Table Of Content

Copyright Page Copyright Page The Oxford Handbook of Music Listening in the 19th and 20th Centuries Edited by Christian Thorau and Hansjakob Ziemer Print Publication Date: Jan 2019 Subject: Music Online Publication Date: Nov 2018 Copyright Page (p. iv) Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and certain other countries. Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016, United States of America. © Oxford University Press 2019 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by license, or under terms agreed with the appropriate reproduction rights organization. Inquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above. You must not circulate this work in any other form and you must impose this same condition on any acquirer. Library of Congress Cataloging-in-Publication Data Names: Thorau, Christian. | Ziemer, Hansjakob. Title: The Oxford handbook of music listening in the 19th and 20th centuries / edited by Christian Thorau and Hansjakob Ziemer. Description: New York, NY : Oxford University Press, [2019] | Includes bibliographical references and index. Identifiers: LCCN 2018009730 (print) | LCCN 2018011318 (ebook) | ISBN 9780190466978 (Updf) | ISBN 9780190466985 (Epub) | ISBN 9780190466961 (cloth) | ISBN 9780190466992 (companion website) Subjects: LCSH: Music—Social aspects—History—19th century. | Music—Social Page 1 of 2 PRINTED FROM OXFORD HANDBOOKS ONLINE (www.oxfordhandbooks.com). © Oxford University Press, 2018. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a title in Oxford Handbooks Online for personal use (for details see Privacy Policy and Legal Notice). Copyright Page aspects—History—20th century. | Concerts—History—19th century. | Concerts—History—20th century. Classification: LCC ML3916 (ebook) | LCC ML3916.O968 2018 (print) | DDC 781.1/709—dc23 LC record available at https://lccn.loc.gov/2018009730 1 3 5 7 9 8 6 4 2 Printed by Sheridan Books, Inc., United States of America Page 2 of 2 PRINTED FROM OXFORD HANDBOOKS ONLINE (www.oxfordhandbooks.com). © Oxford University Press, 2018. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a title in Oxford Handbooks Online for personal use (for details see Privacy Policy and Legal Notice). Illustrations Illustrations The Oxford Handbook of Music Listening in the 19th and 20th Centuries Edited by Christian Thorau and Hansjakob Ziemer Print Publication Date: Jan 2019 Subject: Music Online Publication Date: Nov 2018 Illustrations (p. ix) I.1. Concertpublikum (Concert audience) 4 I.2. Auf dem Stehplatz in einem [Arthur] Nikisch Concert (Standing-room audience at an [Arthur] Nikisch Concert in Berlin) 6 I.3. Klangweltwunder (Sound wonder of the world) 18 1.1. P.-S. Germain, Salle des Concerts du Conservatoire 39 1.2. Salle Herz, Paris 44 1.3. Le concert Musard aux Champs-Elysées 47 1.4. Jules Pelocq, Le concert aux Champs-Elysées 48 1.5. Jules Pelocq, Représentation d’un ballet dans un café-concert des Champs- Elysées 49 2.1. George du Maurier, “The Latest Fashion in Music at Home” 63 3.1. Concert program for the Salle Herz 81 3.2. Concert program for the Grand Casino de Paris 83 3.3. Concert program for the Singspiel-Halle (or Salon Variété), Hôtel de Saxe, Leipzig 86 6.1. Forkel, Commentar 148 7.1. Gewandhaus program, January 29, 1807 173 7.2. Gewandhaus program, April 2, 1829 175 7.3. Gewandhaus program, January 22, 1829 176 8.1. Extract from Ella’s analytical notes for the Musical Union 190 8.2. Extract from the program booklet for a Crystal Palace Saturday Concert 192 8.3. Quartet Party at the Musical Union 196 8.4. Bound copy and opening of John Murray’s 1879 Handbook for Travellers in Switzerland 197 9.1. Carl Spitzweg, English Tourists in the Roman Campagna 208 10.1. Interior view of the Theater an der Wien 233 10.2. Floor plan of the main floor of the new Schauspielhaus in Berlin 240 10.3. Concert hall of the Schauspielhaus in Berlin 241 10.4. Auditorium of Symphony Hall, Boston 242 Page 1 of 2 PRINTED FROM OXFORD HANDBOOKS ONLINE (www.oxfordhandbooks.com). © Oxford University Press, 2018. