l7 Rec eption Theories, Canonic Disc lur ses, Musical Value Mark Everist The study of music has always been rooted in the study of history, an: history balances precariously between an account of musical an account of musical cultures.lIn the 1970s and 1980s. an enth histories based on nrusical compositions, coupled with a leanirrg malist anall,tical procedures, had the effect of dissolving the historr, into a series oť more or less unrelated critical readings. Despite this the hegemony of text-based, formalist criticism is now as much unC.: from a study of history as l,r€re such procedures in literar5, scl.olarsh. late ],97Os,2 An alternative to formalist criticism need not be an ary or musical history that chronicles canonic genres and contpos.:. household names. Nor need it trade in historiographical constructs al judgements based on criteria that are never made explicit. A return t could be marked by a discourse in which canonic boundaries are in which musica| cultures are seen as important as musical works, anC , the subjects of histor1, could be allowed to speak a language that it is rian's task to translate.rA critical history such as this would address of canon. value, and reception. In this chapter I will argue that texts r In litcrary sludics thcsc lW() lcndellcic§ arc idcnliliecl tls illtrillsiť and cxtrinsic approaclles : , llisl()fy sťc l{c |)allcrsoll, 'Lilcrary I lislOry'. in lrra|]k l1|tricťiit atttl '|'lttlmits N,ícLaughIin (ťds, , l,itťlfflJ stlulll (('hica8,(), 1 99()). l '(): aItd litr a crlnsit|erl]tion 0I' llist{)rics ol' music liom a similar l]\ťrist. "|'hť Níillcr's Níulc: \ťritin8 ll1c l Iislory ol' N,íetlicl,al Ňlusic', ,v1.1si(,t; I,lLLťrs. 74 ( 1 99 } ). ++-. r Sucll clrallcngcs comc litlm a taricty 0l'difccti(n}s. attd lakc varitlus lirrms.']'hc hisloricizati0ll Itas challcrtgcd tIlc Vitlidit},()|'ccrttlil1 ilnalylicill prtlccc|urcs ilS 1ťaching torlls lilr tlrc tu,cnt},_lirst ncss ol' lltc challcnges 1o lilrnrttlistn ill lileraturc and a grou,ing distrusl in thc Valuc ol' sťictltiliťťli, -. tt gcncral dissiltislilcli(|l n,ilh thc pr()ducliVil},ol'li)rma]ist pritccclurcs (scc tt{1) ()l'tl)c tIlŘ.ť papcr5 lhc routttl lablc i\niilisis musical: motlckls sistctniiliť(}s Vcrsus mtrlckls lrislliricos' a1 lhc l 99] mcct|]]_ natiollal,\,lusicological S()cictyI Laurcllcc l)rc1,Iirs.'I\,tusical ÁItall,sis ancl tllc llistorical ln]pcratirL Cook.'llcinrich Schcnkcn /\l)ti-lIist()riťisl'. l.iťVislí(lť,Vtrlslrrllogirr, 16 (i99 }l, l l-] ]. 2"1-]6 rťsp, (and hislOricizcd) background tll'many atlttlytical prttcclurcs u,as iclcntilicc| ncarly 1utr tlccttclcs itg,, -_, ''|'hc Living \\tork: ()rganicism and ]Vlusical i\nalysis'. l9Llř('ťnLur! lVrrsir..{ (19lt{)). 1.17-56. r 'I'hc clcarcsl slatcmcnl ol'such a prtrccdurc is ťliI'lbrcl (]ccrtz. '1\rt tts ťultural Sl,slcrn'. Ňlrlll,rl: , 91 {l976). l'l7]-99,]\'íargarctl3cntspccilical11,cvokcstllcitlcarll'lranslatioltasan,ily()I'cllgagil]: in 'I.]diting liarly ]\,lusiť: '|'hc l)ile mma lll''l'raltslalion'. /iíllilí,VIlsi(,. ]] (l994). ]7 }-9 ]. llhich articulate the those that are res lnclusion in. or erci bv an examination o ol points of reception nrove composition and ti, - ahlhaus, íbllowing ' - Reception lrisťory is is liequ, .l nrusic at least, sign. means the stud1, ol Such reception h rhe idea of an acccru :hat describes the r-aI ]e Seen. however. su -he surviving docunl, o1 reception enl more traditional qu as reader-re, :. _.re than just a chr. =rd evaluation. One i 'etlect' and 'recept tn,o words, especially 1 úoory, Wirkung (effect ()ruulhgLn fur \í,,,, ,. ini/llilll'()ll§ ly' ,!lllJll j, , lnlitr is lrr "|'hc 'I'ask \ctr York. 19ír3), ; l on l]on Giol(nni and 'l]. 'l] Á. Ilol'Iinann, rran" im'|'hóirtrc dc l'.\i,,_:_ /lil ]Vl()Zdra/i)Islrlllll4 il -slil(lid] :lil- '1Jrlt (i1,1. l't.8 ('t'útzing. 1980}: ti \ítrsitrr/ Ássotirrliur. ] 1 9 ď Beethovcn's ťrciúSyí$ Hi§tory, Aesthetics and ťriri _.._:u] tlvcrvicu,s lll'thc ni.ll , ,u\illr ll. Sull,itllittl ] tl , on Audienly and Li?rpretun ,aion (Lolrdon, 1984). 5}- ',,,;':::'|:,,::":::T,,'11]:11,.:,]"::::,|,:p^.:1_! tl86I ,,,.,",,,,)|',,!";!,i,fůi;;i:::T'#: )Ill lll ,Dp'aa /U u] ',us!Jll!JJ paluolJo-aJuc|pnv Jo scnalJp^ ;;',ill,"-,":íJJ.1;ť"ffiUolldiJ'), Jo JlJqnJ Jql Jipun p'unsqns un"q .roq tlq, ni,n,rro .l., e'upJ eprff aql ,Jo s,nJLlJrl_ _(.66 [ 'l]Illtlr\l,(§^utlQ| |t, ilIsJ,l\|{l i ,,,p ti ,t.rr ,;,,,,J".;';;;:,,;::r';;;;'.j;il;"r' ',n-ulliJdJJlu|, 'Jdl§ Ď'utUot|.