Words and Notes in the Long Nineteenth Century

270 Pages·2013·14.06 MB·English

by  Phyllis Weliver

Words and Notes…rev2_Words and Notes… 07/06/2013 13:34 Page 1
&
W
&
O
WORDS NOTES
IN THE LONG NINETEENTH CENTURY R WORDS NOTES
D
Words and Notes encourages a new wave of scholarship inspired by the ways writers L N C
IN THE ONG INETEENTH ENTURY
and musicians of the long nineteenth century themselves approached the S
relationship between music and words. Contributors to the volume engage in two
dialogues: with nineteenth-century conceptions of word–music relations, and with
&
each other. Criss-crossing disciplinary boundaries, the authors of the book’s eleven
essays address new questions relating to listening, imagining and performing music,
the act of critique, and music’s links with philosophy and aesthetics. The many

points of intersection are elucidated in an editorial introduction and via a reflective N
afterword. Fiction and poetry, musicography, philosophy, music theory, science
and music analysis all feature, as do traditions within English, French and German
O
studies.
Wide-ranging material foregrounds musical memory, soundscape and evocation; T
performer dilemmas over the words in Satie’s piano music; the musicality of
fictional and non-fictional prose; text-setting and the rights of poet vs. composer; E
the rich novelistic and critical testimony of audience inattention at the opera;
German philosophy’s potential contribution to musical listening; and Hoffmann’s S
send-ups of the serious music-lover. Throughout, music – its composition,
performance and consumption –emerges as a profoundly physical and social force,
even when it is presented as the opposite.
W
E
PHYLLIS WELIVER is Associate Professor of English, Saint Louis University. L
I
V
KATHARINE ELLIS is Stanley Hugh Badock Professor of Music, University of E
R
Bristol.
A
N
D
Cover painting: Laus Veneris, c. 1873–75 (oil on canvas), Sir Edward Burne-Jones (1833–98) / Laing Art
Gallery, Newcastle-upon-Tyne, UK / © Tyne & Wear Archives & Museums / The Bridgeman Art Library. E
L
Cover design: Phil Barker L
I
S
(
e
d
s
)
an imprint of Boydell & Brewer Ltd
PO Box 9, Woodbridge IP12 3DF (GB) and
668 Mt Hope Ave, Rochester NY14620-2731 (US)
www.boydellandbrewer.com
Words and notes
in the
Long nineteenth Century

