Bach’s Cycle, Mozart’s Arrow: An Essay on the Origins of Musical Modernity

Notes

Notes 357 introduction 1. François-René de Chateaubriand, Mémoires d’outre-tombe, bk. 9, ch. 10, trans. Robert Baldick as The Memoirs (New York: Alfred A. Knopf, 1961), 174. 2. The Memoirs, xxi. 3. G. W.F. Hegel, “Proceedings of the Estates Assembly in the Kingdom of Württemberg 1815–1816,” in Political Writings, trans. T.M. Knox (Oxford: Clarendon Press, 1964), 282. 4. Ernst Robert Curtius, European Literature and the Latin Middle Ages, trans. Willard R. Trask (New York: Harper & Row, 1963), 19–24, 585–96. 5. Curtius, European Literature, 20, 23–24, 587. 6. Curtius, European Literature, 24. 7. Jacques Le Goff, L’imaginaire médiéval (Paris: Gallimard, 1985). 8. Curtius, European Literature, 24, 587. Cf. Hans Robert Jauss, “Der literarische Prozess des Modernismus von Rousseau bis Adorno,” in Epochenschwelle und Epochenbewußtsein, ed. R. Herzog and R. Koselleck (Munich, 1987), 243–68, who similarly locates the origins of modernism in the mideighteenth century. 9. Curtius, European Literature, 23, 24, 587. 10. Curtius, European Literature, 20, 594–95, 16, 595. 11. Curtius, European Literature, 23. 12. See, e.g., Daniel K. L. Chua, Absolute Music and the Construction of Meaning (Cambridge: Cambridge University Press, 1999). 13. E.T.A. Hoffmann, Musical Writings: Kreisleriana, The Poet and the Composer, Music Criticism, ed. David Charlton, trans. Martyn Clarke (Cambridge : Cambridge University Press, 1989), 96–103, 351–76. 14. Hoffmann, Musical Writings, 372, 97. 15. Hoffmann, Musical Writings, 96. 16. Stephen Jay Gould, Time’s Arrow,Time’s Cycle: Myth and Metaphor in the Discovery of GeologicalTime (Cambridge:Harvard University Press,1987). 17. Scott Burnham,Beethoven Hero (Princeton:Princeton University Press, 1995). 18. Carolyn Abbate, Unsung Voices: Opera and Musical Narrative in the Nineteenth Century (Princeton: Princeton University Press, 1991), 21–29. 19. Carl Dahlhaus, Nineteenth-Century Music, trans. J. Bradford Robinson (Berkeley: University of California Press, 1989), 15. 20. G. W.F. Hegel, Aesthetics: Lectures on Fine Art, trans. T.M. Knox (Oxford : Clarendon Press, 1975), 7. 21. Cf. Robert L. Marshall, “Bach the Progressive,” in The Music of Johann Sebastian Bach: The Sources, the Style, the Significance (New York: Schirmer Books, 1989). 22. RichardTaruskin,The Oxford History ofWestern Music (NewYork:Oxford University Press, 2005), 2:184, 185, 187. 23. Taruskin, Oxford History, 2:212, 213, 216. 24. Edward E. Lowinsky, “On Mozart’s Rhythm,” in Music in the Culture of the Renaissance and Other Essays, ed.Bonnie J.Blackburn (Chicago:The University of Chicago Press, 1989), 2:911–28; originally published in The Musical Quarterly 42 (1956), 162–86. 25. Laurence Dreyfus,Bach and the Patterns of Invention (Cambridge:Harvard University Press, 1996), 59–102. prelude 1. Claudio Monteverdi,L’Orfeo (Venice:Ricciardo Amadino,1609),81;facs. ed. in Monteverdi, L’Orfeo: Favola in musica, Archivium Musicum, Musica Drammatica 1 (Florence: Studio Per Edizioni Scelte, 1993). 2. For Orpheus in antiquity, see W.K.C. Guthrie, Orpheus and Greek Religion (New York:W.W. Norton & Co., 1966), and Emmet Robbins, “Famous Orpheus ,” in Orpheus:The Metamorphoses of a Myth, ed.JohnWarden (Toronto: University of Toronto Press, 1982), 3–23. For Virgil’s and Ovid’s Orpheus, see W. S. Anderson, “The Orpheus of Virgil and Ovid: flebile nescio quid,” in Orpheus : The Metamorphoses of a Myth, ed. Warden, 25–50, and Charles Segal, Orpheus:The Myth of the Poet (Baltimore:The Johns Hopkins University Press, 1989), 36–94. On the literary sources of Striggio’s libretto, see most recently Philippe Canguilhem, “Les sources littéraires de l’Orfeo de Monteverdi,” in Du genre narratif à l’opéra au theatre et au cinema, ed. R. Abbrugiati (Toulouse: Presses Universitaires du Mirail, 2000), 81–97. 3. Parenthetical quotations in this paragraph are from Monteverdi, L’Orfeo , 4, 65, 49, 52, 49–50, 64, 75, 78, 79, 80, 81, 85–86, and 91. 4. [Alessandro Striggio], La Favola d’Orfeo (Mantua: Francesco Osanna, 1607); facs. ed. in Claudio Monteverdi, L’Orfeo: Favola in musica, Archivium Musicum, Musica Drammatica 1 (Florence: Studio Per Edizioni Scelte, 1993). 5. For a critical edition,see AntoniaTissoni Benvenuti,L’Orfeo del Poliziano con il testo critico dell’originale e delle successive forme teatrali (Padua: Ed358 / Notes to Pages 7–24 itrice Antenore, 1986). For a comparison of Poliziano’s, Rinuccini’s, and Striggio ’s dramas, see Barbara Russano Hanning, Of Poetry and Music’s Power: Humanism and the Creation of Opera, Studies in Musicology 13 (Ann Arbor:UMI Research Press,1980),47–52...