|, :řa-t '(a66 t ) 1 ,,r,,.,u1 ,,,.,.^uiprr5a ,,.{uoqdtU,iS 11,i),lil s.uJ\()l]:.--1JI]utULtIl)J3(u.I Jt|] u(). .url]qIlJnt| |l()Js JJs ,,IJlll]l Jtll J(),l ,()(_7|7 .lb^^tl. l/1 (if8Ál l!,)llLllqll)u.ol\ t|l .,itlitzJI]l\()Iull]Jnblsn[\",",,,oui'",ri,,,rlr;.§]j;fi.;, l .,. 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As part of a study of the of Don Giot,nlttti in the nineteenth centurv r,l,e might consider within the ol Razeption the various records of the work left bv E. T. A. Hoffmann. Beethoven, Chopin. Schumann, Kierkegaard, Gounod-and just about thr the musically literate world.8 If rte were to consider questions oť Wirkwry on the other }rand, lve might be interestecl in the state oíthe work, the of its libretto. its relationship to Mozart's Prague and Vienna version,c . opera. and how the narratite portions of the work were preserved-a. recitative, accompanied recitative, spoken dialogue. We might also be in the ways in which other pieces of music and literature became the composition, and the efí'ect tlrat such associations might have had , dramatic structure clf the opera. Not onl1, can \^€ begin to distinguish Wirkwry and Rezcpťiolr, but we mav also start to see how the two wa5,s oi ing might interact. The following questions coulcl usefull}, be considered .. context: What exactly tt,ns the Don Giollarmi knorvn to Berlioz and Gourrui they wrote their accounts of the work? Was the Mozart that thev knew tht as ours, or the same as Mozart's? How should this affect the wav we their readings of the work? Analysis oť the interrelation between tr\lirŘti,:, Rczclltiott is a powerful tool when uscd to answer these questions, and l: presentation of a history of music that gives space to questions oÍ receptio:, Despite a highly respectable pedigree, reception theory seems to hale exposure in literarv criticism as currently practised.g In a gauge of literar., icism in l988-\,Iclaughlin and Lentriccia's Criťir:nl Ternts Jbr Literary tlrere is no entry for reception. and the word appears onlt, once in the : '|'lrc 1nI) terms ilrc distinguisltccl t\,ith grcat carc b], l l()lub. liť|lpli(ll1't'Iullr!|. pp, xi-xii, I1 is 1ul) 1crms arc lcli urltlistinguishccl irl liobiIlstttl's lranslatti()ll ol'I)ahlhaus. Gnuilrulen der ''I'hc relalivcl1' ncw liclds ol' lirtr1llirllsllrsrllir1lle and !1/irklrrllsgrsrhirlrlr,ha\t not yct lilunc| thc,ir u.a1, int 1\mcric?tt) acatlcmic pilrlancc. bu1 as il is mcrcl], a natlcr ol'timc bclbrc thcl,do I hat,c avoidcd u'fittcn simply "rcccpti()l} histtlr1"' lbr lroth' (li)lllxlllidls. p. x). Il is Unclcar lionr tlre (;crmaI c(litiul 01' book u'Ilctltcr tlr not hc rvoulcl havc acťcptcd tllc distinction bctu,ccn l1ir*urg and Rr:4llirlr rlutlined b1 adtlplcd hcrc. s Ilai)s Ijngcl. 'N,íozart il) tler philosopltiscltcn un(l ais1I)ctisťllcn l,itcralur'. Nlozgrí-fuln,btu]t (1,95) ljrdmann \\trncr l]i)Ilm. 'Ntozart in c|cr schijnen [,itcratur: l]rgiitlzungcn und l\)ísctzung'. Ňilozttrt-llhrbuI l65--1i7: Karl (luslaVlrcllcrer.'ZurN,lozart-Kritikimllt,/l9,Jahrltundcrts',i1,1oztL-fulill|Lk,Il (l959).sil-;: 'Zur llczcptiol] \,()ll N'l()Zilrts ()pcr urn die \\/endc cles 18,/19, |ahrhurrdcfls', hlozort-IdulilI(Jl (196; 6 I lťrbc11 Schtlťidcf, '|)rohlcmc tlcr lVlozart-Ilczcpli(n im Irrattkrciclr dcr erstcn tIlillic dcs 1 9. JaIlrhunderts /d/lrl)l(Jl 1 l 98()-]). ] ]- ] ]: ljrich \lalctltin.'\,,1oZart il) dcr IranZijsischcn Diťhlung (Zum.]()() ,1{l,i,\l,,:ltl,íill,|t, ]() t I('\ l,. :l--l '] Such apprrlacltcs lil scholarship arc dismissed [1,somc. hou,cver. as'l'asltirnablc tťrms such as ily"."rcccptioll-tllcory"allll/tcřťsl'(I)avidlrallows,'lltlward§taycrl]ron,n(19l()-199])'.Dllřlu,Vrl/sl(,.]] _-" l()7: cmpltrrsis adcicd). \,Vhilc the urrl'itshionahlc naturc ol'rcccpti(D theorics is clcar lř()n tlre prcscnt chaplcr - .,]. lcxtuality n'as itlclltiíietl as a characlťristic as early as NorthropFrya. hntonil! oí()-'li(,isin: lblil-l1§sllr/.§ íPri::, l957: rcprl99())bl,CatlrcrineI]elScJ.l CritilllPllk,íi(,ť(Lolld()n.198(): rcprl991).]6"\,Vhat'1hcrcst'reí.:. u n tllcar ilne appears just twice, onoe ltl and once paired with that ď ! 1970s, reception theories b history-were neaů eclip ,-,ilig.S ol' reception are poll-._._: : in literature, writings abom . Investigations of p€ííortr rvhere materials are exte ns-- : France, for example, ne$,spapeí úeinformation management ď t criticism has emergei a: the study of reception in must i sophisticated, in its md e! that do little except do:rn tle come to look more broad§ a how narrow this perspec,thre rea tions of reception ale por ion to consid". 