By Matthew Head
Within the German states within the past due eighteenth century, girls flourished as musical performers and composers, their achievements measuring the development of tradition and society from barbarism to civilization. girl excellence, and similar feminocentric values, have been celebrated by way of forward-looking critics who argued for track as a great artwork, an element of recent, well mannered, and advertisement tradition, instead of an emblem of institutional energy. within the eyes of such critics, femininity—a newly rising and essentially bourgeois ideal—linked ladies and tune lower than the valorized symptoms of refinement, sensibility, advantage, patriotism, luxurious, and, certainly, attractiveness. This second in musical heritage was once eclipsed within the first many years of the 19th century, and eventually erased from the music-historical list, by way of now prevalent advancements: the formation of musical canons, a musical background in accordance with technical development, the assumption of masterworks, authorial autonomy, the musical chic, and aggressively essentializing principles concerning the dating among intercourse, gender and paintings. In Sovereign female, Matthew Head restores this previous musical heritage and explores the function that girls performed within the improvement of classical song.
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Extra info for Sovereign Feminine: Music and Gender in Eighteenth-Century Germany
D. ; D-Hs ND VI 388 x Ms. , n. d. , D-Hs ND VI 388 x Ms. , n. d. , D-Hs ND VI 388 x a This speculative date variety identifies the interval of the composer’s excursions and of quite severe task at courtroom as a keyboard instructor and solo recitalist. 1790 is advised at the foundation of stylistic facts (the absence of the categories of virtuosity that signify keyboard tune after 1800 in SWI/1–3), and the truth that the identify of SWI/1 designates “Clavecin” by myself, no longer “Clavecin or pianoforte. ” i've got selected 1804 as a terminal date on equally light-weight proof: during this 12 months Westenholz seemed for the final time in Massonneau’s diary of courtroom concert events as a soloist acting a sonata of her personal composition, and there's no proof that she toured after 1804. In 1806 she released for the 1st and final time. even if, the implied chronological order for the sonatas is to be taken tremendous frivolously: the order from I/1–5 might seem to track a flow from really easy to extra advanced idioms and so characterize the composer’s evolving type, yet this is often natural conjecture. one other clarification of the stylistic variety of those items is they have been composed for various reasons, resembling educating items for royal young children, or recital items. b The editorial identify takes its cue from the truth that this piece is a spouse piece to the Sonatina in B♭, showing at the similar web page of an identical manuscript. c involved in soprano with keyboard except another way famous. d RISM indicates ca. 1790 for the manuscript containing SW III/1–3. notwithstanding, this doesn't think about the poetry. the 1st track is a atmosphere of Friedrich Schiller’s “Die Ideale,” released in 1796. The 3rd track is on a Masonic textual content through Joachim Lorenz Evers, a poet of bold obscurity who, in response to Hans Werner Engels, grew to become a Mason and based a inn in 1795 or 1796 (see www. collasius. org/ENGELS/4-HTML/evers. htm). i haven't traced the 1st ebook of this lyric, however it may well date from round that point. desk four (continued) SW III/4e III/5 III/6 III/7 III/8 III/9 III/10 III/11 III/12 III/13 III/14 III/15 III/16 III/17 III/18 III/19 III/20 III/21a name Peters Klagen über den Tod seines Hannchen (“Das ganze Dorf ”); textual content by way of Johann Martin Miller Die Kaffeeschwester (“Kaffeechen”); textual content by way of unidentified poet Der Freier (“Wenn ich nur ein Mädchen hätte”); textual content through unidentified poet Todtengräberlied (“Grabe, Spaten, grabe”); textual content via Ludwig Hölty Freudenlied (“Ich habe freien frohen Sinn”); textual content by way of unidentified poet Die Geschichte von Goliath und David (“War einst ein Riese Goliath”); textual content by way of Matthius Claudius Der Dorfschulmeister (“Ich frage nicht”); textual content by way of Johann Baptist von Alxinger Lied eines alten Juden (“Wer bist du denn”) [text via J. B. von Alxinger] Lied am Geburtstage eines guten Vaters (“Für diesen frohen Morgen”); textual content by way of unidentified poet Lied am Geburtstage eines guten Vaters (“Bey Kindern, die ihre Eltern ehren”); textual content by way of unidentified poet Lied in der Haushaltung zu singen, wenn ein Wechselzahn soll ausgezogen warden (“Wir ziehn nun”); textual content via Matthius Claudius [Untitled] (“Treue Bruderliebe üben”); textual content through unidentified poet Heinrich und Sophie (“Mir ist noch nie so wohl zu Mut”); textual content via J.