Historiography and invisible musics: Domestic chamber music in nineteenth-century Britain
Historiography and invisible musics: Domestic chamber music in nineteenth-century Britain
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史学与无形音乐：十九世纪英国的国内室内乐
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发表时间：
2010
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通讯作者：
Christina Bashford
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作者：
Christina Bashford
室内乐史学中有一个根深蒂固的观点，那就是19世纪的英国缺乏一种重要的、严肃的国内室内乐文化，而这种文化在奥地利-德国却如此盛行。这样的活动被认为已经枯竭。1800年，沿着土著室内乐作曲，被客厅钢琴音乐制作和参加公共音乐会所取代。这篇文章挑战了这种观点，并提出了一个持续的，连贯的亚文化的私人室内乐遍布英国，往往在意想不到的设置和社区的上层和中产阶级的男性。分析的基础是新的，暗示性的文件，来自一系列来源，包括私人日记，信件，杂志和拍卖目录。与此同时，许多面向公众的消息来源对英国室内乐生活保持沉默，或者将其与德国进行对比。这一证据的历史背景表明，世纪的公认思想在很大程度上归功于19世纪的文化意识形态。19世纪，英国人对男性气质、阶级、理智主义和民族认同的焦虑，导致富人对室内乐的严肃、私人的追求在公众面前被淡化、被讽刺，甚至被忽视。室内乐之所以被顽固地定位为德国固有的音乐，部分原因是德国对自己民族特性的建构，但这在很大程度上也要归功于德国人对自己音乐文化的狭隘看法。
Abstract A persistent idea in chamber music historiography is that nineteenth-century Britain lacked a significant, serious domestic chamber-music culture of the type so prevalent in Austro-Germany. Such activity is assumed to have dried up ca. 1800, along with indigenous chamber-music composition, to be replaced by music making at the parlor piano and attendance at public concerts. This essay challenges that view and suggests a continuing, coherent subculture of private chamber music spread across Britain, often in unexpected settings and in communities of upper- and middle-class males. Underpinning the analysis is new, suggestive documentation from a range of sources including private diaries, letters, magazines, and auction catalogs. At the same time, many publicly oriented sources are silent about British chamber-music life, or contrast it poorly with Germany. Historical contextualization of this evidence suggests that received thinking in the twentieth century owed much to cultural ideologies embedded in the nineteenth. A knot of British anxieties in the nineteenth century around masculinity, class, intellectualism, and national identity led to the serious, private pursuit of chamber music among men of wealth being downplayed in public, caricatured, or even ignored. While the tenacious positioning of chamber music as inherently German stemmed in part from Germany9s construction of its own national identity, it also owed much to the Victorians9 tendency to perpetuate a limited view of their own musical culture.