1fu6 theo can take the form sin a theoretical framerrorl ::le result of an inadequat. _: of music journalism are verges on outright ho§inq Society in Pittsburgh p the nature of 'the disciplineď l made plain his view that he til , whether they came fr,om i b akin to a session on historiogrq without Bloom, on tonal l ,,,,lthout Riemann. ,:::ite the popularity of usillg j ,- .., j that there have been t1,1 ,:-. _ :iJťia alrd \1ťl,augllli|l (eds ). ('lili,,i , -. l)l 1llc most sopllisticatcd rn,ttrk itl rl - " :Jslrc.'Ilctt11, I\rllrcrgill ťlttlrlc] ir,:, rcd.), Tlk, I,osl L'lldIíl: l]ssd]/s {)ll l ] : ],l l1)$,cr: lbrccs lxltirrd tllc llcťť|ti, l , o[ an attcmpt merely to reproducc rqr -l L)-ili(lIk,pdrisí(11,11 1|1,5 '4tlttlls l1l t.:, - --r l'()póra l'rangais du xixc sičclc. ] 1\,: --,.:,,ll1s (l l14n,rs /iťlllldl 1'Iť l]i/il,-l]ialii] :i\/)ll,(y'l l)ť,llls]/l\lilli(. cd. Laurťl)ťcl)r- -, - rť iS lr0 clrtr], lilr 'Ilcception' in 1'lrr, \, l C)s()) ()r in ?'/l(, \l1\, (hIl, l)il íil)lll' il , and usclul entry by l'atrick T. tťill in ]L - _:3e. \lass., l 986), 6S], ()rrc a!\,iilts 1l]l ,- t|lll!\.}J.JJllJJJt|t1l]/-lrliIl1,/i)i)JIin.}lil)ll/.)s,):)tll]Ylsll1.1,,J](1,|oJl]^IJJl)Jtl}§-ltlr]ul)iU(),alJ9.(9116t..sslrlt lJpUt]}I uo(| pJ "tlPJ pua ,.)]sill! /i) íi.nnnt1,1t11 l'-1Dl\.lDII ,il1.1, tl! l|!M iL lJUlt)(I & ,{rlu; 1n;rsn pttt: f,JlJ,uot| 'sl JJJII.I.,(a66t'uopu(rl"§^lo,rř) JlPt)sÁa|ut]|Ď^.PJ,D.ud()li, li.u\u\]rl(Jrt!),il)dl,N,,l1Itl!Jo(()86l ,t t ,(a66 t 'Uo§^Il)ul^J) snIÁJJ0 JJt|JJnPll .PJ .Diili,,Vlislllí.u llliln{sl]id :_ " ,(lJ|,i6 [ ,UJIJnJqJt)t.}^) u 'J|JJIi- Jxlx np sIl))Ul]JI l]Jid(),l ln. 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L,.i-_ ,:]!\sJ,0t(,.l ]ulJ-l.)]lr,l.)./i) iilir. ] IUJ§JJd JtIl ul(u| JPJlJ s1 t- - :itt11,14tl;1 '.(t 6í, t_()t 6 i ii , sP q.)ns sulJJl JJqPtll)tq\l]] . ()()a LlInZ)ň-tlnli;..,.|llnqJtlPl,6 l sJp J]llt]i l U,]:._ - : -. I l l1 ,l/ llll,/t{r{8 {6s6I) uDnq.ILlDI-lJDzow..srlJp@ -],/rz0l,! ,,ijtInZ}JsJ() l llt:: .. L l l!,}11q.u pt1-1.!llzl)/ť,.Jn]l]J. ,J PJulIln0 l()ltal)?.rV ptlt] 1)]i,:, l|nllIl),) lIl|LuJl)l ),]lIl Ul J| _ PJI]()^D JrrBq I ()P i)ij _ ,. U,tr JIrllI l)lIn(,l |,)\ |lltl ).l ,/11 lLlii,l/l|1,ií) ,snPil :., .:lJ|,1tln \l l| ||\ lX dll ,,i,, , : - ]ql uI eJuo Áluo s:ea;;. : filvlay7 nl nula7 [oJI|uJ ireralrr Jo e3ne3 E uJ 6.p€qr a§Eq ol sluees ÁJoeq1 uop& _ . I]deJal .;o suorlsenb o] .-.- 1] -- rue 'suoJ]sonb esJq] l.:.,.. .'. ,:.y./i]1,1 ueom]eq uoI]pI.-i_:_ eat Áp^t eql peJJe s.np pf eq] lueu)l Áeql ]eql tJBzoIT ěq polrno9 puP zoIIJe8 o] ILrioG ! peJeplsuoc eq Áln;asn plnc qstnBultslp cll uriiaq : . uo ppq eaeq 1q3nu suouepo§ :]]EIJOSSP etul]J3q aJn]Pl;]- : - j:,lul Jq os;e tq8tLu J.\\ ,,,,-- sP-pe^JeseJd a,ram {Jo.tr Jq , , SuOISJ3A Puue]^ pue.rt-:,,_ *, -:uu1 eq1 '{Jol!l oql Jo e]P]> :.- , .- ,,) Jo aumll}L;o suotlsanb :;: , .;j Jql ]noqe 1snípue-pour . _)B ,uuEu{JoH ,V ]. ,3 i! * ,p Jq} uIqtlM JJplsuoJ lq: ._ .s:q eq] 3o.a.pnls e Jo ]Jed ,§\, ,. : , : 5JtI] saztrulod cstrd.ralua 1e.- ., j .].]tuos eJP ttotldazag pue 6ttt;.." ]]j lsapEoJq aqJ uI-JepPJJ.]-.;] . ]82 Mark Evcrist Dahlhaus devoted an entire chapter of his 1977 text Ftttrrlnnlcntnls il,i Historg to 'problems in Reception History'; ancl an interestirrg debate spri c. 198() in the pages of the journal of the Berlin Institut fúr implied bv much oí the discussion. some mav view this as a rather between Dahlhaus and Friedhelm Krumnracher. (The principal point agreement betrt,een krummacher and Dahlhaus is one to be developed at t:. oí'this chapter.)la These contributions were characterized by a focus on :.-, There is. however. little consideration oí' the work of the scholars. litera: leagues. Although speciíic examples are nentioned in passing, ol1€ $ť.: sense of the beginnings tlí' a ner.t, historiograph5u of music that seem. fu 1967 essay, ]auss adL mbratr stand at the heart of litera_.. as the horizon oí'expecta:. , : and ( ]) that the outconlt , ' .{t this level, it is not dilficu., '. 'musical' for 'literar1.'