Eighteenth Century Music ABSENT CADENCES PDF
Preview Eighteenth Century Music ABSENT CADENCES
Eighteenth Century Music http://journals.cambridge.org/ECM Additional services for Eighteenth Century Music: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here ABSENT CADENCES DANUTA MIRKA Eighteenth Century Music / Volume 9 / Issue 02 / September 2012, pp 213 - 235 DOI: 10.1017/S147857061200005X, Published online: 30 July 2012 Link to this article: http://journals.cambridge.org/abstract_S147857061200005X How to cite this article: DANUTA MIRKA (2012). ABSENT CADENCES. Eighteenth Century Music, 9, pp 213-235 doi:10.1017/S147857061200005X Request Permissions : Click here Downloaded from http://journals.cambridge.org/ECM, IP address: 152.78.130.203 on 29 Sep 2013 Eighteenth-CenturyMusic9/2,213–2356CambridgeUniversityPress,2012 doi:10.1017/S147857061200005X absent cadences danuta mirka ABSTRACT TheslowmovementofSymphonyNo.64inAmajor,‘Temporamutantur’,haslongintriguedHaydnscholars onaccountofitsabsentcadencesandenigmaticform.TheLatintitleofthesymphonyisthoughttobederived from the epigram by John Owen, a near-contemporary of Shakespeare, and it was used by Elaine Sisman to support her hypothesis that the slow movement formed part of Haydn’s incidental music for Shakespeare’s Hamlet.Theenigma canbeexplained throughananalysisinformed by conceptsnativetoeighteenth-century music theory. The absent cadences create instances of ellipsis, a rhetorical figure described by Johann Adolph ScheibeandJohannNikolausForkel,andtheformplayswithafamiliartemplatecodifiedbyHeinrichChristoph Koch.Thisanalysisleadstoadifferentinterpretation.RatherthansuggestingtheprotagonistofShakespeare’s tragedy,themovementstagesafictivecomposerinanactofmusicalcomedynotdissimilartothatinSymphony No.60,‘IlDistratto’.ThetitlecomesnotfromOwenbutfromaLatinadagethatwasincorporatedbyOwen intohisepigram.ThisadagehadbeenpopularinGermanysincetheReformationandwasthenappliedbyone eighteenth-centurymusictheoristtodescribechangesofmusicalconventions. ArguablythemosteccentricmovementHaydnevercomposed. JamesWebster1 ‘TEMPORAMUTANTURETC.’ ‘Itwouldtakeanentirearticletodescribethisextraordinarymovementadequately.Imentionheremerely itsinabilitytocompletemusicalphrasesproperly,itsdiscontinuitiesofmaterial,dynamics,andregister,its refusaltoexecuteanintelligibleform(Icouldgoon).’2WiththesewordsJamesWebsterreferstotheslow movementofHaydn’sSymphonyNo.64,‘Temporamutantur’(seeExample1).Oftheextraordinaryfea- turesonhislist,thefirstiscertainlythemosteccentric:whereasdiscontinuitiesofmaterialandunorthodox formalprocedurescanbefoundinmanypieces,noothertonalcompositionconsistentlyneglectstocom- pleteitsphrases.ThisfeatureoftheslowmovementwasapproachedfromanotherperspectivebyW.Dean Sutcliffe: ‘Nothing could more obstruct listener absorption than its unparalleled feat of failing to offer a single functional perfect cadence throughout.’3 Not only perfect: the movement contains no cadence at all.Throughoutitscoursecadencesarethwartedordissolved.Consequently,theyareabsent. TheeccentricityofHaydn’sfeatcanbeappreciatedifonetakesintoaccountthatcadencesbelongedto the basic elements of eighteenth-century musical language. As conclusions of phrases or sections, they definedmusicalformandtonality.Invocalmusic,theywerecoordinatedwithpunctuationmarksinthe text.Theparallelismbetweenlinguisticandmusicalpunctuationinsongs,recitativesandariasunderlaythe 1 JamesWebster,‘JosephHaydn:Climaxofthe‘‘SturmundDrang’’(c.1772)’,programmenotesaccompanyingthe recordingofHaydn’scompletesymphoniesbyTheAcademyofAncientMusic,conductedbyChristopherHogwood, volume7(Decca/L’Oiseau-LyreCD443777–2,1996),24. 