters consist of a musical object that exists independently of the subject. A review of the central characteristics of the musical encounter – intimacy, holism, temporality, and lack of substance – leads to the conclusion that in direct musical experience, music manifests itself as an internal event rather than as an external object. It is therefore maintained that the concepts of co-execution, empathy, and "aesthetic identification" do not apply to the core experience of absolute music (although the latter does relate to several secondary phenomena in music), and that the relationship between music and the subject is more direct than these theories suggest. Thus, the listener does not enter into an intimate relationship with a musical work by permeating it by affect or identifying with it, but rather, music and the individual constitute a unit from the outset.

Lawrence Kramer (Fordham University), Ein Phantasiestück zur Jahrtausendwende (Band 57, S. 101)

This article outlines some of the initiatives of the "new" or "critical" musicology that developed primarily in the English-speaking world during the 1990s. Though diverse, this trend has tended to concentrate on the relationship between music and subjectivity, where subjectivity is understood not as the condition of private inward existence but as a disposition to occupy socially formed positions from which historically specific types of action and feeling become possible. Music in this context appears as a model of the communicative action by which one subject addresses and negotiates with another. Of the implications for musical scholarship, two stand out. First, musical history can no longer be understood primarily as a history of musical form, especially not a regressive or progressive history. The primary object of musical history is instead the process by which music models the occupation of subject positions and the performance of communicative action in specific historical circumstances, and the related process by which this modeling is accepted or resisted. Form follows from these processes more than it determines them. Second, music can no longer be separated from the interpretive practices that ascribe meaning to it, practices that now appear as fundamental to musical experience.

Ursula Kramer (Mainz), Auf den Spuren des Häßlichen. Johann Friedrich Reichardts Hexenscenen aus Schackespear’s Mecbeth (Band 57, S. 301)

Shakespeare’s plays gradually gained access to the repertory of German theater companies due to the influence of literary criticism during the Sturm and Drang period. As was usual at that time, music directors contributed incidental music for individual performances. Johann Friedrich Reichardt’s Hexenscenen aus Schackespear’s Macbeth appears at first glance to be just another example of this genre, but for various reasons it represents much more than this, as seen by the extraordinary fact that a printed edition of the vocal score exists. Reichardt’s own high estimation of the music is reflected in the score, and it seems as though Shakespeare’s poetic world inspired the composer to leave behind the aesthetic concept of the pleasant in favor of the characteristic, even the ugly ("das Hässliche"). Thirty-four years earlier than Weber’s Freischütz, Reichardt employed a musical vocabulary that unfolds harmonic, melodic, and instrumentational features traditionally associated with romantic music. Thus, the relationship between the individual art forms was turned on its head: literary aesthetics was only able to free itself from the ideal of the beautiful after 1799.

Andrea Lindmayr-Brandl (Salzburg), Die "wiederentdeckte" unvollendete Sonate in E D 459 und die Fünf Klavierstücke von Franz Schubert (Band 57, S. 130)

For decades, Schubert’s "Fünf Klavierstücke" (known only through the 1843 Klemm Edition, Leipzig) were thought to be a sonata with an additional movement. This view was no longer tenable due to several new findings that came to light after an autograph briefly surfaced. Henceforth, the new Deutsch-Verzeichnis separated the pieces into the Sonata in E Major, D. 459 (in two movements, thus, incomplete) and "Drei Klavierstücke" D. 459A. This solution, however, does not hold up to closer scrutiny. An examination of the autograph (which recently emerged once again at Sotheby’s), a new interpretation of Alois Fuchs’ work list and knowledge of Ferdinand Schubert’s handling of the manuscript estate reveal that Klemm compiled the pieces for his edition from several different Schubert works. Originally it was to have been a four-part collection, but Klemm recognized that the unfinished second movement of the Sonata would be easy to complete. It is clear from the autograph used as a "Stichvorlage" for the 1843 publication that Schubert himself broke the work off at the end of the development section, as he did with several other sonata movements. This makes D. 459 fragmentary in quite a different sense. Thus, the "Fünf Klavierstücke" as a whole can no longer be considered to be an original composition, but rather a second-hand product designed for the early Schubert reception.