. ar:: t has interesting analLr!,.. :-,,,entieth century. In his anair :., two trends, which hc _ and formalism. To reducc . , .: and to terms that have i.i .. ihe two positions as, on the il: German ]auss saw aS thrc-at._., .r analytical or formalist p_r>-. . Jmmenls withoul heine .t--. alist division of the disc;. division of music that > :isa]., throu8h to its conclusl _ :, and many of its centra] . bcome concepts without which i becomes increasing11, dilfi cu. : horizon of expectations is assoc The term 'recipient' atťraďirelr other equally important lt].-a of literature as an event 1: :: the literary experience of contemln .t is possible to comprelrend ani :. _ depends on ttltclňr,r ťlils ňori:.-,, be taken as an invitation tL] .r. and a particular sort of diac:: epistemological importanc: the relationship betllr.r :,_ :eginning of the Finale o[ Sib., This passage has elicited trr,, _ Toi,ey. writing in the second -. , in 1935: irrtroduction provides a ru_sitl: _ lpmmer. while he swings it there an srt ings us into C. úlemřy History as a Challcnge to Litemry. Th identifying both approaches as positiyi§- lo- .._]dralť 1and lrcals thcm scparalclr l ltl , ll!: might bc sccn as p(,SiliVisl í.\íI1\l 'Iilemry íIistory as a challenge to Litemry TlE tory state of affairs: on the one hand. examinations of large amounts o1 ial related to reception in music-r,',lrich are generallv unsullied b1, theor on the other, weighty theoretical discussions that rarel1, impinge on musical and cultural phenomena, let alone the clay-to-cla1, p.acti." of , og,v. This has onl1, begun to change in the last í'ert, vears, and it is in thathat this chapter is written. A l'undamental point of contact between music histor1, and reception is the early theoretical orientation of Hans Robert Jauss, It is importanl tinguish between Jauss's work in 19 67 and. lbr example, that of 1 9 7 ] an : Jauss's 1967 essay 'Literar1, History as a Challenge to Literary Theorl- .: serve as the starting-point íbr an urrderstanding ol'Jauss's work; ''and ii tunate that Dahlhaus, íbr example, shoulcl have started liom the 19 7 ] Racine and cioethe, in which we can a|ready see the beginnings of Jauss s liom the central concept of the 1967 essay: the horizon oť erpe. (Erv,artuqsltorizont),l6 Dahlhaus, it should be said, is not the onl5, one t tialize in this way.l7 The result is that it is quite possible for dilferent rea; ]auss to yield cclnflicting or diametrically opposecl opinions. For the pu this chapter, and in pursuit of an unshilting íbcus, it is Jauss.s eaih reception theory that is under consideration. ]' l)ahlllaus, l'irll1['1ir,r, l j()-6j: l'ricilhclnr Krummachcr, ,IlcZcpliOnsgcschichtc als l)rrlblcm ,j,senschali'. ]ulnlnuh das.§líílli(Jk'll 1'lslillls /iil ,lltrsik/irr.rrlttrrl9 l)ruy'jisrlrrr l(ll11llrJ,ť§il: (l979,1\r l)ahlhaus"zu,iscllcn llclativisn]us und I)()gmatiSmus: r\nmcrkungcn 7ur llťZcpli(]nsgťscl]iťhtť slilnllill(u 1,,sli/lll,s/iir,\lllsili/ilrsrlttut4 l)tatíiisr,|tťrKll1llfi,ťsll;(l9lt1/]),l }9-4]. ' llans ll()bCrl Jauss.'!\'as hcilil und zu u,c,lclrcnt l1rldc sludicr1 miin l,ileraturgcscl]ichlci,. inau:_ill lll(, (,(I(,hrill|1,1l tl|' tIl rtxti.tll hirllrcli11 ,,l t,r,r|t;rrr| I |t,ss i|lt,l()r (,l tlt.. l rtir.,r.itr ,,l K,,tt.l,ttt, ' K()trslalrZ, 1 ] /\Pn l967: Puillislrcc| as /,ilrtllttt.qrsllttr,|tlc a/s .l)rt1,okttliott (I0 LiLt,rillil.l\,íssťllsa/]dj;. Ellniversitátsrcdcn, 3 (Korrstanz, 1967: 2nd e,ln. ig6c]; lepr. in L,itp.l;t;;,g;e;;;,ň'"i;,;;;;;rřř"Main, 1 9 70). i 44-208. and in Rainer Warning (cd.). R?z(píi0l1siísth?tik,tlni-Taschenbúcher. ]0 ] íMunil Jttdcdn,1979),1-16-6-1:Parliall}'translalcd(chs,5-1J)as'Litcraryllistoryasa(lltallcngct0l_il!.,Ňltl /-ilť/ltll.i/isll)'ll, l(l97()-1 ). i-J7: rclranslalc(l iIrlull unrlcrthcsamclitlcby.I.imoih}, llahrr ,1cst/rriirtliirrrptirlt.'|'hcrlrl,andlIiS1(!,),()l'l,ilťralurc.](NlinlleapUlis, lq]t]).]J;.r" ]auss"llacitlcs und tirtltcs Iplligcrliť-r\lir cilicm Nachul)rt úbcrdic l'artialitait tler lI4l( |Íi1, l'ltiksophiť..+ 1l97]}. 1--16: rcpl in !\'ilrnillg 1cd,). RťZ(]lill/síisllrrlik. l5}J(X). Jausl . apprttaclt t0 thc subiccl is oullincd in I l()lub. Rť( l])/i(rr 7.ilrrl41. i i-8 l , 1- scc c,g, sipc's slarting-pOill1 in 'llllcrprcling l}ťclhO\tn'. 6: llans l{()bcrt ]auss. .,l.hc I,0ťliť-l.ť! tiharlgc ol' llilrjztltts ol' llcading:'|'ltc lixarnplc ol' l:]audclaire's "Splccrr ll"'. in 1i)i]?il1l ltll ,,.lť.\lllťli, l ]9-1]j. ,pJl]pl] slsPl|duJ :aa ..ÁJ()Jq.J, ,{Jl)JJ]rl 0l J;,luJlll]til) t] st] ,iJo]sli I í;tlralt-1, ,., , '(ar!