2 Webster,‘Climaxofthe‘‘SturmundDrang’’’,25. 3 W.DeanSutcliffe,‘ExpressiveAmbivalenceinHaydn’sSymphonicSlowMovementsofthe1770s’,TheJournalof Musicology27/1(2010),110. 213 http://journals.cambridge.org Downloaded: 29 Sep 2013 IP address: 152.78.130.203 danuta mirka parallelbetweenmusicandlanguage,which,inthecourseoftheeighteenthcentury,wasextendedbeyond vocalmusicandhelpedtotransfertheconceptofmusicalpunctuationtoinstrumentalgenres.Thefunda- mentalpreceptsofmusicalpunctuationinbothvocalandinstrumentalmusicwereformulatedbyJohann Mattheson in Kern melodischer Wissenschaft (Hamburg: Herold, 1737) and incorporated by him into Der vollkommene Capellmeister (Hamburg: Herold, 1739). They were subsequently developed in composition handbooksbyJosephRiepel,JohannPhilippKirnbergerandHeinrichChristophKoch.Howtoarticulate musicalpunctuationmarkswasdiscussedinhandbooksofmusicalperformance.4ForHaydn’scontemporaries, acompositionconsistingofincompletephraseswasasunthinkableasaseriesofincompletesentences.If Haydncouldnotjustthinkofit,but,infact,composeit,hemusthavehadsomespecialreasons. ConjecturesaboutsuchreasonsbehindtheslowmovementofSymphonyNo.64havebeennourished by the title: ‘Tempora mutantur’ comes from the Latin inscription ‘Tempora mutantur etc.’ found on a wrapperfortheauthenticEsterha´zypartsforthesymphony.5Althoughthewrapperislaterthantheparts andtheinscriptionmaynotcomefromHaydn,itmayhavebeencopiedfromtheauthenticwrapper,andit isthoughttobederivedfromtheLatinepigrambyJohnOwen,anear-contemporaryofShakespeare: Temporamutantur,nosetmutamurinillis; Quamodo?Fitsempertemporepeiorhomo. TherelationbetweenthetitleofHaydn’ssymphonyandOwen’sepigramwaspositedbyJonathanFoster,6 whoalsocitedtheEnglishtranslationoftheepigrampublishedin1677byThomasHarvey: TheTimesareChang’d,andinthemChange’darewe: How?Man,asTimesgrowworse,growsworse,wesee. WhileFosterrelatedthetitletotherondofinale,JamesAtkinssuggestedthatthetitleshouldbeassociated withtheslowmovement.7Atkins’ssuggestionwasadoptedbyElaineSisman,whousedittosupporther hypothesis that this movement formed part of Haydn’s incidental music for Shakespeare’s Hamlet.8 The German adaptation of Hamlet by Franz von Heufeld was performed at Eszterha´za by the famous Karl Wahrtroupeinthesummerof1773or1774.9Onecontemporarynewspaperandafewtheatricaljournals pointtoHaydnasthecomposeroftheincidentalmusic.10SismanconnectsHaydn’seccentricmanipula- tionsofcadenceswiththecoupletthatendsShakespeare’sfirstandHeufeld’ssecondact:‘Thetimeisout ofjoint.Ocursedspite,/thateverIwasborntosetitright!’