Historical Musicology: Sources, Methods, Interpretations

How do we know what notes a composer intended in a given piece?-how those notes should be played and sung?-the nature of musical life in Bach's Leipzig, Schubert's Vienna?-how music related to literature and other arts and social currents in different times and places?-what attitudes musicians and music lovers had toward the music that they heard and made [including in the bourgeois parlor]?

We know all this from primary sources: musical manuscripts and prints, opera libretti, composers' letters, reviews in newspapers and magazines, archival data, contemporary pedagogical writings, essays on aesthetics, and much else. Some of these categories of sources have, for over a century, served as the bedrock of music history and musicology. Others have begun to be examined only in recent years.

Furthermore, musicologists-including biographers of famous composers-now explore these various kinds of sources in a variety of ways, some of them richly traditional and others exciting and novel.

The seventeen contributors to this volume are all renowned specialists in their respective repertoires: the Renaissance and Baroque, Mozart, Beethoven, Mendelssohn, Verdi, Debussy, and much else. Their essays, all newly written for this book, use a wide array of source materials to probe issues pertaining to a cross section of musical works and musical life from the sixteenth through the twentieth centuries.

Taken together the essays provide models reflecting the pluralistic profile of musicology at the beginning of the twenty-first century. It will prove welcome to anyone fascinated by the problems of reconstructing-reimagining, sometimes-the evanescent musical art of the past and pondering its implications for musical life today and in the future.

Contributors: Lawrence F. Bernstein, Stephen A. Crist, Ellen T. Harris, Jeffrey Kallberg, Richard Kramer, Mark Kroll, Laurence Libin, Lewis Lockwood, Claudia Macdonald, Michael Marissen, Roberta Montemorra Marvin, Margaret Murata, Jessie Ann Owens, Jann Pas

CONTENIDO

Introduction (Roberta Marvin)
1. A Collaboration between Cipriano de Rore and Baldissera Donato? (Jessie Ann Owens)
2. New Perspectives on Bach's Great Eighteen Chorales (Russell Stinson)
3. Historical Theology and Hymnology as Tools for Interpreting Bach's Church Cantatas (Stephen Crist)
4. Performance Practice Issues That Affect Meaning in Two Bach Instrumental Works (Michael Marissen)
5. Mozart's Mitridate: Going beyond the Text (Ellen T. Harris)
6. Carl Philipp Emanuel Bach and the Aesthetics of Patricide (Richard Kramer)
7. Joseph Haydn's Influence on the Symphonies of Antonio Rosetti (Lawrence F. Bernstein)
8. Reason and Imagination: Beethoven's Aesthetic Evolution (Maynard Solomon)
9. Schubert as Formal Architect: The Quartettsatz, D. 703 (Lewis Lockwood)
10. Sex, Sexuality, and Schubert's Piano Music (Jeffrey Kallberg)
11. "La Belle Execution": Johann Nepomuk Hummel's Treatise and the Art of Playing the Pianoforte (Mark Kroll)
12. "For You Have Been Rebellious against the Lord": The Jewish Image in Mendelssohn's Moses and Marx's Mose (Jeffrey Sposato)
13. Andrea Maffei's "Ugly Sin": The Libretto for Verdi's I masnadieri (Roberta Marvin)
14. Mozart's Piano Concertos and the Romantic Generation (Claudia Macdonald)
15. "Wo die Zitronen bluhn": Re-Versions of Arie antiche (Margaret Murata)
16. Material Culture and Postmodern Positivism: Rethinking the "Popular" in Late Nineteenth-Century French Music (Jann Pasler)
17. Otto Gombosi's Correspondence at the University of Chicago (Laurence Libin)