By Ruth A. Solie
Simply because the preoccupations of any given cultural second make their means into the language of track, the adventure of track makes its means into different arenas of lifestyles. To unearth those overlapping meanings and vocabularies from the Victorian period, Ruth A. Solie examines assets as disparate as journalism, novels, etiquette manuals, non secular tracts, and teens' diaries for the muffled, even subterranean, conversations that exhibit a lot approximately what song intended to the Victorians. Her essays, giving voice to "what is going with no announcing" at the subject--that cultural info so current and pervasive as to move unsaid--fill in probably the most interesting blanks in our knowing of music's background. This much-anticipated assortment, bringing jointly new and hard-to-find items by way of an acclaimed musicologist, mines the plentiful informal texts of the interval to teach how Victorian-era people--English and others--experienced track and what they understood to be its energy and its reasons. Solie's essays commence from issues as different as Beethoven feedback, Macmillan's journal, George Eliot's Daniel Deronda, opera tropes in literature, and the Victorian fantasy of the lady on the piano. They evoke universal themes--including the ethical strength that was once connected to song within the public brain and the strongly gendered nature of musical perform and sensibility--and in flip recommend the complicated hyperlinks among the background of tune and the background of rules.
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Additional resources for Music in Other Words: Victorian Conversations (California Studies in 19th-Century Music, 12)
34 / Beethoven as Secular Humanist receive more numerous afﬂuents from other parts of their being, and as the vital play of their faculties with one another becomes swifter and more intricate. The later sonatas of Beethoven still perplex facile and superﬁcial musicians. The later landscapes of Turner still bewilder and amaze the profane . . 75 Ironically, the Ninth Symphony contains within itself an exemplary case of the elite/philistine conﬂict, in the “Ode to Joy” theme of its ﬁnale. ” Writing satirically about critical reaction to a different piece, Robert Schumann indicates that he has heard this many times before; “you will think it common, unworthy of a Beethoven, like the melody to Freude, schöne Gotterfunken in the D minor symphony” (105).
Hitherto, in the three orchestral movements, Beethoven has been depicting “Joy” in his own proper character: ﬁrst, as part of the complex life of the individual man; secondly, for the world at large; thirdly, in all the ideal hues that art can throw over it. ” It is as though the elaborately worked-out midcentury narratives have been distilled into a set of capsule associations so taken for granted that they serve as synonyms for structural description. In the catalog of exegetic excess mentioned by Schumann in connection with the Ninth Symphony, the creation myth is a prominent one.
Mass taste” was not yet quite so easily dismissed as it later became. Shaw wrote of the Ninth: How far the work has become really popular it would be hard to determine, because . . so many people come whenever it is in the bills, not to enjoy themselves, but to improve themselves. To them the culmination of its boredom in an Ode to Joy must seem a wanton mockery, since they always hear it for the ﬁrst time; for a man does not sacriﬁce himself in that way twice, just as he does not read Daniel Deronda twice, and consequently .