Helmut Loos (Chemnitz), Franz Schubert im Repertoire der deutschen Männergesangvereine. Ein Beitrag zur Rezeptionsgeschichte (Band 57, S. 113)

The historical development of the Schubert reception within the German Männergesangvereine shows itself to have been closely associated with the most critical political issue of the time, namely, whether the structure of the German nation would take on a "kleindeutsche" or "großdeutsche" form. In the second half of the nineteeth century, Johann Ritter von Herbeck decisively promoted the cultivation of Schubert’s music in the Männergesangvereine, while the "Taschenbuch für deutsche Sänger 1864" celebrates Schubert as a German "Großmeister" for the first time. In 1928 a signal event is the tenth festival of the German Sängerbund in Vienna, dedicated to the 100th anniversary of Schubert’s death. The mottos of this grand occasion, which attracted 140,000 singers, were a tribute to Schubert and the joining of Austria to the German Reich. Paul von Hindenburg, Germany’s president, was the event’s patron. The Männergesangvereine’s declarations clearly state and verify its intended political nature and cultural goals. To what extent this movement represented a special development within the broader musical landscape, or whether the Männergesangvereine’s motivation was symptomatic of a general phenomenon of the time applicable to other areas remains an open question.

Walther Ludwig, Zur Biographie und den Epigrammen des Komponisten Alessandro Marcello (Band 60/2003, S. 171)

The Venetian composer Alessandro Marcello published several editions of Latin poems at the beginning of the eighteenth century. These editions, which have not yet been given their due attention from modern scholarship, enable us to correct his erroneous date of birth on the basis of his horoscope. He was not, according to most dictionaries, born in 1684, nor in 1669 as Eleanor Selfridge-Field proposes (The Music of Benedetto and Alessandro Marcello, Oxford 1990), but on 2 February 1673. The Latin poems, in addition to furnishing new insights into his biography, reveal his combined interest in musical composition and performance with painting, sculpturing, poetry, astrology, and chemistry. For the first time, this article describes and correctly lists the editions of his 1,045 Latin epigrams and offers interpretations for a small group of them, namely, for his obscene epigrams in the tradition of Catullus and Martial, the autobiographical poem on his horoscope, and epigrams on his many artistic and scholarly activities.

Laurenz Lütteken (Marburg), Wie ,autonom‘ kann Musikgeschichte sein? Mögliche Perspektiven eines methodischen Wandels (Band 57, S. 31)

The idea that music history mainly consists of the history of composition is the result of a historical process reaching back into the eighteenth century, an idea that has been a determining factor in the definition of scholarship within the development of academic musicology and which has had a favourable influence on attempts to objectify our understanding of musical works through analysis. Taking up where premises of Schopenhauer and Nietzsche left off, Carl Dahlhaus spoke of the paradoxical "relative autonomy" of the history of composition. In the meantime, the various objections to the autonomy of music from the social sciences have not as yet been consolidated into a methodologically sound, alternative model. Perhaps such an approach already exists in Rudolf Vierhaus’ theory of "Lebenswelt", a concept taken from phenomenological sociology and adapted by Vierhaus for use in the theory of history. The related ‘soft’ categories (such as attitude, modes of thinking and perception) contain a hidden potential—until now only partially articulated and hardly systematized—capable of productively overcoming the aporetical discussion concerning the "relative autonomy" of music, offering thereby the possibility of an integration of music history not merely based on vague associations within the panorama of the social sciences.

Michael Maier (Berlin), Geistertrio. Beethovens Musik in Samuel Becketts zweitem Fernsehspiel (Band 57, 172)

Samuel Beckett’s Ghost Trio of 1975 is the first piece in a series of television plays representing the author’s late dramatic style. The set and camera angles, staging and text are reduced to the utmost minimum, producing an intensely lyrical, laconic situation. The stage opens with a situation of waiting: the protagonist is sitting bowed over a cassette recorder, listening to the slow movement of Beethoven’s Piano Trio op. 70, no. 1. Several times he interrupts his listening to walk around, always returning, however, to the music. Beethoven’s music forms the center of the play and it offers a new "musical" aspect to repetition, this well-explored formal device of Beckett’s theatre. This article examines the role of the recurring musical motives of Beethoven’s piano trio in Beckett’s piece. Does musical repetition influence the play’s formal concept, and which qualities inherent in Beethoven’s music are illuminated in the play?

