Leipzig and the Internationalization of Symphonic Music.Studies on the Presence and the Reception of 'Foreign' Orchestral Works in the Musical Life of Leipzig 1835-1914

莱比锡与交响乐的国际化。1835-1914 年莱比锡音乐生活中“外国”管弦乐作品的存在和接受研究

• 批准号: 115710992
• 负责人: Professor Dr. Stefan Keym
• 金额: --
• 依托单位: Institut für Musikwissenschaft
• 依托单位国家: 德国
• 项目类别: Research Grants
• 财政年份: 2009
• 资助国家: 德国
• 起止时间: 2008-12-31 至 2015-12-31
• 项目状态: 已结题
• 来源: https://gepris.dfg.de/gepris/projekt/115710992?language=en
• 关键词: Leipzig; Internationalization; Symphonic; Music.Studies; Presence

In the historiography of symphonic music, the age of late 19th and early 20th Century is considered a period of internationalization that was determined by an increase in number and importance of works written by non-German composers. As a matter of fact, this theory is based on the actual canon of works, but not on historical sources. In the presented project, the theory is checked with the help of a case study on Leipzig musical life. For the purpose of comparison, the preceding period is also investigated (beginning with the appointment of Felix Mendelssohn Bartholdy as conductor of the Gewandhaus Concerts in 1835).In 19th Century, Leipzig served as a model of modern, bourgeois concert life (and of the symphonic canon). Since 200 years, the city displays a continuous and well-documented concert tradition. Its musical institutions have an outstanding international reputation (music publishers, the Gewandhaus, the Conservatory). For these reasons, Leipzig was chosen as object of research.The theory of internationalization is scrutinized both on a quantitative and on a qualitative level:1. by a statistical study of the symphonic repertory (symphonies, symphonic poems, overtures, suites etc.) of Leipzig concerts and music publishers. Interactions between both spheres are also surveyed. Furthermore, archive material of the institutions is researched in order to detect the reasons which encouraged or hindered the performance and the publication of foreign orchestral works.2. The reception of these works is explored with the help of reviews of concerts and printed scores in Leipzig music journals and daily newspapers: How much attention was paid to national aspects in these reviews? Did the contemporary press state a process of internationalization of symphonic music?The project combines an examination of the repertory and the reception of symphonic music with a study on the relationship between music and nationalism. In 19th Century, the German discourse on music was characterized by a very ambivalent treatment of this relationship. On the one hand, many authors supported the idea of absolute music and the principle of aesthetic autonomy: the arts should be free of political, national considerations. On the other hand, instrumental music and particularly the symphony were considered a special achievement and even a unique feature of German musical culture (including Austria) ever since the canonization of Viennese Classicism (promoted primarily in Leipzig); this conviction helped to construct a German cultural identity in the age of political partition. In late 19th Century, nationalist opinions grew in the German Empire as well as in whole Europe. However, the international music business underwent a process of homogenization at the same time. The project analyses how these divergent tendencies influenced the repertory and the reception of symphonic music in Leipzig.

在交响乐的历史编纂中，19世纪末和20世纪初被认为是国际化的时期，这是由非德国作曲家创作的作品数量和重要性的增加所决定的。事实上，这一理论是基于实际的经典作品，而不是历史来源。在所提出的项目中，该理论是检查的帮助下，对莱比锡音乐生活的案例研究。为了便于比较，我们也考察了前一个时期（从1835年费利克斯·门德尔松·巴托尔迪被任命为布商大厦音乐会指挥开始）。在世纪，莱比锡是现代资产阶级音乐会生活（以及交响乐经典）的典范。自200年以来，这座城市展示了连续和有据可查的音乐会传统。它的音乐机构有一个杰出的国际声誉（音乐出版商，布商大厦，音乐学院）。本文以莱比锡为研究对象，从定量和定性两个方面对国际化理论进行了研究：1.国际化理论的发展与国际化的关系。通过对交响乐曲目（交响乐、<$诗、序曲、组曲等）的统计研究，莱比锡的音乐会和音乐出版商两个领域之间的相互作用也进行了调查。此外，本研究亦以各机构档案资料为研究对象，探讨鼓励或阻碍外国管弦乐作品演奏与出版的原因。这些作品的接收是探讨与音乐会的评论和印刷分数在莱比锡音乐期刊和日报的帮助下：有多少注意力是支付给国家方面在这些评论？当时的报刊是否报道了交响乐的国际化进程？该项目结合了对交响音乐的剧目和接受的审查，以及对音乐与民族主义之间关系的研究。在19世纪，德国音乐话语的特点是对这种关系的处理非常矛盾。一方面，许多作家支持绝对音乐的观念和审美自主的原则：艺术应该不受政治和民族因素的影响。另一方面，自维也纳古典主义（主要在莱比锡推广）被奉为经典以来，器乐，特别是交响乐被认为是德国（包括奥地利）音乐文化的一项特殊成就，甚至是一个独特的特征;这种信念有助于在政治分裂时代构建德国的文化身份。世纪后期，民族主义思潮在德意志帝国乃至整个欧洲兴起。但与此同时，国际音乐产业也经历了一个同质化的过程。该项目分析了这些不同的倾向如何影响莱比锡交响音乐的剧目和接受。