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

在交响乐史学中，19世纪末20世纪初被认为是一个国际化的时期，这一时期是由非德国作曲家创作的作品数量和重要性的增加决定的。事实上，这一理论是基于作品的实际经典，而不是基于史料。在呈现的项目中，通过对莱比锡音乐生活的个案研究对理论进行了检验。为了便于比较，本文也对前一个时期进行了研究(从1835年费利克斯·门德尔松·巴托尔迪被任命为Gewandhaus音乐会指挥开始)。在19世纪，莱比锡成为现代中产阶级音乐会生活(以及交响乐正典)的典范。自200年来，这座城市一直展示着源源不断的、有据可查的音乐会传统。它的音乐机构拥有卓越的国际声誉(音乐出版商、Gewandhaus乐队、音乐学院)。基于这些原因，本文选择莱比锡作为研究对象，对其国际化理论进行了定量和定性的考察：1.通过对交响乐曲目(交响曲、交响诗、序曲、组曲等)的统计研究。莱比锡演唱会和音乐出版商。还考察了这两个球体之间的相互作用。此外，还对这些机构的档案资料进行了研究，以找出鼓励或阻碍外国管弦乐作品演奏和出版的原因。这些作品的接受是通过对音乐会的评论和莱比锡音乐期刊和日报上的印刷乐谱来探讨的：在这些评论中，对民族方面的关注有多大？当代媒体是否陈述了交响乐国际化的过程？该项目结合了对交响乐的曲目和接受情况的考察，以及对音乐和民族主义之间关系的研究。在19世纪，德国关于音乐的论述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点和审美自主的原则：艺术应该不受政治、民族考虑的影响。另一方面，器乐，特别是交响乐，自从维也纳古典主义(主要在莱比锡推广)被封为圣人以来，被认为是德国音乐文化(包括奥地利)的一项特殊成就，甚至是一种独特的特征；这种信念有助于在政治分治时代构建德国的文化认同。19世纪末，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同质化的过程。该项目分析了这些不同的倾向如何影响了莱比锡交响乐的曲目和接受情况。

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.