Did people listen in the 18th century?

Early Music

Volumn 25, Issue 4, 1997, Pages 678-691

  Weber, William ^a  

^a CALIFORNIA STATE UNIVERSITY   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 0039190499     PISSN: 03061078     EISSN: None     Source Type: Journal    
DOI: 10.1093/em/25.4.678     Document Type: Article

References (40)

1. P. Gay. The bourgeois experience: Victoria to Freud, iv: The naked heart, (New York, 1995), p.8
2. See W. Weber, 'Wagner, Wagnerism and musical idealism', Wagnerism in European culture and politics, ed. D. C. Large and W. Weber (Ithaca, 1984), pp.28-71
3. J. H. Johnson, Listening in Paris: a cultural history (Berkeley, 1995)
4. See also his 'Musical experience and the formation of a French musical public', Journal of modern history, lxiv (1992), pp.191-226
5. Johnson, Listening in Paris, p.19
6. See W. Weber, review in American historical review, ci (1996), pp.853-4
7. Gay, The naked heart, preface, 'The art of listening', pp.11-35
8. Gay, The naked heart, p.22
9. W. J. Allenbrook, Rhythmic gesture in Mozart's 'Le nozze di Figaro' and 'Don Giovanni' (Chicago, 1983)
10. R. Leppert, 'The social discipline of listening', forthcoming in proceedings of conference held at the Max Planck Institut für Geschichte, Göttingen, July 1996, 'Concert et public: mutation de la vie musicale en Europe de 1780 à 1914'
11. L. Goehr, The imaginary museum of musical works (Oxford, 1992)
12. See C. Price, J. Milhous and R. D. Hume, The impresario's ten commandments: Continental recruitment for Italian opera in London, 1763-64 (London, 1992)
13. and Italian opera in late eighteenth-century London, i: The King's Theatre, Haymarket, 1778-1791 (Oxford, 1995). esp. p.322
14. Goehr, The imaginary museum, p.192
15. See W. Weber, 'Learned and general musical taste in eighteenth-century France', Past and present, lxxxviii (1980), pp.58-85
16. The Diary of Dudley Ryder, 1715-1716, ed. W. Matthews (London, 1939). pp.128, 195
17. I am indebted for this reference to H. Knif, Gentlemen and spectators: studies in journals, opera and the social scene in late Georgian London (Helsinki, 1995), pp.70-73
18. Weekly Journal; or, Saturday's Post, 18 Dec 1825
19. quoted in E. Gibson, The Royal Academy of Music, 1719-1728: the institution and its directors (New York, 1989), p.388
20. A similar social scene is described in B. Brown, Gluck and the French theatre in Vienna (Oxford, 1991), chap.2, pp.26-63
21. W. Weber, 'L'institution et son public: l'opéra à Paris et à Londres au XVIIIe siècle', Annales ESC, lxviii (1993). pp.1519-40
22. Susan McClary speaks directly to the introspective tradition in 'Narratives of bourgeois subjectivity in Mozart's "Prague" Symphony', Understanding narrative, ed. J. Phelan and P. Rabinowitz (Columbus, OH, 1994), pp.65-98
23. W. Holmes, 'The Teatro della Pergola in Florence: its administration, building and its audience', Musica franca: essays in honor of Frank A. D'Accone, ed. I. Alm, A. McLamore and C. Reardon (Stuyvesant, NY, 1996), pp.259-82
24. Holmes, 'The Teatro della Pergola', pp.271-2
25. See H. Kingsbury, Music, talent and performance: a conservatory cultural system (Philadelphia, 1988), esp. chap.1, 'Social context and absolute music'
26. The Yale edition of the correspondence of Horace Walpole, 48 vols. (New Haven and Oxford, 1961-8), xviii, 495 (6 Aug 1744)
27. See Richard Mount-Edgcumbe, Musical reminiscences of an old amateur chiefly respecting the Italian opera in England, (London, 2/1827)
28. Price, Milhous and Hume, Italian opera in late eighteenth-century London, xxii, pp.26, 181-4, 222, 224-5, 266-7. Her letters are found in the British Library, Egerton Ms.3691, and in the Berg Collection at the New York Public Library
29. Letter to Mme. D'Arblay, 29 June 1778, overleaf, Berg Collection
30. Price, Milhous and Hume, Italian opera in late eighteenth-century London, xxiii, pp.177-81, and passim
31. I am indebted to the Hon. Caroline Douglas-Home for access to the original of the letters and diaries of Lady Mary Coke, Coldstream, Berwickshire, and to the Lewis Walpole Library of the Yale University Library for use of a photocopy of the manuscript. The first 15 years of the diary (1759-74) are found in The letters and journals of Lady Mary Coke, ed. J. A. Home, 4 vols. (Edinburgh, 1889-96): see 'Some account of John Duke of Argyll and his family', by Lady Louisa Stuart in 1827, i, pp.xv-cxxii
32. See likewise Correspondance complète de la marquise du Deffand, ed. L. Dussieux and E. Soulié, 2 vols. (Paris, 1865), C.-J.-F. Hénault to Deffand, 9 July 1742, i, 41; 18 July, i 69-71; 29 July, i, 74
33. K. Forney, 'Music, ritual and patronage at the Church of Our Lady, Antwerp', Early music history, vii (Cambridge, 1987), pp.1-57
34. Presentation at Retheorizing Music Conference, University of California, Irvine, December 1994
35. B. R. Hanning, 'The iconography of the salon concert: a reappraisal', French musical thought, 1600-1800, ed. G. Cowart (Ann Arbor, 1989), pp.129-48
36. and 'Conversation and musical style in the late eighteenth-century Parisian salon', Eighteenth-century studies, xxii (1989), pp.512-28
37. On 'ensemblization', see N. Bryson, Word and image: French painting in the ancien régime (Cambridge, 1981)
38. Hanning, 'Conversation and musical style', p.528
39. J. Hall-Witt, The re-fashioning of fashionable society: opera-going and sociability in England, 1821-61 (PhD diss., Yale U., 1996)
40. The historian Leonard Berlanstein is doing important work on this subject; see 'Breeches and breaches: crossdress theater and culture of gender ambiguity in modern France', Comparative studies in society and history, xxxviii (1996), pp.338-69