Michael Maier, "Mine ear is muchenamoured of thy note". Musikalische Grundbegriffe in Shakespeares A Midsummer Night’s Dream (Band 59, S. 33)

Standard analyses of basic musical concepts–complex by the very nature of the material–rarely invite and captivate the attention of musicologists. An illustrative example could perhaps help promote a more lucid explication of concepts like sound and note. Shakespeare’s A Midsummer Night’s Dream abounds with song and dance, with musical comparisons and metaphors. In order to illuminate its dramatic settings, the play draws upon a variety of audible phenomena and organizes them into a polarity ranging from the eerie sounds of the hooting owl and howling wolf to the final blessing of the fairies. Thus the evolution of the play, which leads from "distemperature" to marriage, is reflected in acoustic, and later, musical events. German translators, from Christoph Martin Wieland to Erich Fried, have grappled with the difficult task of clarifying Shakespeare’s terminology. A comparison between several of these attempts with the Shakespearean original can serve to aid the exemplification of concepts and particularities crucial to music theory.

Thomas M. Maier (Berlin), "Erroir is an excellent thing". Analyse und Deutung von ‚Fehlern‘ in einigen Kompositionen John Cages aus den späten 1940er Jahren (Band 58, S. 131)

An analytical look at three of John Cage’s compositions of the late forties (The Seasons, 1947; String Quartet in Four Parts, 1949/50; Lecture on Nothing, 1949/50) reveals his special pleasure in installing small, imperceptible mistakes in the "micro-macrocosmic" plans underlying his compositions. Considering Cage’s interests during that time, a connection between such compositional or mathematical mistakes and his reception of psychoanalytic theory (C. G. Jung) and Eastern and Western mystic traditions (Meister Eckhart) can be made. Moreover, in his own writings (A Composer’s Confession, 1948; Forerunners of Modern Music, 1949) Cage shows a strong interest in consolidating modern man’s "split and dispersed" being (Cage), which meant for him a reunification of the conscious and the unconscious, the rational and the irrational. The mistakes in his rational-mathematical compositional plans can thus be seen as an act of integration, the mistakes (even if composed) as signs of an integrated irrationality. In the same way that the mistakes "heal" the composition from a pure and one-sided rationality, Cage hopes his composition will contribute to the "healing" of those who are listening to it, whether this be the composer, performer, or audience. In retrospect, the mistakes are road markers on the way toward chance operations.

Albrecht von Massow (Freiburg i.Br.), Nach welchen Kriterien begründet sich heutige Musikwissenschaft? (Band 57, S. 39)

The search for criteria in current musicology poses the question whether the variety and diversity of individual research issues are based on an interest in joint research criteria. How can these criteria be shaped so as to consider the specifics of music as its subject matter? To what extent are the various directions of research interested in cooperation with a common basis of criteria defined by specific aspects of music?

Felix Meyer, Adaption – Transformation – Rekomposition. Zu einigen Liedbearbeitungen von Charles Ives (Band 60, S. 115)

Charles Ives revisited and revamped his own earlier works considerably more often than other fellow composers, which has given rise to the characterization of his entire oeuvre as a broadly ramified "work in progress." A striking example of this type of work is represented by the transformation of instrumental into vocal compositions, namely, the collection of 114 Songs from 1922. The aesthetic premises and contextual considerations of the composer’s methods of arrangement are outlined in this article and exemplified in the song transcriptions "The Cage," "The Camp-Meeting," and "From ‘Paracelsus.’" In all three instances Ives brought a latent text within the instrumental version "to the surface," though the degree to which he altered the musical substance varied greatly, depending on the structure of the original. The spectrum extends from a virtual note-by-note "adaptation" ("The Cage") to a condensed and elucidated "transformation" ("The Camp-Meeting"), and proceeds to a freely invented "recomposition" of the former instrumental source ("From ‘Paracelsus’").

Karen Painter (Cambridge, MA), Contested Counterpoint: "Jewish" appropriation and polyphonic liberation (Band 58, S. 201)

In the early twentieth century, modern polyphony became a symbol for the problems of new music, threatening both tradition and comprehensibility. This article examines the ideology behind listening to counterpoint, with a focus on reception sources from the concert season 1906-07—in particular, how the rhetoric from the premieres of Mahler’s Sixth and Strauss’s Salome influenced the reception of Schoenberg’s First String Quartet. The influence of Salome (the antisemitism it spawned and the debate over Jewish-German identity) was so strong as to override the different attitudes towards counterpoint on the part of Viennese and German critics. Broader issues the article addresses are forms of antisemitism in the early twentieth century and how counterpoint influenced the artistic avant-garde outside music.

