Festschrift für Ernst Lichtenhahn zum 80. Geburtstag – Festschrift for Ernst Lichtenhahn’s 80th Birthday
Edited By Antonio Baldassarre and Marc-Antoine Camp
Without any exaggeration one can call Ernst Lichtenhahn a doyen of Swiss music research. As one of the few musicologists in the German-speaking sphere he has succeeded in merging different linguistic-cultural and disciplinary research traditions. In his manner of scientific understanding, historical and systematic musicology, ethnomusicology and music practice are methodologically and topically related closely to each other, entirely consistent with the holistic concept of music research as developed by Guido Adler. With the title «Communicating Music», this Festschrift for Ernst Lichtenhahn’s 80 birthday attempts to take up and to further develop the diversity of scientific issues as emerged through such an understanding. It collects papers that come from a variety of methodological and theoretical perspectives to deal with issues about the discursive nature of music, about mediation and transformation processes of music as well as about the discourse on music itself.
„Nun ist die erste Pflicht erfüllt“: Der Sündenfall in Joseph Haydns Schöpfung – im Spannungsfeld von Musikwissenschaft und Interpretation
„Nun ist die erste Pflicht erfüllt“:
Der Sündenfall in Joseph Haydns Schöpfung – im Spannungsfeld von Musikwissenschaft und Interpretation
Summary: In Gottfried van Swieten’s text to Joseph Haydn’s oratorio The Creation there is no mention of the fall of man. It is only alluded to in the last recitative, as has been repeatedly postulated by several scholars. Indeed Haydn seems to have set to music the future disagreements that eventually will lead to the consumption of the forbidden fruits from the tree of knowledge, in the duet recitative between Adam and Eve. This fact is, on the one hand, the result of observations concerning both the modulation process and the characteristics of the keys chosen, and, on the other, confirmed by a comparative analysis of cross-references in the two late oratorios The Creation and The Seasons. The aim of this kind of close reading is to prove that observations on relative and absolute characteristics of keys are a helpful means toward the understanding and the performance of Classical music. The same aim is pursued by the provision of a transcription of the scarcely-known considerations on Haydn’s The Creation by Xaver Schnyder von Wartensee in the appendix to this contribution.
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