Universität Wien

160041 SE Fact and Fiction: On "Authentic" Performance Practice in Beethoven's Orchestral Works (2014S)

7.00 ECTS (2.00 SWS), SPL 16 - Musikwissenschaft und Sprachwissenschaft
Continuous assessment of course work

Registration/Deregistration

Note: The time of your registration within the registration period has no effect on the allocation of places (no first come, first served).

Details

max. 25 participants
Language: German

Lecturers

Classes (iCal) - next class is marked with N

  • Wednesday 05.03. 16:00 - 17:30 Seminarraum 1 Musikwissenschaft UniCampus Hof 9, 3A-O1-31
  • Wednesday 19.03. 16:00 - 17:30 Seminarraum 1 Musikwissenschaft UniCampus Hof 9, 3A-O1-31
  • Wednesday 26.03. 16:00 - 17:30 Seminarraum 1 Musikwissenschaft UniCampus Hof 9, 3A-O1-31
  • Wednesday 02.04. 16:00 - 17:30 Seminarraum 1 Musikwissenschaft UniCampus Hof 9, 3A-O1-31
  • Wednesday 09.04. 16:00 - 17:30 Seminarraum 1 Musikwissenschaft UniCampus Hof 9, 3A-O1-31
  • Wednesday 30.04. 16:00 - 17:30 Seminarraum 1 Musikwissenschaft UniCampus Hof 9, 3A-O1-31
  • Wednesday 07.05. 16:00 - 17:30 Seminarraum 1 Musikwissenschaft UniCampus Hof 9, 3A-O1-31
  • Wednesday 14.05. 16:00 - 17:30 Seminarraum 1 Musikwissenschaft UniCampus Hof 9, 3A-O1-31
  • Wednesday 21.05. 16:00 - 17:30 Seminarraum 1 Musikwissenschaft UniCampus Hof 9, 3A-O1-31
  • Wednesday 28.05. 16:00 - 17:30 Seminarraum 1 Musikwissenschaft UniCampus Hof 9, 3A-O1-31
  • Wednesday 04.06. 16:00 - 17:30 Seminarraum 1 Musikwissenschaft UniCampus Hof 9, 3A-O1-31
  • Wednesday 11.06. 16:00 - 17:30 Seminarraum 1 Musikwissenschaft UniCampus Hof 9, 3A-O1-31
  • Wednesday 18.06. 16:00 - 17:30 Seminarraum 1 Musikwissenschaft UniCampus Hof 9, 3A-O1-31
  • Wednesday 25.06. 16:00 - 17:30 Seminarraum 1 Musikwissenschaft UniCampus Hof 9, 3A-O1-31

Information

Aims, contents and method of the course

In this seminar we aim to sensitize students to a range of issues surrounding topics such as “historically informed performance” (HIP), “historically informed listening,” and musical interpretation, aided by readings from Richard Taruskin, Mark Evan Bonds, and Hans-Joachim Hinrichsen respectively.
These issues will be traced through concrete musical examples. On one level, this will deal with the meanings of written parameters (tempo, metronome markings, orchestration and orchestral size, phrasings, dynamics, etc.) as transmitted in the musical score and its original sources—and with this, the critical question: which text transmits what? Beyond this, we will discuss the various ways these have been realized by performers over time, alongside their complex interrelationships with changing acoustic conditions and performance contexts. Finally we will broach the question of how musical performance and interpretation can be impacted by the knowledge of Beethoven’s efforts to express specific affects (which he called “Seelenzustände" or “states of the soul”) in his music, as well as aesthetic currents that appeared only later (see Detlef Giese).
As case studies, there will be a special focus on Beethoven’s Symphony No. 7, Op. 92, and “Wellington’s Victory, or, the Battle of Victoria,” Op. 91. The latter was Beethoven’s most popular work during his lifetime, which has posed a significant interpretative challenge to the current day.

Assessment and permitted materials

Mitarbeit, Referat, schriftliche Seminararbeit

Minimum requirements and assessment criteria

Examination topics

Reading list

Richard Taruskin, Text & Act. Essays on Music and Performance, New York und Oxford 1995 (bes. Kapitel 4. "The Pastness of the Present and the Presence of the Past" bzw. Kapitel 6. und 7.; sowie - zu Beethovens Symphonien - 8. "The New Antiquity").
Mark Evan Bonds, Music as Thought. Listening to the Symphony in the Age of Beethoven, Princeton 2006 (bes. Kapitel 1. "Listening with Imagination: The Revolution in Aesthetics").
Hans-Joachim Hinrichsen, "Musikalische Interpretation und Interpretationsgeschichte", in: Historische Musikwissenschaft. Grundlagen und Perspektiven, hrsg. von Michele Calella und Nikolaus Urbanek, Stuttgart: Metzler 2013, S. 184-200.
Albrecht Riethmüller und Oliver Korte (Hg.), Beethovens Orchestermusik und Konzerte. Das Handbuch, Laaber 2012; bes. die Kapitel von Stefan Weinzierl, Friederike Wißmann, Oliver Korte (zur 7. Symphonie), Fréderic Döhl (zu Wellingtons Sieg) und Oliver Vogel.
Detlef Giese, "Espressivo" versus "(Neue) Sachlichkeit". Studien zu Ästhetik und Geschichte der musikalischen Interpretation (Diss. Humboldt-Universität Berlin 2004), Berlin 2006.
Zur allgemeinen Einführung:
Österreichische Musikzeitschrift (ömz) 2/2012, Themenheft: "Aufführungspraxis - Glaube, Liebe, Hoffnung", bes. die Beiträge von Maria Helfgott, Wolfgang Fuhrmann und Lena Drazic

Association in the course directory

B08; M01, M03, M04, M05, M07, M12, M14, M15, M16

Last modified: Mo 07.09.2020 15:35