-lt'1!ll6t'utlpuo'11saptn3rolst]l^i PuOltloll 'lili()il))ls,u,\,) ln^l^tllsl]dst]uJisJqlq3Iulí|L1llJP Jll]Jl)dJs (),ul .|() lUiUJ;PJ|,!v)U)Jl] slt uI '||Jsll ll]t|| JJtltIl]u p ul ,1,(|Jlr]Jt]dJ§^ uIJql sIl]iJl ptIl)) J]t]Ji)dJs ij:,slp. oMt Jtll lPql uot1"^onb 1noqlt,u sldJJJř] u9uJJ) qdJsoÍ,]st^tlh-()d sl] sJtlJlx)JddP LJlOq 3tlt,{|!}uJPl qi-n|! , 6 t _8 i .,,iJoJtl.J,,{JPJoll, I 01 J8UJ|lPqJ P .-u ÁJolsl I |,{Jt]JJl!,], .. ,uIJoJ e{e' o] 'uIÁJl eltqp]upJ u ]o spunos ",n ","u' ;,,iJii'il:iiil';'ffil:-3ul.1rs Áoíua upJ JoqJ qJIq^^ q3noJrJ1 .put,lr 3utqsn"r e sapt,rorcl rtol1JnpoJ]uI :st6l u!p.,sts/iprry F)JIsnW llr s/ilrssg slq .lo eunlo^ puoJes aq] q 3'I}|J^, ^e^oJplPuoo ']sJIc ,Suol]e]eJdJalul 8urleduroc ol!1l pe]IJlle sPq e8tssst]d slqJ ,J] uP SP e^Jes ,ieru Áuoqdu,ts qil,t s.snIIeqIS Jo elBulc aq] .Io 8uIuuI8eC] ''^oq. o] popnlP utlt]dazaů pue amt4-nx4 uee']eq _ _ ,suolJt]^Jesqo e.\I} Jai..] _ r,: pue ,Áqdur8orqolnu .eJn_. ,. ., .. tl.llo s..resodruoo oq1 .]. !. - _ -1,1 JJp tuqt .iBoloqt.itu ,rt, ,. . : - _: l,Ll uě^J-JJuJ[ol,\ .JJ.\\ _ , -.,8 Ul 'uelu puts spo8 Jo ]Sr:-_- .,:.rrl;.sa8erut luáJJl.|íp.i.:.- ,. - , : se .ielr eultss aqJ ul-Jlsnru j :_ 'JIlIloN , , . .qll Áttt o1lnopl;. _. rrtlJtl]-alpulJ s^,Áuoqclur,is LJ]j. . , iittutua13 B a{ll azptl JEIos .._ _ - : ieq1 . . . .scctrat.radxe 1sale.l::- _ :JlSnuI eq] JC L _ .nq ,^epqulq qlall.Iu s.JesodlL . i ! I6I IIJdV 17 ro; Árerp s,s.,] --._ ,-, ,il]rpxa ]as]no eq] ulorl n\aq ];__ , :,l13 pue ttlJoJ I[nJ srrlPJJts alIqP]lI!: : ,ll?rJJ ]noq]!r1r 'aJetl^r ']eU ! o] Jrr] :saoord 3IoqM eq] uot8a;1:ep s:. , 386 MarŘ Evcrist 'a scholarly counterblast [against needed in the case of Sibelius.}] uncritical views of the composer , canonic Discourses The comparison of these t\^/o responses to an identical passage sugges--< tinction between Wirkung and Rezeption It also shows how as the reception opened up and began eífectively to 'objectify the Horizon of tions', questions arose of the composer's standing-in short, of Si tion in the canon. In contrast to theories of reception, issues relating t, have been at the centre of literary scholarship for at least twenty 1,ear: tions of canon have stood behind some of the most public literary in the United States: the so-called Great Books debate}2 and the relbrl:_ Standford curriculum are iust two well-known examples.lr Even irt issues surrounding the teaching oť English literature in the Nationa] lum have their basis in a critique of the canon.}] Music study, however. less than willing to engage with some of these important questions; easy to detect a clear resistance cven to acknowledging the term 'canc,:In a review recently published in a musicological journal is a ment to the effect that the 'modish' ternt 'canon' is a poor 'classic'.r5 While such a view might have been congenial to Sainte-Beul,e rtllobcrtl,orcnz.'AllcrthoughlsonlhcSibeliusFcstival'. ltllt.si(ril Tinťs,79(l9]9), 1]-14: citcd-: |ohnson. s-ibrlitts ilondon. l959), 1t,tl, ]r '|'llis dcbalc has kcpt rccurring cluring the tn,enlieth ccntur5,.'|'hc n()st rcccllt catalyst has becn \ . .§tl(lr]l1s (Ncu,Ý)rk. 1987), |br a usclul. although poorly documcntcd. histrrry ol'thc debate, *c \\'iIlian ,Srlmc Nlyt lrs abou t thc (lrcal l](X)ks'. ,\,li(lnl,sl ol ku-Lťrl!!: ,| ll)Lillxl] o.|' t'ollkntltorar11 l'l|oilíh l. l 6 ( 1 !' 9 5 j. l$1)libcralcritiquťsol'l}teissue.liomdil'l'crclltpcrspectivcs.sccl)iIrcshd'Souza,'N{ulticulturalism1()l: ol' the NttnntstcrIt $/0rl(l'. l1)l'(l, /iťl,idl,. j6 (1 99l ). ]_2-](). and ljugcItc (larlield. A l)ill'crcnt Sort ol l,ist: 'I'I}c ;() .]()th-('cntury \\brks most ('ited in thc i\rts-and-l lumanit ics-ťitation-I ndcx, 1 9 76-1 9ii ]', trrrts, 1 6 (1 9ll7). l 7. l.ibcral and Icminist crilics do not all advocatc a critique ol'lhť Grcat l]o0ks| scc (]ctlovcsc. "|'hc Claims ol'a Commur Culturc: (lcnclcr. Race. Class and the Cirnon'. &lhnagtlndi. 7-2 (l9S, llichartl llorty. "I'hat oldJl'imc l'lriklsoplry'. Nrn,fit]lrlllir,, 19lJ (,1 Apn 19li8). ]8-] ]. t]StanlilrcltInivcrsity'srcti)rn]{)l'ils\\/eslcrnťullurcc0urscinl9l]8anil 1989at{cmptcdalr()pcl)lI}g liťular canonic discoursc, Ilcsponses liom vari()us mcmbers oI thc univefsity wcrc strikingly public, See l)ratt, 'l lumanitics lilr 1he Iruturc: Ilcllc,ctirlrrs orr thc Wcstcrn culturc Dcbate', soiltll Átlfliti('0ll4rtťI11/, : - 7 ll: Sidncy llrxlk. ,ls'ltaclring \,\tstcrlr ('ullure llitcist or scxist;: Iattcr Iiom stanli)rd'. Eltutútler. - 1 +_1 9. Documcnls íela{ill8 1() lhc al'l'tiir b}, Sidrrc1, Ilook and l]ill King (chair, l]lack studcnts' (ltrion, vcrsity) Wťrc publishcd in l]drlisilll liť|i(]ť.)5 (198l]). 