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a title in Oxford Handbooks Online for personal use (for details see Privacy Policy and Legal Notice). Illustrations (p. x) 11.1. View of the Magnificent Box Erected for Their Majesties in Westminster Abbey . . . at the Commemoration of Handel (1792–1803) 260 11.2. The audience at the 1823 Yorkshire Grand Musical Festival 261 11.3. Detail of York Minster Interior Structure, Rear Gallery 263 11.4. Interior of Birmingham Town Hall 269 12.1. Ferdinand Victor Eugène Delacroix, study for the portrait of Frédéric Chopin and George Sand 285 12.2. Ferdinand Victor Eugène Delacroix, Frédéric Chopin 286 12.3. Ferdinand Victor Eugène Delacroix, George Sand 286 13.1. Pibaraud, Interior of the Théâtre du Châtelet 314 13.2. Montanari, Auditorium of the Teatro Costanzi 315 13.3. Onofre Alsamora, performance of Bellini’s Norma in the Gran Teatre del Liceu 316 14.1. Berliner Konzert-Anzeiger (Berlin Concert Advertiser) 339 14.2. “Concert Garden at the Turn of the Century” 340 14.3. Heinrich Zille, advertisement for sheet music 343 14.4. Heinrich Zille, “The newest Gassenhauer” 345 15.1. Ludwig Hohlwein, Telephonische Übertragung (Telephonic broadcast) 358 15.2. Service map of the broadcast network in Bavaria showing the Leitungsrund spruchnetz in Bayern 359 15.3. Großleistungverstärker für die telephonische Opernübertragung (High-pow ered amplifier system used for the Opera-Telephone) 361 15.4. After a painting by Albert Gräfle, Die Intimen bei Beethoven 366 16.1. Tone Test oral instructions 374 16.2. Tone Test response card 375 16.3. Finger-tapping device 379 16.4. Mood Change Chart 384 18.1. James Abbott McNeill Whistler, The White Girl 424 18.2. Fernand Khnopff, Listening to Schumann 425 18.3. Jean-Baptiste-Camille Corot, Interrupted Reading 429 18.4. François Auguste Biard, The Salon at 4:00 p.m. 430 18.5. Wassily Kandinsky, Impression III. Concert 431 21.1. Illustration for a text on types of concert-goers 484 Page 2 of 2 PRINTED FROM OXFORD HANDBOOKS ONLINE (www.oxfordhandbooks.com). © Oxford University Press, 2018. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a title in Oxford Handbooks Online for personal use (for details see Privacy Policy and Legal Notice). Tables, Charts, and Music Examples Tables, Charts, and Music Examples The Oxford Handbook of Music Listening in the 19th and 20th Centuries Edited by Christian Thorau and Hansjakob Ziemer Print Publication Date: Jan 2019 Subject: Music Online Publication Date: Nov 2018 Tables, Charts, and Music Examples (p. xi) Table 11.1. Middle-Class Attendees at the 1828 Yorkshire Grand Musical Festival Morning (Sacred) Concerts in York Minster 258 Charts 7.1. Percentage of symphonies announced along with their key in relation to the re spective absolute number of symphonies being performed 170 7.2. Percentage of symphonies announced with both their key and their running number in relation to the respective absolute number of symphonies being per formed 171 9.1. Semiotic model of a tourist attraction 215 Music Examples 12.1. Brahms, Sonata for Violoncello and Piano in F major, op. 99, Adagio affettuoso, mm. 1–19 294 12.2. Brahms, Sonata for Violoncello and Piano in F major, op. 99, Adagio affettuoso, mm. 31–44 295 (p. xii) Page 1 of 1 PRINTED FROM OXFORD HANDBOOKS ONLINE (www.oxfordhandbooks.com). © Oxford University Press, 2018. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a title in Oxford Handbooks Online for personal use (for details see Privacy Policy and Legal Notice). Acknowledgments Acknowledgments The Oxford Handbook of Music Listening in the 19th and 20th Centuries Edited by Christian Thorau and Hansjakob Ziemer Print Publication Date: Jan 2019 Subject: Music Online Publication Date: Nov 2018 Acknowledgments (p. xiii) THIS book grew out of a dialogue between the two editors—a musicologist and a histori an by training—as well as with a number of scholars from various disciplines. Many of them took part in the international conference “The Art of Listening: Trends and Perspec tives of a History of Music Listening” in 2012 that took place at Radialsystem V—Space for Arts and Ideas in Berlin, Germany, which proved to be a congenial location to reflect on the transformations of music listening through the centuries. We thank its co-founder and co-director, Folkert Uhde, for this collaboration and Janine Wiesecke (Max Planck In stitute for Empirical Aesthetics, Frankfurt am Main) for her assistance in organizing this conference, which drew more than a hundred participants, some of whom joined this book project. This handbook benefited