Daniil Petrov, Zur Gestaltung und Orthographie des Notentextes bei Petre Tschaikowsky (Band 60k S. 162)

This article deals with editorial issues pertaining to Tchaikovsky’s Suite no. 1 for Orchestra and the Sixth Symphony. The importance of the original layout of the score and problems related to the rendering of historical and individual orthographical features in scholarly editions will be discussed.

Daniela Philippi, Die neue Klassizität im Instrumentalschaffen vonn Bohuslav Martinu (Band 60, S. 221)

Bohuslav Martinu’s compositions during the 1920s and 1930s are characterized by a distinctive neo-classic style, noticeably influenced by nouveau classicisme. After his studies and first successes in Prague, MartinÛ moved to Paris in 1923, where he lived until the Nazi invasion forced him to flee the country. During this period he developed a new compositional style, neo-classic in nature, which can be observed in numerous concertos for chamber and string orchestra. Relevant stylistic traits incorporated in the Concerto for Harpsichord and Chamber Orchestra, H 246 (1935) and the Concerto for Two String Orchestras, Piano, and Timpani, H 271 (1938), often referred to as the Double Concerto, will be discussed. Noteworthy is the strikingly advantageous synthesis of compositional elements of nouveau classicisme and components peculiar to MartinÛ’s personal style.

Juliane Riepe, Eine neue Quelle zum Repertoire der Bonner Hofkapelle im späten 18. Jahrhundert (Band 60, S. 97)

What we know of the repertory associated with the eighteenth-century court of the Cologne electors in Bonn is primarily based on three inventories, drawn up in 1723/24, 1766, and 1784 respectively. A fourth inventory at the Biblioteca Estense in Modena, together with the bulk of what remains of the court’s musical collections, lists the parts and scores once in the possession of Maximilian Franz (1756-1801), the last Cologne elector and youngest son of Maria Theresia. The majority of these circa 3,400 manuscripts and prints—compositions by Haydn, Mozart, Pleyel, Salieri, and others—is a reflection of the music that would have influenced the young instrumentalist and composer Beethoven, not only after his move to Vienna in 1792 but already during his employment as a court musician in Bonn.

Albrecht Riethmüller (Berlin), Sphärenharmonie und Gassenhauer. Zur Erinnerung an Lukas Richter (Band 57, S. 389)

On 4 February 1998 the following address was held during an academic ceremony at the Humboldt University in Berlin honoring the seventy-fifth birthday of Lukas Richter. The German musicologist’s distinguished and unconventional publications range from ancient Greek music theory to popular music. In view of a thwarted university career and personal adversities in East Germany, it is noteworthy that much of Richter’s research dealt with problems traditionally situated on the periphery of current historical musicology. Lukas Richter passed away on 24 September 2000.

Albrecht Riethmüller (Berlin), Wunschbild: Beethoven als Chauvinist (Band 58, S. 91)

Both types of chauvinism – national and male – have been applied to Beethoven, the historical and political persona, as well as to his music. This article examines the assumptions of male chauvinism in relation to Beethoven’s music. Adolf Bernhard Marx and others began implanting gender dualism into theoretical analyses, whether for the sonata form or the chief compositional model, Beethoven. Nationalist and sexist aspects coincide with the idea that the music itself is rooted in a type of ethical seriousness, the paradigm for which may be found in Beethoven’s music. Fantasizing about the chauvinist Beethoven has remained part of the composer’s reception up to today.

Albrecht Riethmüller (Berlin), Das "Problem Mendelssohn" (Band 59, S. 210)

This article examines several German commentaries on Mendelssohn dating from 1945 to 1970 in which his music was treated as a "problem"–considering the Nazi’s elimination of the Protestant musician of Jewish descent from musical life, a precarious standpoint. Does Mendelssohn present a problem, or does the problem rest with postwar observers, who, unsettled by his music, knowingly or involuntarily perpetuated the composer’s ambiguous reception in Germany? Presented at the Zweites Leipziger Mendelssohn-Kolloquium in 1997 on the occasion of the 150th anniversary of the composer’s death, this text, printed here for the first time and in the original version, is dedicated to Lars Ulrich Abraham, former rector of the Freiburg Musikhochschule, for his eightieth birthday on 25 April 2002. In 1972, Abraham contributed to a symposium on Mendelssohn in Berlin, the proceedings of which were entitled Das Problem Mendelssohn (Regensburg 1974).