651-7.+. \,Vritcrs On music a|so contributcd lo l:]. l lcrbcrt Lindcnbcrgcr. '()n tllc saťrality o[ l{cading, Lists:'l'Irť lvcstcrn Culturc l)cbate at slar}lord lliriycr' : pd]1llil1, ('li1](,isrl, 1 1 (Summcr 1 9lt9). 4-1 1; lVilliarn Mahrt, '(l)ursc Focus on Classical /\nliquity is }.l] lcťtual t lcrilagc', (iililpls ^ťpl)ll (stallIbrd lJnivcrsity,). ,ž4lrcb. l 9lllt, l }-l .+. llcsponscs liom l]urope are IIitťhcns",\,Vh()sc(]ulturc.\\lll()scťivilisationi'.?tnt,sLitrrrtry§upplťnlrilt.,1.1]l(1988).]46,andl'icrr! "l'cmpa,tc sur Ulr campus'. l]5,],rii. ] (l9s9), 1 ]()-]. ]r 'l'hc litcralurc on thc placc ot'|]nglish in tllc National (]urriculum is cxtcnsivc. F'or tuo contri]stiDg N,larlin t)()dsW)rtIl, ,']'hc tTndťrminin8, ()I'Iillglish: Il()n,tl)c National Curriculutn'l'Irrťil[clls LileraturC TiD?ťsl,ilťllr]/slil,tlť,nť,Il..l;86(1991).ll:1\rgil]hattachary],a.'Culturall]clucirti()irinl]ritain:I'rOmlh. llcp()rttothcNalional ('urriťulum',(hli,f(l l,ilťlt1,1/Rťl,idl,, 1](1991),,t-l9, ri Niclllllas-Il.mperlť},. rť\,icu, ()l' silmucl sebaSliaIl \\rcsIcj,l ,'ll]l/Hns l, ed, I'ctcr II0rton. N'lusici] 57 1I_()Ildon, t 99()) and N,lauricť (lrccllť. ()(lť oll .sl (il,iliít's DaLl nlul Al]hln: ]]t,arkLll tulLtt lu,, 1y'llol11 hardly does justice to the rt,ide : Errglish and other mode::,. ninds in the Northcrn H.,:, definitions of 'canon' g.-,. concern contrapuntal t-_ .,,,,-o other definitions take u: re last five years to descri':-- Sense in which it is used ::,. .',íttsic.r8 The conference se:>\l,as called 'Musicologr a' and ideological orien:a: understanding 01' canon: ::_ b1, ]oseph Kerman rr-h.:-. exemplary collection of 'c, =r, lor contemplation. adnl::. lhere arc poil)ts \\,ilh ,,,. , ,: canon in the other aftS, á: .ll key concepts-value. er.: ontinuity-it would be ver_v r immediately goes on to sa1 . : and much o1 r,r,hat l. the distinction bet\fe-]] is an idea; a repertor}, is .1 . Tepertories are determined b iormulation aSSignS a nlor. :ole to the performer than . Sibelius shows how perl.:: .lii,idual, and a move back a , ,].ll]l]c. N,,íusica l}rililllnica. 5s ll,, nmťnt c()ll]cs ill tlre c()lltcxt ()I'il::to regard music as a rcalm ol concŤáÉ ( in Britd,l: Tl12 Roma,ltic Age 18O0-191, ' lJrllt, l9S1).,+t]] 5()l)','lcmtr,r, saírte-Bcuve,'Qu'est€ qu'r T. S, [liot.'What is a Classic?', Pmideoti (ed.), S]glpťtťílP,"sť o/ T S. Elio, tl-oú - \1aIlI) alld l. Kcnnctll \\/ilstlrl.'('ittl ", Sadie. 'Canon', in Nfl, Gmyť DictiorúJ.,| -l]ť l]ťrgcrOn ancl I'hilip \l l),rrllln:,, i]\lli/(',\,l,\-. Nru,()rlrrtlts. 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Both perlbrmative and critical impuir: play a role in determining the canon in drama, art history (exhibitionsi. a : literature (reading lists). as well as in music. claiming that one discipline or h. : is in some wav above the canonic restraints of its l'ellows is disingenuous. e-: : ma1, be seen as an attempt to l'end off what night evolve into attacks oll can.: works. In this, Kerman has much in common with his slightly vounger German c- :, temporary. Dahlhaus, who also makes a bipartite distinction within the can But the latter distinguishes between a canon that is r,/roscrt and a canon tha: cltoscnJ'ronl. His claim is that'It is this primary, pre-existent canon rather th. the secondary, subjective one that represents a premise of music historios:.phy'.n'We might want to replace'music historiography'with'musical schc,.--- ship', since it is rrot iust the writing of music histor5l but any musicolog_:. endea,our that must take the canon as its premiss, Dahlhaus's distinct. remains misleading. however,'fhere can be no objection to the idea that in:viduals or institutions devclop canons that are subsets of a larger one. Horl,e.,.Dahlhaus's intention is to make a much more significant-and doubtful----<,lathat there is a difÍ'erence between aesthetic standing and histclrical significa:._, in thc canon that is c/rosclrli"olrr, and that this difference may be an ináicatic.: the value oť individual works.