Words and notes
in the Long
nineteenth Century
Edited by
Phyllis Weliver and Katharine ellis
the BoydeLL Press
© Contributors 2013
All Rights Reserved. except as permitted under current legislation
no part of this work may be photocopied, stored in a retrieval system,
published, performed in public, adapted, broadcast,
transmitted, recorded or reproduced in any form or by any means,
without the prior permission of the copyright owner
First published 2013
The Boydell Press, Woodbridge
isBn 978 1 84383 811 1
The Boydell Press is an imprint of Boydell & Brewer Ltd
Po Box 9, Woodbridge, suffolk iP12 3dF, uK
and of Boydell & Brewer inc.
668 Mount hope ave, rochester, ny 14620-2731, usa
website: www.boydellandbrewer.com
a catalogue record for this book is available
from the British Library
The publisher has no responsibility for the continued existence or accuracy
of urLs for external or third-party internet websites referred to in this book,
and does not guarantee that any content on such websites is,
or will remain, accurate or appropriate
Papers used by Boydell & Brewer Ltd are natural, recyclable products
made from wood grown in sustainable forests
Printed and bound in great Britain by
CPi group (uK) Ltd, Croydon, Cr0 4yy
Contents
Lists of Figures and Music examples vii
Contributors ix
acknowledgements xi
introduction 1
approaches to Word–Music studies of the Long nineteenth Century
Phyllis Weliver and Katharine Ellis
1 Losing sense, Making Music: What erik satie’s Music and Poetry do 21
for each other
Peter Dayan
2 not Listening in Paris: Critical and Fictional Lapses of attention at 35
the opera
Cormac Newark
3 new expectations: how to Listen to sonata Form, 1800–1860 55
Jon-Tomas Godin
4 The science of Musical Memory: Vernon Lee and the remembrance 73
of sounds Past
Shafquat Towheed
5 Musical Listening in The Mysteries of Udolpho 85
Noelle Chao
6 Katherine Mansfield and nineteenth-Century Musicality 103
Delia da Sousa Correa
7 e.t.a. hoffmann beyond the ‘Paradigm shift’: Music and irony in the 119
novellas 1815–1819
Matthew Riley
8 Fiction as Musical Critique: Virginia Woolf, The Voyage Out and the 145
Case of Wagner
Emma Sutton
9 Théodore de Banville and the Mysteries of song 165
David Evans
10 Performing Poetry as Music: how Composers accept Baudelaire’s 183
invitation to song
Helen Abbott
11 The grit in the oyster, or how to Quarrel with a Poet 205
Susan Youens
afterword 223
Wording notes: Musical Marginalia in the guise of an afterword
Annegret Fauser
Bibliography 229
index 247
Figures and Music examples
Figures
1.1 erik satie, ‘Celle qui parle trop’, from Chapitres tournés en tous sens 24
(1913), opening
1.2 erik satie, ‘Le porteur de grosses pierres’, from Chapitres tournés en 28
tous sens (1913), close
1.3 erik satie, ‘regrets des enfermés (Jonas et Latude)’, from Chapitres 30
tournés en tous sens (1913), opening
2.1 eugène Louis Lami, Andanté [sic] de la symphonie en la, ink drawing 36
with watercolour highlights, 1840. © Collection Musée de la Musique /
J-M anglès
Music Examples
10.1 henri duparc, ‘L’invitation au voyage’, bars 32–9 193
10.2 Jules Cressonnois, ‘L’invitation au voyage’, bars 49–67 194
10.3 henri duparc, ‘L’invitation au voyage’, bars 18–22 199
10.4 Jules Cressonnois,‘L’invitation au voyage’, bars 10–13 200
11.1 Franz schubert, ‘der einsame’, bars 1–5 212
11.2 Franz schubert, ‘der einsame’, bars 7–10 214
11.3 Franz schubert, ‘der einsame’, bars 50–3 215
11.4 Franz schubert, ‘der einsame’, bars 19–23 216
11.5 Franz schubert, ‘der einsame’, bars 42–7 217
11.6 Franz schubert, ‘der einsame’, bars 64–70 218

Contributors
Helen Abbott is senior Lecturer in French at the university of sheffield and
specializes in nineteenth-century French poetry and music, with particular
emphasis on voice and performance. Publications include Between Baudelaire
and Mallarmé: Voice, Conversation and Music (2009) and Parisian Intersections:
Baudelaire’s Legacy to Composers (2012).
Noelle Chao is Visiting assistant Professor of english at The ohio state univer-
sity, Mansfield. she has written on John gay’s Polly and Frances Burney’s Cecilia,
and is currently working on a study that examines the relationship between
musical writing and the eighteenth-century novel.
Delia da Sousa Correa is senior Lecturer in english at the open university. she
is the author of George Eliot, Music and Victorian Culture (2003), editor of The
Nineteenth-Century Novel: Realisms (2000), Phrase and Subject: Studies in Litera-
ture and Music (2006) and is founding editor of Katherine Mansfield Studies.
Peter Dayan is Professor of Word and Music studies at the university of edin-
burgh. his recent work attempts to show why artistic value seems to arise between
the arts, rather than from within any one of them. he takes his examples from
(mostly) French writers, composers and painters, from nerval and sand to
derrida, stravinsky and Braque.
Katharine Ellis is stanley hugh Badock Professor of Music at the university of
Bristol. a cultural historian of music in nineteenth-century France, she is author
of monographs on music criticism (1995) and the French early music revival
(2005, 2013). she has also published on hoffmannesque fiction in France and on
Berlioz’s short story, ‘euphonia’.
David Evans is senior Lecturer in French at the university of st andrews, scot-
land. he works on nineteenth-century French poetry and the idea of music,
and has published Rhythm, Illusion and the Poetic Idea: Baudelaire, Rimbaud,
Mallarmé (2004) as well as articles on Valéry, debussy and Banville.
Annegret Fauser is Professor of Music at unC Chapel hill. her research engages
with music in France and the united states in the nineteenth and twentieth centu-
ries. The recipient of the 2011 dent Medal of the royal Musical association, she
is currently editor-in-Chief of the Journal of the American Musicological Society.
Jon-Tomas Godin’s research focuses on the evolution of musical form in the
nineteenth century against the backdrop of the history of ideas: philosophy,
literature and music criticism. he is currently completing a dissertation on nine-
teenth-century piano sonatas at the université de Montréal while teaching at the
university of ottawa.