Eckhard Roch (Bochum), Symphonie und Drama. Ansätze zu einer Kritik des Dramatischen in der Symphonik des 19. Jahrhunderts (Band 57, S. 318)

The concept "dramatic" is one of the most misunderstood and frequently misused terms in musicological literature. One cause for confusion is due to the fact that the formal attributes of the symphony (with its autonomous compositional form) on the one hand and its programatic content on the other are both brought into association with the dramatic. In the first category one uses "dramatic" to refer to a type of musical construction, a construction that actually concerns itself with questions of "plot" rather than dramatic or epic issues. In addition, dramatic elements in music should not be confused with poetic or programatic narratives. When the symphony began to be established as the paradigmatic genre within instrumental music around 1800, plays were conveniently chosen for purposes of comparison, since a play, in contrast to the novel, does not rely on a narrator but on characters who speak and act directly. Romantic authors such as E.T.A. Hoffmann referred to the symphony, therefore, as a type of "drama of instruments", circumventing thereby the thorny question regarding the narrative aspect of purely instrumental music. Whenever this question does surface, it is often associated with a confusion between the dramatic and the epic. The latter has its origins in literature, while the dramatic in music always remains exclusively musical in nature.

Eckhard Roch, Zwischen Geist und Materie. Grundlagen des musikalischen Materialbegriffes in Philosophie und Rhetorik (Band 59, S. 136)

Discourse on music, which is not merely based on convention, takes place within a historically determined realm of semantic possibilities, the constraints of which are all the more compelling the less the speaker is aware of the preconditions. Within the semantic boundaries determining the vocabulary of musical analysis is the dichotomy of mind ("Geist") and matter ("Materie"), with all its connotations. A rarely admitted yet fundamental principle of Western music states that both elements are in a state of permanent struggle, whereby music history tends to be partial either one side or the other. Bearing this in mind, an attempt will be made to inquire into the philosophical and rhetorical origins of such rudimentary musical concepts as theme, matter, topos, element, figure, accidental, and musical substance, form and material. The consequential application of these findings will then be demonstrated in the analyses of selected works ranging from the Middle Ages to the twentieth century.

Volker Rülke (Bonn), Bart´ks Wende zu Atonalität (Band 57, S. 240)

The Etudes op. 18 is the first work in which Bartók unequivocally advanced to atonality. Each of the three pieces introduces a short motive that serves as the main substance for all further development. The first contains a four-note group, the second a constellation of intervals (two major thirds and one minor), and the third a succession of notes resembling an unordered set. In the first two etudes Bartók employs contrasting motivic elements made up of opposing major and minor thirds and thirds against fourths respectively. Another principle of composition utilizes the strictly pianistic feature of contrasting the black and white keys. The more loosely constructed third etude applies a synthesis of several components found in the first and second. One of the most interesting aspects of the composition is the appearance of tonal forces within an atonal framework. Structural unity combined with a certain largesse in the way Bartók follows his own compositional principles characterize both the Etudes and Bartók’s œuvre in general.

Hartmut Schick, Musikalische Konstruktion als musikistorische Refelexion in der Postmoderne. Zum 3. Streichquartett von Alfred Schnittke (Band 59, s. 245)

With its extremely heterogeneous thematic material of open citations and hidden monograms of Lasso, Beethoven, and Shostakovich, Schnittke’s Third String Quartet (1983) appears to be a typical post-modern work. Yet its material is as much the result of strict "developing variation" as the starting point for complex reflections on music history, for the musical quotes comment on each other and refer to other works as well. In this article, the quartet is interpreted as a three-fold, "audible" essay on music history—the first concerning Schnittke’s own musical physiognomy and his earlier work, the second on the development of the string quartet from late Beethoven through Webern and Bartók up to Shostakovich, and the third on the scope of Western polyphony ranging from the sixteenth century through to the counterpoint of Bach and Beethoven and on to dodecaphonic and quartertone music. The archaic discant clausula which opens the work can be seen, in this context, as the germinating cell of modern music. Thus, Schnittke’s music recognizes the phenomenon of leading-tone alterations in Renaissance music around 1500 already as being the "genetic code" that led to the gradual dissolution of diatonic harmony and tonality, which has characterized the history of Western music over the past several centuries.

