Concert Life in Vienna 1780–1830. Performances, Venues, and Repertoires

1800年左右的维也纳音乐会见证了音乐史上最激动人心的时代之一，今天的大部分古典音乐会曲目最初是在1780年至1830年间在维也纳演出的。这与我们对这一时期演出的不准确了解形成了鲜明对比：事实上，我们几乎没有关于谁在哪个场地和多少表演者表演了哪些剧目的信息。拟议的项目旨在填补这一研究空白，全面评估涵盖这个时代音乐表演的特殊（即经常在“公共”和“私人”之间转换）特征的新资源，对音乐会场地进行建筑和声学分析，作为所涉及的材料证人，并建立一个数据库，旨在作为维也纳音乐会生活国际研究的中心枢纽。资料来源研究将包括主要是维也纳公民和贵族的大量私人文件，以及Deym或Schwarzenberg家族等重要赞助人的家庭档案和迄今尚未利用的行政材料。这些新收集的数据将为重新评估旧的研究问题提供一系列可能性，特别是维也纳音乐表演中贵族（不断变化的）角色，各种曲目的流行以及室内声学与作品或表演的相互依存关系。特别的重点将放在这个时代的大约50个表演场地上，对建筑、音乐家和观众的安排以及他们的房间声学条件进行分析。该团队将使用3D模型重建每个房间的历史条件，并为与历史研究相关的数值模拟开发“不确定性估计”的概念。申请人在最近的作品中概述的理论框架，描述了18世纪和19世纪之交音乐与声学之间关系的根本变化，将通过分析分析来源中关于音乐表演空间的特征和适用性的所有话语来进一步阐述。与德累斯顿音乐学院合作开发和托管的数据库将形成一个中心平台，用于各种兴趣领域，如传记研究、历史音乐社会学以及对作曲家、表演者和音乐作品的接受研究。在历史、建筑和声学维度的创新结合中，该项目将为调查和记录音乐会历史的新方法铺平道路。该项目由维也纳和柏林的两个团队进行，他们各自具有历史和系统音乐学的背景，该项目承诺通过两种互补的方法，以一种既具有学术观点又具有技术前沿的方式，加深我们对这个重要时代音乐的认识。

Viennese concert life around 1800 witnessed one of the most pulsating epochs in music history, with a major part of today’s classical concert repertory originally intended for and first performed there between 1780 and 1830. This stands in stark contrast to our fairly imprecise knowledge of performances during this period: we have, in fact, very little information on who performed which repertoire at which venue with how many performers. The proposed project intends to fill this research gap with a comprehensive assessment of new sources covering the peculiar (i.e. often shifting between ‘public’ and ‘private’) character of musical performances of this epoch, with an architectural and acoustical analysis of the concert venues as material witnesses involved, and by setting up a database, meant to serve as a central hub for international research on concert life in Vienna. Source studies will include extensive private documents of mostly Viennese citizens and nobility as well as the family archives of important patrons such as the Deym or the Schwarzenberg family and administrative material not utilized so far. This newly collected data will open up an array of possibilities for fresh assessments of old research questions, especially the (changing) role of nobility for music performances in Vienna, the popularity of various repertoires and the interdependence of room acoustics and compositions or performances. A particular focus will be placed on the estimated 50 performance venues of this era, to be analysed with regard to architecture, the arrangement of musicians and audiences, and their room-acoustical conditions. The team will reconstruct the historical conditions for each of these rooms, using 3D models and developing a concept for the ‘estimation of uncertainty’ for numerical simulations related to historical research. The theoretical frame outlined in recent work of the applicant, describing a fundamental change in the relationship between music and acoustics at the turn of the 18th and 19th centuries, will be further elaborated by analyzing all utterances made in the analyzed sources on the character and suitability of spaces for musical performance. The database developed and hosted in cooperation with the SLUB Dresden will form a central platform for diverse fields of interest such as biographical research, historical music sociology, as well as reception studies on composers, performers and musical works. In the innovative combination of historical, architectural and acoustic dimensions the project will pave the way for a new approach to the investigation and documentation of concert history. Carried out by two teams in Vienna and Berlin with respective backgrounds in historical and systematic musicology, the project promises to deepen our knowledge of music in this important era with two complementary methodologies in a way that is both original from a scholarly standpoint and technologically cutting edge.