+5 coming to terms with Dahlhaus.s approacithe canon is difficult. The sections on canon in his Fbtrrrrln tiotls Lý Mrisic Hi-r: are shot through with contradictions, which suggests that parts were writte: . difl'erent tinres and lbr difl'erent purposes, More important, however, is::.. Dahlhaus never abandons the objectivist premiss that a nrusical work can h. , aesthetic standing that is independent clť its historical circumstances.aí' It cc * , convincingly be argued that this is related to Dahlhaus's deí'ence of the Aus:: Gernran canon: a narrow segment oť musical culture ltom schútz to schr,. berg that not only conditions Dahlhaus's vierv oí canon, but lies behind nl-- of his resistance to reception theory.a; Both Kerman's and Dahlhaus's models oí' the canon arc problematic; but 'c. l: acknowledge. as least in passing, the existence oť several interrelated canons Kerman, the idea oť 'canon' and 'repertory', lbr Dahlhaus 'the canon r:/tosctt. -- 'the canon tlnsettJi,onl'. Modern critical practice is to speak of a nrultiplicir., 'canonic discourses' that allow us to consider the interrelation of a numbe: rrScclrllttI'lanlil]ga..\i.htttlttltaas().ili1.\'alcStudicsintl]clIislor],()l.\.íusic.+1Ncu, llavcn. l967: rep: l,\llll ,\rht,r, I (,ssi, rI l)ahIItaus. 1i)lttilíl(rl5, 9 J. " lbid,95. r'' l)trhlltilus's tllljcclivist §lanťc is discUssed lurlhcr b(l()n,, -+();-6 l:'l'his poiItl is nlat]c cottclusivťl},iI) Jamťs lIcpohoski. "l'lle I)tlhlhaus l)r()iťct ilDd its Iixtra-i\,1usiťL. ._ s()Urťcs'. /9lll-(illlllrlí,!lísi(, 1.1 (l99l ), _]]l,-16, ,, ns that mav stand in a vartc:. -.ťl, and so on,'' This t,.llt, .: -,,.. tll' tlte repressive prupcr. :t , -nbusters' so strongl1,obje;: ..rttctive crilique ol't,attotti. .: t. .ised in this chapter íbr the :_- , -:l.iltivalent sense ol' (,anul]l- j .. -.:alizes nranv of the objecri,,::_ rl Kernran and by Dalrlhaus l.re are two principal critjc__.. ^,,:.1, Á conservative critic cotttc: -:,) that shape our culture. th.l : irn appe&l that transcends : .. - -_i happily speak oí'the Klr,irril:,. : _.ar in their time, but nort,-l,, _.:. . 1 :]\,areness--{an be judged a> l= ,,:::i critique accuses the canon : .-,., and'Canonbusters. adt-c,aa... * .';:ial. in the process knort,n as : .:rl)ali\,ť t.antlns.iI In \\ ctlt -. :., nrost clearl5l associated \\,]:: . - :l's Gcttder atňthc Mtrsjca1 (',i, ,_ :.:rceived hegemony is also eh.. ,. :, _h critiques of the canon are s§,. :: . : easier ol' the two to deal. ,,, " , : .nlental claim-that canontť i, :. _ r;ectivel5ldenronstrable-is :__ -'-. ,\ ell s svmphtlnics. lt-tr eran- - . . rn lhe ('minor svmphonr i.r::- .. ::ilsite ends of the nineteenth ;._ . ,,_- ::tc V1,orks,5+ Even the historr ,- _ , - -]l to sug,g,esl that a svnrplr, ,r: , , 1,ral,. 'l'hť l\tikil4| o.1 l/lr,\lo1rrtt (rttr,,,: ] !;uill()r,r:.(.iln()l}., il] Lcll1riťťia an(l \1. _ ]lc cssays iI1 Lcslic Á, liierilcr anrl I lousl :: ,. Llr ljulislt IilstiíI!í|. l97L) ll\allinl,,rl - , ---ia l, ('ilr()n. (;0uIů úil t/rr ,\ltisirrr] l - ,. n|;lrr(1l, lt,'u.,1,,,a 1.' illl l)\(,r-r(,ll,t|| ::]d somc curiOus cnlpllascs. (.laimit]! l]]_ 'llt L,}Ir(.tn(,. illl(l ll!(,,,lIilpl(,r T,,trt.;,r. '. - ,,L) p.lgcs. ll is dillicu11 1() utrdcrstan(] l] ., ,] !]l rcccplioli lltcory I harc cvcr rtarJ ., . _ Jr\] '('alt()o'. ] l7 :. lrln l:lúltlu,is rcp()rtťd il§ l)aYillg \|].i ,ulrl hitt,e lren clcdictrlccl 1() ilim lSifo. ,. ,(ř! ,U at a ,,uJ^oqlJ;tl ň-UllJJdJJluI, .JdIs) ult| oI pJll]JIpJP tlJ.]q J\t]t| Pln(]§ _ Jt|l')iJJuulsltl u,!\()tIl Pl]t| uJ,l()t{]JJti ,lI 1Pql'a6tll Á|]l,\i 8i uo'plt]s;jul^l]tl st] pJuodJJ sl .u()|ntl u(),\ slll: ,(9 t ,(ř66 t ) ()c [ .s,}illl l 1l, )lsnl\ :lrl)t/,)l) ,uoJlI.) .|() ,uaL\JJ) . puJJ JJ^J .]^",, , ,.r"'.1,1 ,;,]iiij.i;lr';'""l]::, . ]sJ,ll]J|J Jql l3ul]ult)ltI()J. sl] i-lql foiuJ§-ap t|t]J pJl),u()lI t]lJIJll]([,uolI pupls^JJpun o} ||nJI||lp sl IJ sJ;l]d ()ul ]._ : ,trl;tl,(lrlaq]t|olldJJJJ,|0stl()IlsJnbqll.uluJuJ8l]ijuJsn()lJJb^l)uoJ|sluar1l:;1tJuqloqlptll).JSJJ}xiJt]]u]:]. _ sl Ztlt]lstlo) tt) ssnPÍ J() Jn3eJIIoJ l] sl]]u JJullpl]l) 8J()Jl)-sut)J J lt]q1 ijtIlull)|^) ,s;sl]t|dulJ snolJnJ Ju)§- pul] , _ ií)]l(/,',).}|1 'qn|()Jl (tll|,u,(qllrdu,(s.I() lJl)| l) ssl)J Juos uI ptll]) u0 JJtIDllJJ-J.)^o tlu,{q !J^J.u()t| .pJJJutt| §l ih\__ . utltltlolar.J() uolssnJsIl] JuOJIJ,u Jt|.l,,(t66t .J3PlJquIP,)) lí)lil,) 1l,,)]9ll,ť )U u0),I)UL)r).UoJ|1.1 ,I l]lJll];, '1-9[ a '§l{1-1.1i /l))/l1-1.)'('spJ] uIlq3nlIIJl\ pul] l]lJJIJitIJ.l ul ,.Ll{)trl]J. :{JoIlInl) tlL; 'x 'd '( t 6 6 l 'uopuo.1 ) l,.l)l h.tt.t,t lrl l li) )-ls1_1.) /]lill §]},.|/.)