JUPITER: Reading the "Viennese Classics" in Nineteenth-Century Britain
JUPITER: Reading the "Viennese Classics" in Nineteenth-Century Britain
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JUPITER：读十九世纪英国的“维也纳经典”
DOI：
10.1093/musqtl/gdad007
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发表时间：
2023
期刊：
影响因子：
--
通讯作者：
Everist M
中科院分区：
文献类型：
--
作者：
Everist M
十九世纪初，在维也纳创作的交响乐、协奏曲和序曲的编曲在横跨1800年的半个世纪里，在英国经历了爆炸性的发展，今天被认为是“维也纳经典”。由于19世纪早期的英国观众几乎没有机会听到这些作品的管弦乐表演，在1860年及以后的时期，一种特殊的编曲形式是获得这些作品的主要途径。海顿、莫扎特、贝多芬和他们同时代人的四重钢琴、长笛、小提琴和大提琴乐团的编曲在伦敦出版，供全国各地的音乐家和他们的观众阅读，这些乐曲正迅速成为整个欧洲的经典曲目。由于莫扎特C大调第41交响曲K.551的第一版印刷版被命名为《木星》，这是为构成本研究基础的乐团而改编的。图1给出了这个版本的标题页。1它明确地揭示了木星四重奏钢琴、长笛、小提琴和大提琴合奏的作品的版本。因此，“木星”一词不仅被用来作为合奏的速记，而且还被用来描述该组合的安排，以及整个项目注定要揭开它的神秘面纱。然而，重要的是要区分木星乐团的组成-键盘和三种不同的管弦乐器-和为出售的钢琴三重奏做广告的做法，其中小提琴部分被描述为可以由长笛演奏。无论他们的作曲家、编曲和出版商采用了什么营销策略，前者仍然是四重奏，后者仍然是三重奏。3由于其迅速发展和一贯部署的惯例，木星乐团在这一时期的英国没有其他形式的编曲享有普遍的地位，可能是钢琴简化的例外；因此，在早期接受海顿、莫扎特和贝多芬的大型作品并将其归因于经典地位的过程中，木星乐团需要作为一个关键因素受到关注。此外，重要的是，木星的安排在其标题页上以某种形式描述为“安排钢琴伴奏”或“伴奏”长笛、小提琴和大提琴，而不是四重奏。然而，正如后面引用的那样，这并没有阻止音乐作家将该乐团描述为“四重奏”。人们普遍认为，那些在1848年革命之前--几乎可以肯定是以后--消费音乐的人，是以与今天截然不同的方式消费的。例如，认为大型器乐、交响乐和合奏作品大多是以它们被保存在现代批评版本中的形式出现的想法，与这些作品的十九世纪早期幸存的来源很不一致。各种各样的安排是体验所谓维也纳学派作曲家的交响乐和协奏曲的主要手段，这些对21世纪早期的音乐文化是如此重要。这些改编远远不是不充分的甚至是腐败的音乐消费手段，而是更传统的理解途径，
Early nineteenth-century Britain saw an explosion in the popularity of arrangements of the symphonies, concertos, and overtures composed in Vienna in the half-century that straddles 1800, today considered the “Viennese classics.” With early nineteenth-century British audiences having little opportunity to hear orchestral performances of such pieces, a particular form of arrangement was the principal means of access to these works in the period up to 1860 and beyond. Arrangements for fortepiano, flute, violin, and cello—what may be termed the “JUPITER” ensemble—of works by Haydn, Mozart, Beethoven, and their contemporaries were published in London for consumption by musicians and their audiences across the country anxious to consume what was rapidly emerging as a canonic repertory across Europe.The term “JUPITER” is prompted by the fact that the first printed edition of Mozart’s Symphony No. 41 in C Major, K. 551, to be given the name “JUPITER” was an arrangement for the ensemble that forms the basis of this study. Figure 1 gives the title page of this edition. 1 It explicitly reveals an edition of the work for the JUPITER ensemble of fortepiano, flute, violin, and cello. The term “JUPITER” is therefore employed not only as a shorthand for the ensemble, but also for the repertory of arrangements for that grouping, and the entire project destined to demystify it. 2 It is important, however, to distinguish between the makeup of the JUPITER ensemble—keyboard and three distinct orchestral instruments—and the practice of advertising piano trios for sale where the violin part is described as playable by a flute. Whatever marketing ploys were adopted by their composers, arrangers, and publishers, the former remains a quartet and the latter a trio. 3 With its rapidly developed and consistently deployed conventions, the JUPITER ensemble took on a generic status enjoyed, with the possible exception of piano reductions, by no other form of arrangement in Britain during this period; it therefore demands attention as a critical element in the early reception of, and attribution of canonic status to, large-scale works by Haydn, Mozart, and Beethoven. It is furthermore of importance that JUPITER arrangements were described in some form on their title pages as being “arranged for pianoforte with the accompaniment of” or “accompanied by” flute, violin, and cello rather than as quartets. This did not, however, stop writers on music from describing the ensemble as a “quartetto,” as later citations will show. It is widely recognized that those who consumed music in the period before the 1848 revolutions—and almost certainly beyond—did so in ways very different from those of today. The idea that largescale instrumental, symphonic, and ensemble works were mostly heard in the forms in which they are preserved in modern critical editions, for example, aligns poorly with surviving early nineteenthcentury sources for such works. Arrangements of all kinds were the principal means of experiencing symphonies and concertos by composers of the so-called Viennese School that are so important to early twenty-first-century musical cultures. These adaptations were far from inadequate or even corrupt means of musical consumption, but much more conventional routes to understanding,