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Johann Mattheson's Pièces de clavecin and Das neu-eröffnete Orchestre: Mattheson's Universal Style in Theory and Practice by Margaret Seares (review)
Fontes Artis Musicae Pub Date : 2021-04-22
Matthew Gardner

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Reviewed by:

  • Johann Mattheson's Pièces de clavecin and Das neu-eröffnete Orchestre: Mattheson's Universal Style in Theory and Practice by Margaret Seares
  • Matthew Gardner
Johann Mattheson's Pièces de clavecin and Das neu-eröffnete Orchestre: Mattheson's Universal Style in Theory and Practice. By Margaret Seares. Farnham: Ashgate, 2014. (RMA monographs, 25.) [xiii, 117 p. ISBN 978-1-47243-846-1. £65]

Johann Mattheson (1681–1764) is today perhaps most commonly remembered for his writings as a music historian, theorist, and commentator, particularly through his publications Das neu-eröffnete Orchestre (1713), Der vollkommene Capellmeister (1739), Grosse General-Bass-Schule (1731), and Grundlage einer Ehren-Pforte (1740). He was, however, also an accomplished musician and composer, performing in over sixty-five new operas, composing numerous oratorios, passions, and several operas, and working as an organist in Hamburg. Most famously in his Grundlage einer Ehren-Pforte, he gives his own account of the time he duelled with Händel, who only survived by chance, before the two became life-long friends. The subject of Margaret Seares's new book takes a lesser-known part of Mattheson's compositional output as its topic, placing his twelve suites for harpsichord, published as Pièces de clavecin (1714), in their wider intellectual context. She connects the suites with Mattheson's opinions on music of the past and present from different European countries as documented in Das neu-eröffnete Orchestre, published just one year earlier. In doing so, Seares aims to assess to what extent Mattheson put his views as a music critic into practice in his own compositions. [End Page 40]

The first chapter sets the scene for the book by considering Mattheson's formative years leading up to the publication of Das neu-eröffnete Orchestre and Pièces de clavecin. Here, Seares brings together numerous biographical details that have been discussed elsewhere, most of which go back to Mattheson's own autobiography published in his Grundlage einer Ehren-Pforte. Seares expertly draws out the details which are relevant for Mattheson's development as a writer and composer (p. 2). In doing so, she highlights the importance of Hamburg as a trading city, Mattheson's education, which was rooted in the values of the new, fashionable society that was developing in Hamburg (p. 3), his early musical interests and the differences between his music and that of his contemporaries (frequently citing Grundlage einer Ehren-Pforte), his interests in opera, and his career as a church musician. The second half of the chapter turns to Mattheson as an emerging public intellectual and polemicist, looking particularly at the influence of English periodicals such as The Tatler and The Spectator, and his close relationship with Sir John Wich and his son Cyrill (pp. 6 and 8). This led Mattheson to establish his own moral weekly, Der Vernünftler, which was closely modelled on English publications. The effect was to position Mattheson as one of the initiators of public discourse in Hamburg, enabling him to enlighten his readers, which was also one of the aims of the third part of Das neu-eröffnete Orchestre, alongside stimulating and challenging the educated public (p. 11).

Chapter 2 looks at how Das neu-eröffnete Orchestre fits into this cultural background. By presenting a close critical reading of Part 3, which focuses on notions of aesthetic judgment and 'taste' (Parts 1–2 deal with music theory), Seares connivingly links Mattheson's emphasis on the idea that critical opinions of music ought to be formed according to taste, rather than the principals of music theory, with his interest in English writers who championed empiricism (p. 16). In Part 3 of Das neu-eröffnete Orchestre, Mattheson gives a detailed account of his views on national musical styles by describing the problems facing contemporary German music and its differences to Italian, English, and French styles. As Seares explains, Mattheson's notion of 'style' is complex and she proceeds to deconstruct the ways in which Mattheson uses the term to describe music. This chapter in particular is supported by an English translation of Part 3, Chapter 1 of Das neu-eröffnete Orchestre in the...