Manfred Hermann Schmid, "Il orrendo sol bemolle". Zum Streichquartett von Giuseppe Verdi (Band 59, S. 222)

When assigning Verdi’s string quartet its place within the history of this instrumental genre, the question arises regarding the extent to which he allowed other musical genres to impinge upon this composition: instead of remaining strictly within the stylistic parameters of chamber music, it appears that Verdi also thought in operatic terms. Examples of operatic elements, unexpected in this genre, include the long-overlooked allusions to Lohengrin and Meistersinger, such as "the horrible g-flat (= f-sharp)" of the Night Watchman’s horn. Pursuing these clues leads to the recognition that Verdi rediscovered opera buffa for himself long before Falstaff, and, even more startling, that his reaction to Wagner was expressed in an instrumental composition, not an opera. Thus, his string quartet represents a strikingly personal attempt to confront German with Italian music. If one of the characteristics of German opera is the integration of symphonic and instrumental techniques, then this Italian work transfers operatic techniques to the quartet–the preeminant instrumental genre.

Matthias Schmidt, Das Andere der Aufklärung. Zur Kompositionästhetik von Mozarts Glasharmonika-Quintett KV 617 (Band 60, S. 279)

The late eighteenth century’s "enlightened" culture had difficulties in assessing the art form of music as "merely speaking to the senses" (Immanuel Kant). Attempts to delineate the physical, psychological, and aesthetic foundations of music by means of a strict orientation to reason were countered by a general fascination with music as an immediate language of feeling. This discrepancy is pointedly manifest in aesthetic issues surrounding compositions for glass harmonica, an instrument singularly in vogue during the last third of the century. The quintet Mozart composed for it (KV 617) presents itself as a particularly suitable vehicle to examine musicology’s contradictory evaluations of Mozart’s relationship to musical "enlightenment." Analytical findings reveal why Mozart cannot be considered a strict advocate or, equally, an opponent of "enlightened" thought; likewise, his handling of the instrument’s sound indicates that he sought neither "sentimental" immediacy nor "sublime" ascension into the "classical" discourse of motivic and thematic logic. Thus, Mozart’s art does not deem "the other part of reason" (das Andere der Vernunft) as a distant object with regard to his musical thought as such, but rather regards it as something that is subtly encoded in it.

Elmar Seidel (Mainz) Hans Leo Haßlers "Mein gmüth ist mir verwirret" und Paul Gerhardts "O Haupt voll Blut und Wunden" in Bachs Werk (Band 58, S. 61)

J. S. Bach adhered to the given setting of a pre-existing chorale, not only in "simple" settings but often in figured chorale settings as well. Apparently the overriding proximity to this type of chorale setting occurred because he based his figured settings not only on the cantus firmus itself but often on a simple four-voice setting, whether it indeed existed or he merely imagined it thus to be. By means of a reductive analysis it is possible to reveal such a conjectured setting, as seen in the second movement of the cantata "Sehet, wir gehen hinauf gen Jerusalem" (BWV 159). In the chorale duet (S., A., Bc.) the soprano sings the sixth stanza of "O Haupt voll Blut und Wunden." Obvious structural similarities, even identical features, exist between it and the first stanza of the "simple" setting of this Lied in the St. Matthew Passion (BWV 244,54), which was first performed shortly thereafter. In both cases Bach conforms to the traditional setting of the religious parodies of secular songs, in this case the five-part German Lied "Mein gmüth ist mir verwirret" by Hans Leo Hassler. In all likelihood Bach was no longer familiar with the original and therefore unaware of Hassler’s modal ambiguity corresponding to the words "Mein gmüth ist mir verwirret." This did not prevent him, however, from creating an ingenious adaptation of this type of traditional setting.

Wolfgang Strohmayer (Henndorf), Leon Battista Alberti Schönheitsbegriff und traditionelle Entwurfsgrundlagen (Band 58, S. 231)

In art history it is a well-known fact, that proportionality played an important role in the structural design of many masterpieces of the Early Renaissance. Specialists have recently taken Leon Battista Alberti’s formulations on the subject in his architectural treatise De re aedificatoria libri decem and applied them to those proportions that correspond to musical intervals in a harmonic sense. This article will examine the means by which the modest number of musical components is incorporated into fundamental architectural processes. Due to the application of mathematical aspects in the fundamentals of design in that period, new theories that evaluate Alberti’s definition of beauty can now be put forward. This article proposes a special mode of construction, the dynamics and logic of which fulfill essential musical criteria. The Palazzo Rucellai will be used to illustrate a synthesis of "theoretical proposals" and "practical usage"—an integration that exceeds beyond a mere analogy between "music" and "architecture." Because of these reconstructed procedures, it might now be possible to view the relationship between the two artistic fields as formulated by Alberti from a broader perspective. This in turn could conceivably initiate a new approach to the analytical methods used in the research of prominent monuments of that period.

