By Mary Sue Morrow
Song aesthetics in late-eighteenth-century Germany has consistently been not easy simply because there has been no aesthetic idea to guage the large quantity of top of the range instrumental track produced by means of composers similar to Haydn and Mozart. This publication derives a realistic aesthetic thought from an research of 1,300 reports of instrumental tune released in Germany among 1760 and 1798. The reports record an intersection with tendencies in literature and philosophy, and exhibit curiosity in standards similar to genius, the expressive strength of song, and the need of cohesion, numerous many years ahead of has formerly been meant.
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Extra resources for German Music Criticism in the Late Eighteenth Century: Aesthetic Issues in Instrumental Music
To function collectively, the reviews must have had a fundamental similarity transcending any differences in journalistic type and purpose. Moreover, to serve as a preparation for the new romantic paradigm in the manner that I have proposed, they must have been readily accessible to a wide audience over all the German-speaking lands; and to explain the rapid acceptance of the paradigm, the aesthetic concepts they contained must have gained common acceptance. The fact that they appeared in such myriad publications would seem to argue in favor of these last points, so before addressing the issue of cohesiveness, let us first turn to an examination of journalism in eighteenth-century Germany, particularly the types of publications and the size of their readership.
Moreover, these non-music periodicals could offer a type of continuity that the sporadically published music magazines could not. In particular the Allgemeine deutsche Bibliothek and its successor the Neue allgemeine deutsche Bibliothek provided a steady stream of reviews from 1765 until past the turn of the century, as to a lesser extent, the two Leipzig scholarly journals did from 1760 to 1787. 2). southwest provinces Musikalische Real-Zeitung/Musikalische Korrespondenz (Speier), 1788-1792 Augsburger musikalischer Merkur, 1795 Erlangische gelehrte Anmerkungen, 1770-1798 Niirnbergische gelehrte Zeitung, 1777-1798* Strasburgische gelehrte Nachrichten, 1782-1785 Wirzburger gelehrte Anzeigen, 1786-1798* Tubingische gelehrte Anzeigen, 1789-1798 Austria and Austrian territories Prager gelehrte Nachrichten, 1771-1772 Realzeitung (Vienna), 1777-1786 Litterarische Nachrichten (Vienna), 1775-1776 Oberdeutsche, allgemeine Litteraturzeitung (Salzburg), 1788—1798* Scholarly Switzerland Freymuthige Nachrichten (Zurich), * 1760-1763 Scholarly Russische Bibliothek (St.
They directed their attention instead toward solving a specific problem: how to evaluate new instrumental music so that its "consumers" (both listeners and performers) would know what would be worth their time and money. The practical nature of this enterprise forced the reviewers (some of whom participated in the debate on the intellectual strata as well) to come up with some realistic standards that would allow them to do their job. Precisely because they were not trying to write about aesthetic theory, the reviewers could think about instrumental music in new and different ways.
German Music Criticism in the Late Eighteenth Century: Aesthetic Issues in Instrumental Music by Mary Sue Morrow