Thematic Profile and Character in the Quartet-Finales of Joseph Haydn (A Contribution to the Micro-Analysis of Thematic Structure)
1969; Akadémiai Kiadó; Volume: 11; Issue: 1/4 Linguagem: Inglês
10.2307/901267
ISSN1588-2888
Autores Tópico(s)Sports, Gender, and Society
ResumoA close examination of the commonplace formulae, of the 'lingua franca' of our musical heritage has become an absolute necessity in modern musicology; this axiom has been stated by the 'great old man' of Hungarian musicology Bence Szabolcsi, in one of his latest, authoritative essays.1 We think it to be by no means purely accidental that the highly imaginative argumentation of Szabolcsi's has often been exemplified by examples taken from the oeuvre of Joseph Haydn. When Szabolcsi pursues his argument (op. cit. p. 13) this way Within a community, for the average listener's pleasure in music that general notion has been a decisive factor 'I always know where I am and in what direction I am going', this typical instance of 18th century esthetics (i.e. the idea of easily recognizable forms and formulae) notoriously has been exemplified by a famous saying of the 18th century lexicographer E. L. Gerber (one of J. Haydn's first biographers) who in 1790 wrote these famous words: His [Haydn's] music disposes of the great art to evoke the illusion of being surprisingly familiar and easily recognizable.2 In order to be easily recognizable, these familiar formulae have to appear at the most obvious points of the composition, that is: preferably in the initial and in the cadential Here again, we agree with Szabolcsi's supplementary statement (op. cit. p. 24): The typical music of the 18th century (including that of Haydn 'and Mozart) consists for the most part of typified initial and cadential formulae.
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