Dieter Torkewitz, Unbekannte Paläofränkische Neumen aus Werden a. d. Ruhr (Band 59, S. 51)

Approximately fifty years ago, Ewald Jammers discovered a type of neums specified as palaeofrankish in the signatures D1, D2, and, in part, D3 in the Landes- und Universitätsbibliothek in Düsseldorf. Since the three manuscripts belonged to the Damen-Stift (founded in 852) in Essen, they are also referred to as the Essen neums. Who were the authors of these neums? Until now, one assumed that they came from Korvey or Hildesheim, however, it will be shown that the palaeofrankish neums in these manuscripts originated from a neighboring Benedictine abbey (founded in 799) in Werden. Two facsimiles of palaeofrankish neums from the signature Theol. Lat. Fol. 366 (Apostle Paul’s letters) in the Staatsbibliothek zu Berlin Preussischer Kulturbesitz are published here for the first time. Not only are these neums identical to the Essen neums, but they undoubtedly stem from Werden. Furthermore, the fact that communication existed between Werden and St. Amand around 900 may explain how the palaeofrankish neums came to be common to both monasteries.

Stefan Ulrich, Erik Saties Sports et divertissements. Ton, Bild, Wort (Band 59, S. 113)

In Erik Satie’s piano cycle Sports et divertissements, texts by the composer and drawings by the illustra-tor, Charles Martin, constitute an entity; indeed, the drawings served as the point of departure for Satie’s composition. The original version of the work, finished in 1914, consisted of three elements: sound, picture, and word. Ten copies of this version, which included an additional second set of drawings by Martin, appeared in 1923. Subsequent editions, starting in 1923, published only the second set of illustrations, or, as in most contemporary editions, the drawings and any reference to their existence have been omitted. An examination of the original components has now, decades later, become possible. The following analysis, which focuses on the interdependence of the three elements, how they were forged into an inseparable whole, and the effects Satie created through them, proffers that the full significance of the cycle can only be appreciated if the original drawings are taken into account.

Martin Zenck, Pierre Boulez’ Orestie (1955-1995). Das öunveröffentlichte Manuskript der szenischen Musik zu Jean-Louis Barraults Inszenierung der Trilogie im Theatre Marigny (Band 60, S. 303)

As rumour has it, serial and post-serial music of the 1950s was characterized by incorporeality and by a radical disinterest in music theater—a view tantamount to a constitutive verdict in the historiography of music. This dictum, however, can be disproved, not only in light of Boulez’s orientation toward Artaud’s debates regarding the physical (Boulez paid homage to him in his Second Piano Sonata with the "pulvériser le son" and in the great Artaud project, "Marges"), but, first and foremost, because of Boulez’s ten-year tenure as music director of the Compagnie Renaud-Barrault. Boulez not only arranged incidental music for numerous plays during this time, but he composed a 158-page score for Barrault’s production of Aeschylus’s Oresteian Trilogy. Together with the rest of the production material, i.e. the scripts by Paul Mazon and André Obey, and the scenography, Boulez’s unpublished score is displayed in the "Département des arts du spectacle" in the Arsénal of the BNF in Paris. The present article documents these pertinent materials and reviews the evolution of the production—from the development of the "libretto," for which Mazon appears to have had more say; to Barrault’s staging notes, containing early references to Boulez’s musical efforts; and finally to the performance score, out of which the introductory Agamemnon scene serves here as the basis for an exemplary discussion using Boulez’s autograph. A review of this important trilogy’s performance history, based on rehearsal photographs and, particularly, on Roland Barthes’s critique Comment représenter l’antique from 1955, concludes the study. The production is best viewed within the context of French avant-garde theater during the fifties (Beckett, Jonesco, Adamov, Genet, Sarraute, and Duras) and in relation to Ariane Mnouchkine and Jean Bollack’s later epochal Orestie production for Peter Stein’s Antique Project at the Schaubühne in Berlin.