中文翻译:

约翰·马修森的《Piècesde clavecin》和《达乌斯·纳罗夫涅管弦乐队》:玛格丽特·西雷斯(Margaret Seares)的马修森在理论和实践中的普世风格(评论)

代替摘要,这里是内容的简要摘录:

审核人:

  • 约翰·马修森的《Piècesde clavecin》和《达乌斯·内罗夫涅特管弦乐队》:玛格丽特·西雷斯·马修森的理论和实践普遍风格
  • 马修·加德纳(Matthew Gardner)
约翰·马修森的《皮埃切斯·德克拉维琴》《达·纽·埃罗夫涅·奥切斯特》马修森的理论和实践普遍风格。玛格丽特·西雷斯(Margaret Seares)。Farnham:Ashgate,2014年。(RMA专着,第25页。)[xiii,117 p。ISBN 978-1-47243-846-1。£65]

约翰·马修森(1681-1764)今天可能是他作为音乐历史学家,理论家和评论家的著作而最常被人记住的,尤其是通过他的著作《达斯·纽埃罗夫涅·奥尔切斯特》(1713年),《大众》,《卡佩尔迈斯特》(1739年),《大总低音》Grosse General-Bass) -Schule(1731)和Grundlage einer Ehren-Pforte(1740)。但是,他还是一位经验丰富的音乐家和作曲家,参加了65余部新歌剧,演出了许多演说家,激情和几部歌剧,并在汉堡担任风琴家。最着名的是他的《Erren-Pforte》,他讲述了自己与汉德尔(Händel)决斗的时间,汉德尔在两个人成为终身朋友之前只是偶然幸存下来。玛格丽特·西雷斯(Margaret Seares)的新书主题以马修森的作曲作品中鲜为人知的部分为主题,将他的十二个大键琴套件(Piècesde clavecin(1714))放在了更广泛的知识背景下。她将套间与Mattheson对欧洲不同国家过去和现在音乐的看法联系在一起,正如一年前出版的Dasneu-eröffneteOrchester所记录的那样。为此,西尔斯(Seares)旨在评估Mattheson在何种程度上将自己作为音乐评论家的观点付诸实践。[完第40页]

第一章考虑了Mattheson在达·纽埃罗夫夫涅·奥尔切斯特(Dasneu -eröffneteOrchester)Piècesde clavecin出版之前的成长性时期,为本书奠定了基础。在这里,西尔斯(Seares)汇集了其他地方曾讨论过的许多传记细节,其中大部分都可以回溯到Mattheson的自传中,该书发表在他的Grundlage einer Ehren-Pforte中。Seares熟练地提出了与Mattheson作为作家和作曲家的发展有关的细节(第2页)。在这样做的过程中,她强调了汉堡作为贸易城市的重要性,并强调了Mattheson的教育,这一教育源于汉堡正在发展的新的时尚社会的价值观(第3页),他早期的音乐兴趣以及他和他之间的差异。音乐和他同时代的音乐(经常引用Grundlage einer Ehren-Pforte),他对歌剧的兴趣以及他作为教堂音乐家的职业。本章的后半部分将Mattheson转变为新兴的公共知识分子和论战主义者,特别关注英语期刊(如The TatlerThe Spectator)的影响,以及他与约翰·威奇爵士和他的儿子西里尔的亲密关系(第6和8页)。这导致Mattheson建立了自己的道德周刊DerVernünftler,该周刊以英国出版物为蓝本。这样做的目的是使Mattheson成为汉堡公共演讲的发起者之一,使他能够启发读者,这也是Dasneu-eröffneteOrchester第三部分的目标之一,同时激发并挑战了受过良好教育的公众(第11页)。

第2章介绍了Orsneu-eröffneteOrchester如何适应这种文化背景。通过对第3部分进行严密的批判性阅读,重点是美学判断和“品味”(第1至第2部分涉及音乐理论),Sears令人信服地将Mattheson的观点与应该根据音乐形成批判性意见的观点联系起来。他对拥护经验主义的英国作家感兴趣(而不是音乐理论的原理)(第16页)。在《达·纽埃罗夫涅·奥切斯特》第3部分中,马特森(Mattheson)通过描述当代德国音乐面临的问题及其与意大利,英语和法国风格的差异,详细阐述了他对民族音乐风格的看法。正如Seares解释的那样,Mattheson的“风格”概念很复杂,她着手对Mattheson使用该术语描述音乐的方式进行解构。尤其是,这章得到了《达斯·纽埃罗夫涅·奥切斯特》第1部分第3部分第3部分的英文翻译的支持。

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