HAYDN’S MELANCHOLY VOICE: LOST DIALECTICS IN HIS LATE CHAMBER MUSIC AND ENGLISH SONGS

2007 ◽  
Vol 4 (1) ◽  
pp. 71-106 ◽  
Author(s):  
NANCY NOVEMBER
Keyword(s):  
Eighteenth Century ◽  
Immanuel Kant ◽  
Chamber Music ◽  
Emotional Experience ◽  
Edmund Burke ◽  
Chamber Works ◽  
New Approach ◽  
Self Reflection ◽  
Recent Scholarship ◽  
Francisco Goya

AbstractFrom the nineteenth century onwards the stereotype of Haydn as cheerful and jesting has dominated the reception of his music. This study contributes to the recent scholarship that broadens this view, with a new approach: I set works by Haydn in the context of eighteenth-century ideas about melancholy, those of Edmund Burke, Francisco Goya, Henry Home (Lord Kames), Immanuel Kant and Johann Georg Zimmermann. Their conceptions of melancholy were dialectical, involving the interplay of such elements as pleasure and pain, freedom and fettering, and self-reflection and absorption. I consider the relevance of these dialectics to Haydn’s English songs, his dramatic cantata Arianna a Naxos and two late chamber works. Musical melancholy arises, I argue, when the protagonist of a work – be it the vocal character in a song or the ‘composer’s voice’ in an instrumental work – exhibits an ironic distance from his or her own pain. The musical dialectics in these works prompt listeners, for their part, to take a step back to contemplate the borders and limits of emotional experience and communication.

The Hobbesian Hypothesis in Eighteenth-Century Political Theory

2017 ◽  
Author(s):  
Karl Widerquist ◽  
Grant S. McCall
Keyword(s):  
Eighteenth Century ◽  
Immanuel Kant ◽  
Political Theory ◽  
David Hume ◽  
Private Property ◽  
Adam Smith ◽  
Edmund Burke ◽  
Thomas Paine ◽  
Property System

This chapter shows how “the Hobbesian hypothesis” (the claim that everyone is better off in a state society with a private property system than they could reasonably expect to be in any society without either of those institutions) appeared in Eighteenth-Century political theory. It shows how disagreement about the truth of the hypothesis produced virtually no debate. David Hume, Adam Smith, Immanuel Kant, Edmund Burke, and others asserted its supposedly obvious truth without providing evidence. Lord Shaftesbury, the Baron de Montesquieu, and Thomas Paine voiced scepticism but also provided little evidence. Others, such as Jean-Jacques Rousseau talked about similar issues without clearly taking a position on the hypothesis.

KEYBOARD-DUO ARRANGEMENTS IN EIGHTEENTH-CENTURY MUSICAL LIFE

2017 ◽  
Vol 14 (2) ◽  
pp. 183-214
Author(s):  
REBECCA CYPESS
Keyword(s):  
Eighteenth Century ◽  
Chamber Music ◽  
Chamber Ensemble ◽  
Verbal Description ◽  
Mutual Understanding ◽  
Single Family ◽  
Chamber Works ◽  
Musical Life ◽  
Teachers And Students ◽  
Physical Gestures

ABSTRACTIt is well known that the instrumentation of eighteenth-century chamber music was highly flexible; composers frequently adapted their own works for a variety of instruments, and players often used whatever combinations they had available. One type of arrangement little used today but attested to in both verbal description and musical manuscripts of the period is that of trios and other chamber works adapted for two keyboard instruments. Players often executed such keyboard-duo arrangements on instruments with different mechanisms and timbres – for example, harpsichord and piano together – thus capturing something of the variety of timbres available in a mixed chamber ensemble.Keyboard duos were often played by members of a single family, or by teachers and students together, a practice that allowed for the construction of a sense of ‘sympathy’ – mutual understanding through shared experience and sentiment – between the players. These players shared common physical gestures at the instruments, which reinforced the emotional content of the music; this fostered the formation of a sympathetic connection even as players retained their individual identities.

Aesthetic concepts

2018 ◽  
Author(s):  
Marcia Eaton
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Immanuel Kant ◽  
David Hume ◽  
Edmund Burke ◽  
Psychological Responses ◽  
Aesthetic Properties ◽  
Different Cultures ◽  
Aesthetic Concepts ◽  
Meaningful Role

