By Danuta Mirka, Kofi Agawu
Written through ten top students, this quantity assembles reports of eighteenth- and early nineteenth-century song less than the large rubric of communique. That such an impulse motivates musical composition and function during this interval of eu musical historical past is frequently said yet seldom tested intensive. The e-book explores a vast set of concerns, starting from the exigencies of the marketplace for books and track within the eighteenth century via to the deployment of dance topoi in musical composition. a few shut readings of person works via Mozart, Haydn and Beethoven draw on a worldly physique of historically-appropriate technical assets to light up theories of shape, metre, bass strains and dance topoi. scholars and students of track heritage, concept and research will locate during this quantity a suite of demanding, state of the art essays that might stimulate debate approximately musical which means and engender extra examine.
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Bonds argues that devices such as those found in Haydn’s String Quartet Op. 33 No. 2 (‘The Joke’) and the drumstroke in the ‘Surprise’ Symphony are delightful but also manifest a change in the traditional relationship between the composer, his work, and his audience. By violating the conventions of form so flagrantly, Haydn calls attention to them, thereby asserting his presence not only within but also outside the work. He establishes, in effect, a certain distance between himself and that which he has created.
And as analysts, we identify the various manifestations of these motivations: the alterations for the Viennese production of Don Giovanni, the prominence of the cello part in the ‘Prussian’ Quartets, the presence of ad libitum wind parts in a piano concerto or the technically undemanding nature of certain piano sonatas. But in the end, these external considerations remain outside the roodscreen that separates the sanctuary of analysis from the mundane demands of economic life. External considerations, when they can be documented, are readily acknowledged but rarely embraced.
Love notes that the famous gentleman scholars, Dr Charles Burney and Sir John Hawkins, with their histories, contributed to the canon of music in Britain – Burney in particular leaning towards Europe – but also to general discussion. For Love, the evolution from private to public is always accompanied by the creation of reading matter and, in addition to histories of music, he points to the growth of periodicals and their predilection for music reviews aimed at the connoisseur and amateur performer.
