By Richard Will
Attribute symphonies have texts associating them with literature, politics, faith, and different features of eighteenth- and early nineteenth-century ecu tradition. reading either the track and its aesthetic and social contexts, this primary full-length research of the style demonstrates how symphonies developed person and collective identities via their topics, representing emotion, human physically stream, and the passage of time. Examples mentioned contain the Pastoral and Eroica symphonies of Beethoven and works by means of Haydn, Dittersdorf, and different composers of the period. An Appendix presents a thematic index of the complete repertory.
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Extra info for The characteristic symphony in the age of Haydn and Beethoven
Schmenner, Die Pastorale, 76–85. 87 Each acquires semantic connotations from its uses elsewhere, in real-life marching or dancing or in stage works – particularly, in Dittersdorf’s case, ballet and French-influenced “reform operas” such as Gluck’s Orfeo. 88 In the Metamorphoses, the rhythmic foundation of so many scenes highlights their expressive overtones, even where the subject seems most material, and the effect is enhanced by stark contrasts in motion between successive movements or sections.
599–610, and Ruiter, Der Charakterbegriff, 133–58. ¨ Wilhelm Heinrich Wackenroder and Ludwig Tieck, Phantasien uber die Kunst (Hamburg, 1799); repr. Wackenroder, S¨amtliche Werke und Briefe, ed. Silvio Vietta and Richard Littlejohns, 2 vols. (Heidelberg: Carl Winter Universit¨atsverlag, 1991), I: 220–21; trans. adapted from Mary Hurst Schubert, Wilhelm Heinrich Wackenroder’s Confessions and Fantasies (University Park: Pennsylvania State University Press, 1971), 192. , 368–72). 16 Introduction the conjunction lies the paradox of an art that is both meaningful and indefinite – and seems even more so when the two authors describe actual symphonies.
Stanley Sadie (London: Macmillan, 1980), VII : 466; trans. , Music in the Western World, 301–02. ¨ Winckelmann, Gedancken uber die Nachahmung, 31; German Aesthetic and Literary Criticism, 43. See also Nisbet’s introduction to German Aesthetic and Literary Criticism, 3–7. 17 Before returning to Dittersdorf’s treatment of that stillness it is worth examining its manifestations in an earlier set of neoclassical symphonies, fourteen works entitled after Roman deities composed in the late 1760s and early 1770s by the Bohemian V´aclav Pichl.