Aesthetic concepts are the concepts associated with the terms that pick out aesthetic properties referred to in descriptions and evaluations of experiences involving artistic and aesthetic objects and events. The questions (epistemological, psychological, logical and metaphysical) that have been raised about these properties are analogous to those raised about the concepts. In the eighteenth century, philosophers such as Edmund Burke and David Hume attempted to explain aesthetic concepts such as beauty empirically, by connecting them with physical and psychological responses that typify individuals’ experiences of different kinds of objects and events. Thus they sought a basis for an objectivity of personal reactions. Immanuel Kant insisted that aesthetic concepts are essentially subjective (rooted in personal feelings of pleasure and pain), but argued that they have a kind of objectivity on the grounds that, at the purely aesthetic level, feelings of pleasure and pain are universal responses. In the twentieth century, philosophers have sometimes returned to a Humean analysis of aesthetic concepts via the human faculty of taste, and have extended this psychological account to try to establish an epistemological or logical uniqueness for aesthetic concepts. Many have argued that although there are no aesthetic laws (for example, ‘All roses are beautiful,’ or ‘If a symphony has four movements and is constructed according to rules of Baroque harmony, it will be pleasing’) aesthetic concepts none the less play a meaningful role in discussion and disputation. Others have argued that aesthetic concepts are not essentially distinguishable from other types of concepts. Recently theorists have been interested in ways that aesthetic concepts are context-dependent – constructed out of social mores and practices, for example. Their theories often deny that aesthetic concepts can be universal. For example, not only is there no guarantee that the term ‘harmony’ will have the same meaning in different cultures: it may not be used at all.

scholarly journals From Atheists to Empiricists: Reinterpreting the Stoics in the German Enlightenment

2021 ◽  
pp. 1-26
Author(s):  
Morgan Golf-French
Keyword(s):  
Eighteenth Century ◽  
Immanuel Kant ◽  
John Locke ◽  
Baruch Spinoza ◽  
The Enlightenment ◽  
German Enlightenment ◽  
Recent Scholarship ◽  
Point Of Intersection ◽  
Short Essay ◽  
Stoic Philosophy

From the 1670s Stoic philosophy had been closely associated with atheism and the philosophy of Baruch Spinoza. However, in 1771 the historian Christoph Meiners published a short essay on the concept of apatheia that revived interest in Stoic philosophy within the German lands. Over the following years, he and his colleague Dieterich Tiedemann developed a novel interpretation claiming that Stoicism closely prefigured the philosophy of John Locke and represented a source of valuable philosophical ideas. Immanuel Kant, his allies, and later Idealists such as Hegel adopted this empiricist interpretation, despite their otherwise deep philosophical disagreements with Meiners and Tiedemann. Tracing eighteenth-century German debates around Stoicism reveals how it came to be considered a form of empiricism. As well as contributing to recent scholarship on the reception of Stoicism, the article suggests a major point of intersection between currents of the Enlightenment usually only treated separately.

On the Shoulders of Giants

2018 ◽  
Author(s):  
David D. Nolte
Keyword(s):  
Eighteenth Century ◽  
Robert Hooke ◽  
New Approach ◽  
Isaac Newton ◽  
Least Action ◽  
New Science ◽  
Principle Of Least Action ◽  
Parabolic Trajectory ◽  
Leonhard Euler ◽  
New Generation

Galileo’s parabolic trajectory launched a new approach to physics that was taken up by a new generation of scientists like Isaac Newton, Robert Hooke and Edmund Halley. The English Newtonian tradition was adopted by ambitious French iconoclasts who championed Newton over their own Descartes. Chief among these was Pierre Maupertuis, whose principle of least action was developed by Leonhard Euler and Joseph Lagrange into a rigorous new science of dynamics. Along the way, Maupertuis became embroiled in a famous dispute that entangled the King of Prussia as well as the volatile Voltaire who was mourning the death of his mistress Emilie du Chatelet, the lone female French physicist of the eighteenth century.

GLOSSING THE GLOSS: READING PETER LOMBARD’SCOLLECTANEAON THE PAULINE EPISTLES AS A HISTORICAL ACT

Traditio ◽  
2018 ◽  
Vol 73 ◽  
pp. 83-116
Author(s):  
PETER O'HAGAN
Keyword(s):  
Early Modern ◽  
Biblical Text ◽  
Classroom Activity ◽  
New Approach ◽  
Central Focus ◽  
Recent Scholarship ◽  
Pauline Epistles ◽  
History Of ◽  
Extended Analysis

Peter Lombard's influential commentary on the Pauline Epistles, theCollectanea in omnes divi Pauli epistolas,has received little extended analysis in scholarly literature, despite its recognized importance both in its own right and as key for the development of hisSentences.This article presents a new approach to studying theCollectaneaby analyzing how Lombard's commentary builds on theGlossa “Ordinaria”on the Pauline Epistles. The article argues for treating theCollectaneaas a “historical act,” focusing on how Lombard engages with the biblical text and with authoritative sources within which he encounters the same biblical text embedded. The article further argues for the necessity of turning to the manuscripts of both theCollectaneaand theGlossa,rather than continuing to rely on inadequate early modern printed editions or thePatrologia Latina.The article then uses Lombard's discussion of faith at Romans 1:17 as a case study, demonstrating the way in which Lombard begins from theGlossa,clarifies its ambiguities, and moves his analysis forward through his use of otherauctoritatesand theologicalquaestiones.A comparison with Lombard's treatment of faith in theSentenceshighlights the close links between Lombard's biblical lectures and this later work. The article concludes by arguing that scholastic biblical exegesis and theology should be treated as primarily a classroom activity, with the glossed Bible as the central focus. Discussion of Lombard's work should draw on much recent scholarship that has begun to uncover the layers of orality within the textual history of scholastic works.

