Hearing and Knowing Music: The Unpublished Essays of Edward T. Cone

232 Pages·2009·2.33 MB·English

by  Edward T. Cone, Robert P. Morgan

Hearing and Knowing Music
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Hearing and Knowing Music
the unpublished essays
of edward t. cone
Edited and with an Introduction
by Robert P. Morgan
p r i n c e to n u n i v e rs i t y p r e s s
p r i n c e to n a n d ox f o r d
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Copyright © 2009 by Princeton University Press
Published by Princeton University Press,
41 William Street, Princeton, New Jersey 08540
In the United Kingdom: Princeton University Press,
6 Oxford Street, Woodstock, Oxfordshire OX20 1TW
All Rights Reserved
Library of Congress Cataloging-in-Publication Data
Cone, Edward T.
Hearing and knowing music : the unpublished essays of Edward T. Cone / edited and
with an introduction by Robert P. Morgan.
p. cm.
Includes bibliographical references and index.
“Published Works of Edward T. Cone”: p.
ISBN 978-0-691-14011-7 (hardcover : alk. paper) 1. Music—History and criticism.
I. Morgan, Robert P. II. Title.
ML60.C773H43 2009
780—dc22
2008049313
British Library Cataloging-in-Publication Data is available
This book has been published with the generous support of the Princeton University
Department of Music
This book has been composed in Sabon
Printed on acid-free paper. ∞
press.princeton.edu
Printed in the United States of America
10 9 8 7 6 5 4 3 2 1
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To George Pitcher
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Contents
List of Musical Examples ix
List of Tables xi
Acknowledgments xiii
Introduction 1
Part I: Aesthetics 7
Essay One: The Missing Composer 11
Essay Two: The Silent Partner 16
Essay Three: The Irrelevance of Tonality? 38
Essay Four: Hearing and Knowing Music 49
Part II: Opera and Song 61
Essay Five: Mozart’s Deceptions 65
Essay Six: Siegfried at the Dragon’s Cave:
The Motivic Language of The Ring 80
Essay Seven: Schubert’s Heine Songs 106
Part III: The Composer as Critic 117
Essay Eight: The Composer as Critic 121
Essay Nine: Schubert Criticizes Schubert 135
Part IV: Analysis 149
Essay Ten: Schubert’s Symphonic Poem 153
Essay Eleven: Debussy’s Art of Suggestion 159
Essay Twelve: Stravinsky at the Tomb of Rimsky-Korsakov 170
Essay Thirteen: Stravinsky’s Version of Pastoral 181
Essay Fourteen: Stravinsky’s Sense of Form 190
Published Works of Edward T. Cone 207
Index 211
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Musical Examples
Example 2.1 Beethoven, Sonata in C major, Op. 53, second
movement 21
Example 2.2 Chopin, Ballade in G minor, Op. 23 23
Example 2.3 Weber, Piano Sonata in E minor, Op. 70, fi rst
movement 24
Example 2.4 Schumann, Fantasie for Piano, Op. 17, fi rst
movement 25
Example 2.5 Wagner, Prelude to Tristan und Isolde 26
Example 2.6 Verdi’s use of the 6/4 chord: Simon Boccanegra,
“Il lacerate spirito,” and Otello, “Kiss” motif 27
Example 2.7 Beethoven, Piano Sonata in B-fl at major, Op. 106,
Scherzo 28
Example 2.8 Schumann, Fantasie for Piano, Op. 17, last
movement 30
Example 2.9 Berlioz, Roméo et Juliette 32
Example 2.10 Strauss, Also sprach Zarathustra, ambiguous
resolutions implied by fi nal chord 36
Example 5.1 Mozart, Così fan tutte, “Ritorniamo, di gioja
esultanti,” and “Il mio fallo tardi vedo” 69
Example 5.2 Mozart, Le Nozze di Figaro, Finale, Act 3
(“Deh vieni, non tardar”), and opening duet,
Act 1 (“sembra fatto in ver per me”) 71
Example 5.3 Le Nozze di Figaro, Finale, Act 3 (“toccar io
vi farò” and “ma vendicarmi vo’ ”) 72
Example 5.4 Variations of descending chromatic line and
motif x in Le Nozze di Figaro, Finale, Act 3 73
Example 5.5 Le Nozze di Figaro, Finale, Act 3 (“Pace, pace”) 75
Example 5.6 Voices of approval near end of Le Nozze di Figaro,
Finale, Act 3 76
Example 5.7 Le Nozze di Figaro, Finale, Act 3 (“Arditello!”) 77
Example 6.1 Wagner, The Ring: three principal motifs of Siegfried’s
horn fanfare, Siegfried, Act 2, Scene 2: “Siegfried’s
Horn-Call,” “Siegfried Guardian of the Sword,” and
“Sword” and “Horn-Call” combined 83
Example 6.2 “Hunding” and Stierhorn motifs, Walküre, Act I,
Scene 2, and Act 2, Scene 5 86
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