.11‘Infact’,sheobserves,‘theslowmovement ofSymphonyno.64isanextendedessayontimeoutofjoint:itispreciselythejoins,orcadences,thatare delayedandsubsumedinthenextphrases,untiltheresolutionsfallfurtherandfurtherbehindtheperiod structure.’12IwillreconsiderSisman’shypothesisinthecourseofthisarticle.Iwillfirstfocusontheabsent cadencesandexaminetheminthelightoftheoriesofmusicalgrammarandrhetoric.ThenIwillturnto theformoftheslowmovementandaccountforitintermsofeighteenth-centurypunctuationform.Iwill alsoconsideritsaffectandcomeupwithadifferenthypothesisaboutitsconnectionwiththeatre.Mydis- cussionwillconcludebyrevisitingthequestionofthesymphony’stitle. 4 Fortheconceptofmusicalpunctuationanditsroleineighteenth-centuryperformancepracticeseeStephanieVial, The Art of Musical Phrasing in the Eighteenth Century: Punctuating the Classical ‘Period’ (Rochester: University of RochesterPress,2008). 5 JosephHaydn,CriticalEditionoftheCompleteSymphonies,ed.H.C.RobbinsLandon,volume6(Vienna:Universal Edition,1967),xiv. 6 JonathanFoster,‘TheTemporaMutanturSymphonyofJosephHaydn’,TheHaydnYearbook9(1975),328–329. 7 JamesAtkins,lettertotheeditor,TheHaydnYearbook11(1980),196–198. 8 ElaineSisman,‘Haydn’sTheaterSymphonies’,JournaloftheAmericanMusicologicalSociety43/2(1990),320–331. 9 Sisman,‘Haydn’sTheaterSymphonies’,325. 10 Sisman,‘Haydn’sTheaterSymphonies’,321–322. 11 Sisman,‘Haydn’sTheaterSymphonies’,326.Asshenotes,thiscoupletwassingledoutbytheprotagonistofJohann WolfgangGoethe’sWilhelmMeisterstheatralischeSendungasthekeytoHamlet’sentirebehaviour. 12 Sisman,‘Haydn’sTheaterSymphonies’,327. 214 http://journals.cambridge.org Downloaded: 29 Sep 2013 IP address: 152.78.130.203 absent cadences first reprise Largo 2 Oboes 2 Horns in D Largo QA/I con sordini Violin 1 con sordini Violin 2 Viola Violoncello (Bassoon) Bass 6 (5) 5 D: ii6 V4 (3)A: I K/V 6 (5) ii6 V4 (3) (I) V ii6 11 K/V 6 (5) vii 7/V V4 (3) (I) I Example1 Haydn,SymphonyNo.64inAmajor,‘Temporamutantur’,secondmovement(CriticalEditionoftheComplete Symphonies,ed.H.C.RobbinsLandon,volume6(Vienna:Universal,1967)).Crossed-throughabbreviationsandbracketed harmonicsymbolsreferrespectivelytocadencesandchordsthatareexpectedbythelistenerbutdonotactuallyoccur 215 http://journals.cambridge.org Downloaded: 29 Sep 2013 IP address: 152.78.130.203 danuta mirka 17 repeat 23 28 Example1 continued 216 http://journals.cambridge.org Downloaded: 29 Sep 2013 IP address: 152.78.130.203 absent cadences 33 second reprise FONTE rinf. rinf. rinf. 4 rinf. vii 3/ii ii6 (V 2 ) V2 I6 38 K/I QA/I 6 (5) 6 (5) V4 (3) V V4 (3) (I) V7 43 repeat I Example1 continued 217 http://journals.cambridge.org Downloaded: 29 Sep 2013 IP address: 152.78.130.203 danuta mirka 48 rinf. rinf. rinf. rinf. 54 cresc. cresc. cresc. cresc. cresc. II6 g: VI6 60 K/i 6 5 4 d: Ger6 V4 3 (I) vii 3 i6 Example1 continued 218 http://journals.cambridge.org Downloaded: 29 Sep 2013 IP address: 152.78.130.203 absent cadences 66 71 QA/I K/I FONTE 76 A: V 6/ii ii V6 Example1 continued 219 http://journals.cambridge.org Downloaded: 29 Sep 2013 IP address: 152.78.130.203 danuta mirka 81 K/V 7 6 5 7 I ii6 V4 3 I4 86 (8) D: V2 3 91 QA/I Example1 continued 220 http://journals.cambridge.org Downloaded: 29 Sep 2013 IP address: 152.78.130.203 absent cadences 96 K/i Horn 1 Horn 2 d: II6 vii 7/V V7 i 103 I Example1 continued 221 http://journals.cambridge.org Downloaded: 29 Sep 2013 IP address: 152.78.130.203
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