Deconstructing female conventions

2006 ◽  
Vol 33 (1-2) ◽  
pp. 11-38 ◽  
Author(s):  
Maria E. Rodríguez-Gil
Keyword(s):  
Eighteenth Century ◽  
Public Sphere ◽  
Mother Tongue ◽  
New Approach ◽  
The Public ◽  
English Grammar ◽  
The Public Sphere ◽  
At Home

Summary This paper examines Ann Fisher’s (1719–1778) most important and influential work, A New Grammar (1745?). In this grammar, the author did not follow the trend of making English grammar fit the Latin pattern, a common practice still in the eighteenth century. Instead, she wrote an English grammar based on the nature and observation of her mother tongue. Besides, she scattered throughout her grammar a wide set of teaching devices, the ‘examples of bad English’ being her most important contribution. Her innovations and her new approach to the description of English grammar were indeed welcomed by contemporary readers, since her grammar saw almost forty editions and reprints, it influenced other grammarians, for instance Thomas Spence (1750–1814), and it reached other markets, such as London. In order to understand more clearly the value of this grammar and of its author, this grammar has to be seen in the context of her life. For this reason, we will also discuss some details of her unconventional lifestyle: unconventional in the sense that she led her life in the public sphere, not happy with the prevailing idea that women should be educated for a life at home.

P. A. LOCATELLI AND J.-M. LECLAIR: LEGACY IN THE XIX CENTURY FONDAZIONE MIA, BERGAMO, 17–19 OCTOBER 2014

2015 ◽  
Vol 12 (2) ◽  
pp. 274-276
Author(s):  
LUCA LÉVI SALA
Keyword(s):  
Eighteenth Century ◽  
North America ◽  
Chamber Music ◽  
Fiftieth Anniversary ◽  
The Third ◽  
Xix Century

In October 2014 scholars from Europe and North America took part in a conference dedicated to two important figures active during the eighteenth century as composers and virtuosos of the violin, to mark the two hundred and fiftieth anniversary of their death: Pietro Antonio Locatelli (Bergamo, 1695–Amsterdam, 1764) and Jean-Marie Leclair l’aîné (Lyon 1697–Paris, 1764). The event was organized by the Centro Studi Opera Omnia Luigi Boccherini (Lucca) in partnership with the Fondazione MIA of Bergamo and the Palazzetto Bru Zane – Centre de Musique Romantique Française in Venice, and also with the collaboration of the Edizione Nazionale Italiana delle Opere Complete di Locatelli. Accommodated in the magnificent Sala Locatelli of the Fondazione MIA, the conference was subdivided into six sessions. First came ‘Pietro Antonio Locatelli and His Legacy’, with speakers Paola Palermo (Bergamo), Christoph Riedo (Universität Freiburg, Switzerland) and Ewa Chamczyk (Uniwersytet Warszawski), followed by ‘French Routes’, featuring Étienne Jardin (Palazzetto Bru Zane – Centre de Musique Romantique Française), Candida Felici (Conservatorio di Musica di Cosenza) and Paola Besutti (Università di Teramo). The third session, ‘Pierre-Marie-François de Sales Baillot’, was held to mark the bicentenary of Baillot's foundation of his séances de musique de chambre (chamber music concerts).

L’artigiano gentiluomo or, Larinda e Vanesio

10.31022/c009 ◽  
1979 ◽  
Author(s):  
Johann Adolf Hasse
Keyword(s):  
Eighteenth Century ◽  
Chamber Music ◽  
Comic Opera

This early intermezzo, which predates Pergolesi's La serva padrona, sheds new light on the eighteenth-century Italian comic opera. Scholars and performers will welcome this contribution to a neglected genre of vocal chamber music and to the further study of Hasse.

The Artist-Philosopher

2020 ◽  
pp. 44-77
Author(s):  
Kate Fullagar
Keyword(s):  
Eighteenth Century ◽  
Local Politics ◽  
Samuel Johnson ◽  
British Society ◽  
Edmund Burke ◽  
Domestic Life ◽  
Political Views ◽  
Close Friendships ◽  
The World

Chapter 2, much like Chapter 1, traces the first several decades of an eighteenth-century life, dwelling on what childhood can reveal about a whole society; when lives might be said to begin in a given culture; and how the protagonist moved within his world to reach mid-life. Its focus is the artist--philosopher Joshua Reynolds. Reynolds’s life embodies a deep conflict in British society of the time—the conflict over empire. We see Reynolds’s character develop gradually as both conservatively sceptical about Britain’s recent expansionist thrust into the world and keenly eager to make the most of all that imperial commerce was now bringing into his native country. Reynolds’s ambivalence is also reflected in his art theories, local politics, and even domestic life. While narrating his rise to artistic pre-eminence (and a philosophical devotion to neoclassical aesthetics), the chapter also shows how Reynolds built increasingly close friendships to key male literary figures of the time—especially Samuel Johnson and Edmund Burke. Through his connection to the Tory Johnson and the Whiggish Burke, we get a glimpse into Reynolds’s otherwise elusive, hard-to-read political views—especially during Britain’s greatest imperial push to date, the Seven Years War.

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