from the inspiration and critical feedback of many of our colleagues over a long period of time, and we thank the authors for their openness and readiness to enter a dialogue about the history of listening, and—not least—for their patience. In particular, we thank Katharine Ellis, Daniel Morat, and Viktoria Tkaczyk for continuously supporting this book since the beginning, offering their advice and thoughts on the conception of the book. We are also very grateful to Mark Evan Bonds and Neil Gregor, who read an earlier draft of the introduction to this volume and offered insightful feedback and food for thought. Our volume also benefited from the anonymous reviewers of Oxford University Press who commented on the conception and the individual chapters at two different stages which helped to further shape the project. This book would not have been possible without the support of our home institutions—the University of Potsdam and the Max Planck Institute for the History of Science—and the Deutsche Forschungsgemeinschaft as well as the Ernst Schering Foundation, which gen erously provided funding for the initial conference event. We thank Kristyna Comer in particular for her careful, meticulous, and patient support in editing and managing the manuscript. We also thank Urte Brauckmann for her expertise and help in obtaining per missions as well as Kate Sturge and Kerry McCarthy for their advice and assistance with translation. At Oxford University Press, we thank Suzanne Ryan and Lauralee Yeary for Page 1 of 2 PRINTED FROM OXFORD HANDBOOKS ONLINE (www.oxfordhandbooks.com). © Oxford University Press, 2018. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a title in Oxford Handbooks Online for personal use (for details see Privacy Policy and Legal Notice). Acknowledgments their continuous encouragement, advice, and support during the long process of bringing this volume together. (p. xiv) Page 2 of 2 PRINTED FROM OXFORD HANDBOOKS ONLINE (www.oxfordhandbooks.com). © Oxford University Press, 2018. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a title in Oxford Handbooks Online for personal use (for details see Privacy Policy and Legal Notice). Contributors Contributors The Oxford Handbook of Music Listening in the 19th and 20th Centuries Edited by Christian Thorau and Hansjakob Ziemer Print Publication Date: Jan 2019 Subject: Music Online Publication Date: Nov 2018 Contributors (p. xv) Christina Bashford, University of Illinois at Urbana-Champaign Mark Evan Bonds, University of North Carolina at Chapel Hill James Deaville, Carleton University Katharine Ellis, University of Cambridge Wolfgang Fuhrmann, Universität Leipzig Wolfgang Gratzer, Universität Mozarteum Salzburg Neil Gregor, University of Southampton Alexandra Hui, Mississippi State University Page 1 of 3 PRINTED FROM OXFORD HANDBOOKS ONLINE (www.oxfordhandbooks.com). © Oxford University Press, 2018. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a title in Oxford Handbooks Online for personal use (for details see Privacy Policy and Legal Notice). Contributors James H. Johnson, Boston University Anselma Lanzendörfer, Hochschule für Musik und Darstellende Kunst Frankfurt am Main Fred Everett Maus, University of Virginia Charles Edward McGuire, Oberlin College and Conservatory Daniel Morat, Freie Universität Berlin Sonja Neumann, Deutsches Museum Munich Gesa zur Nieden, Johannes Gutenberg-Universität Mainz Christiane Tewinkel, Universität der Künste Berlin Christian Thorau, Universität Potsdam Viktoria Tkaczyk, Max Planck Institute for the History of Science, Berlin Page 2 of 3 PRINTED FROM OXFORD HANDBOOKS ONLINE (www.oxfordhandbooks.com). © Oxford University Press, 2018. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a title in Oxford Handbooks Online for personal use (for details see Privacy Policy and Legal Notice). Contributors Axel Volmar, Universität Siegen William Weber, California State University, Long Beach Stefan Weinzierl, Technische Universität Berlin Hansjakob Ziemer, Max Planck Institute for the History of Science, Berlin (p. xvi) Page 3 of 3 PRINTED FROM OXFORD HANDBOOKS ONLINE (www.oxfordhandbooks.com). © Oxford University Press, 2018. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a title in Oxford Handbooks Online for personal use (for details see Privacy Policy and Legal Notice).