?) ;i e)I0,.J l/.l/l,()J ť ll1 ] lo t)lDt|t\, ,ll1,1. ,r*],r 1l. pJBqJIu Jo uolPq eq] JJpun ue,\oqlJJ8 ,iq ÁuoqdurÁs P ]Pq} 1sc33ns o] q8n _, sI eJtlJPJd eJueluJo.}Jed ,{Jn]uaJ-q]e]]ueM} ]o Írolsrq eql ue^fl r(.S{JoM JIuc *. eseq] Jo sMeI^ ]ueJ3JJlp ÁJe^ a]o{uoJd Árnluec q]uea]eulu aq] .Jo spue e]Isodi , ,PJIoJg, eq] o1 '!\oInB uo,r Áq pelndurr esoql pue ÁuoqduÁs JouIIu J eq] uI Ur;. -JJOH Áq paglluopl scnlP^ aq) ]Bq] sMoqs 'eldtuexe JoJ 'seluoqrlru,{s s,ua,roql=,: uo eJn]BJe]II luaJeJ aI{J t..e8uallPqJ ol uodo sr-áIqeJ]suoul3p Ále^IlJe[qo:_, Ie]uepuaJsueJl eJe ]Pq] SánIP^ }lqlqxe s{Jolv\ Jluoul]J ]eql-uIIeIJ lBluátuep-- s]I ,snolJua]uoJ ssel eq] dlqlssod pue 'q]lÁl '|Bep o1 o'!1] áqt Io JeIsPe JL;enbrJuJ e^I]e^JeSuoJ eqJ,JIlBtueIqoJd ÁIaJe^eS aJB uoueJ 3q] Jo senbl}uJ q]o! -(,ssl]lJ pue eJeJ qloq Áq pe8uaIIBqJ osle st Áuorua8eq pa,.rtacrad s aJn]uJe]II ul ]nq :]ulod uI aSeJ JueJeJ B sI llol/lrJ llrJlslu,4[ Jtl| l)uD -lrř,llr0 s.u.,:tslJlBl\l puB,SJJsodl'uo.) uJlIlOM Áq sl.ro,1r qllM pJ.lulJossu ÁJJPJJJ lsotu,iD:, S] SIql'I]Jedo puP JIsnuI SnoIJeS uPedoJng uJe]sJM ul l(,suoueJ a^J]euJe]l}.] ]uauqsllqe]Sá eq] Jo ,.uouPJ eq] dn 3urued6, sB u^\ou{ SsaJoJd eq} ul .lPlJJ]; .Io e8uPJ JepIM P Jo uoIsnIJuI aq] Jaq]]a alBJo^pe.sJo]snquouBJ, pue .Sn_:, e^|JJaoJ ue^a puB uEIJ1]]IJoq]nP uP 3ul^tsq Jo uoueJ eq] sesnJJe enbI]IJJ Itsji: ý ,s{JoÁa IBJluout?J ueq] enIB^ SSaI .Jo 8utaq se pe8pnt eq uPJ-sSeueJP,uB -!, -IIJJ pul] SeIlIIIqIsuaS Je]BeJ8 Jno Io ple aq] q]l'!\-l,tou }nq 'elut] JIaq] uI Jtslll. -.uJJq J^Eq lq8lu ]Pql SIJo.lt ^jIluapl puu .],tJslJltlllrJ/) Jql Jo IPJds.(1rddeq tq: -e^|JI]^JesuoJ eqJ í)('seJue}suInJJIJ leJlJolstq SPuaJSuEJ] ]Bql leeddB uP J',: lBq] puP ,Árolsrq 1noq8norq] peJnpue e^Eq ]Bq] .eJntInJ Jno adPqs ]Pql s)j, , sP sJueJuoJ sll SMaI^ pue 'uoueJ aq1 saleldua]uoJ JIIIJJ á^IIP^JoSIIOJ V .leJipuB a^I]P^JesuoJ :aSJnoJsIp JIuoutsJ Jo senbI]IJJ |BdIJuud o.M] eJP eJeq ,snpqlqeq,iq pue uetu]Jx Áq q_ _ pesleJ (sesJnoJslp JI)uouPJ .Io anbI]IJJ e o1 suorlca[qo eql Jo Árreur sezller]r.. dlelutpeuur ldeJuoJ e qJnS ,puru uI esJnoJslp JIuoueJ Io asues ]ueIp^I]InIu : q]IM SÁP^lIe sr 1r .tlrltqrsueqarduoo ;o asodrnd eq] JoJ reldeqc slq] u] pJSn ..,- ; -uoIsPJJo sI ,uouBJ. tuJe] eq] .II pul] :SeSJnoJSIp JIuouPJ ;o anbtltJo aAI}JnJ]SL . JoJ sel}Iun}Joddo aq] dn saer; S]q] 'uJnt u1 ,,r,lcaÍqo Ál8uorls os .sJe]SnquoužpallpJ.}JBJ9 pleJog luoq^l esoQ] L|JII{Á,I o1 setl;edord a,rtsse.rdar aq];o.iu. so^olueJ Álelerpeurrur eSJnoJsIp JIuouBJ.;o ldacuclo SIqJ tf.uo os pue .JeSJa-- -}es 'lesqns-]es :Jaqlo qJPa o] sdtqsuorluler ;o Álerrun E uI pul]]s Áeru 1eq1 suoL: , 68É srs-í}loJslo Jntollrl,s.)r"lorll1 ttotltI.1l;l5 - - .nI\-l]Jlx1l sll l)tIl) |JJl(u(I .ll:,i, -. ,linl\ Ul sJIpnls,l/i§].)]l],l.) )i\i;;,, _,_-- :_96 t ,UJ,\l)I| ,!1i\)Ť ,JIsnl\ ] _]JLunu e.Io uoI]r2|aJJJ]tlI .]j- _. ._,rrldrllntu e .1o 1eads o] sI :- _, : ,l.]sOl1J UOUEJ aq}, SneqíqPl_ ,, :tlOUeJ PelPIáJJa}UI IElJ.\.]! . . . .- ]nq :;ltlerualqord ele uoti! - - _ , .-- _J PUIqaq SelI }nq 'UOUI]Ja _] ,;, qJS o} Z]nqJS tuoJ] JJIlll._- , _-)n!'eq] Jo eJuelep S.snPqlli? : - _' 1] ,/f 'SaJueJs(unJJIJ IPJIJ. _>,. ..;- UBJ lloÁ{ leJISnU B 1Pi]] !S _, ; __ sI ,Je^aMoq '}up]Jodu]l aj , , ,.f 1}Il.!\ JJJM sIJPd lPql \1\,)::, , _riH Jlslltr{,/tl srrtlt]uptttttu sl,.; ,_ . -,.eorddu S,Sneqlqeo q}I.\\ s,-J_. _. rI]BJIpuI ue aq Áeu eJueJa]: : . : -]?Julu8ls IBJtJo]slq pue Brrtp;. .. _ : |.LlnJlqnop pue-luPJtlitl: . , _:,_']_\\oH,euo ra8re1 P Jo S]asoi: -_: : ]u!lslp s.snuqlqUo ,ssItu,r__ ,. , i,lloJlsnu .(uu tnq ^Jol5lu ,, . -_- ]qJs luJlsnu. W],u .Áqdera,.,., ,._:orrolstq Jlsnu .Io eSIIuJ]d ,: :_ : -]JJqltsl UOUU; lUelStXa-e:" .?ql uoutsJ e puP Ur§0l1.) SI ]Pl-_ ] JPJ aq] ulqll^\ uoIJJuI]SIp .]:__: - - _a ueluJe9 Je8uno^ -tl]q8tls :. - : ,tIt]J uo SIJPl|B o1ul a.rlo.r.r :_:: _ _E 'snonue8ulslp sI sMoIIa.l _ill . _ :i] Jo euIIdIJSIp euo Jeq] 8ultui:, " _? ,(suolJlqlqxa) Árolstq JJI] ,p-:,. _ ..sIndul II]J!]IJJ puts e^I}Ptulol.]_]'- ] - ]. SIIEJ eq ]eq^l ul uouEJ J() l. _ , , jl)llJuIlStp s.uu[uJJX luql .ili,.l 39O r\,ínrk Evcrist Strauss clevelops a rather dil'l'erent meaning from one under the directic,lRoger Norrington.55 If we could agree on what qualities we value in a sl,nph , by Beethoven today, we would have to give our consent to the view that th:.: qualities are different from those we perceive in earlier authors and perlbrn:.: These are difficult points to rel'ute. although the stranglehold that the cons.. ative critique of the canon has on all aspects of our musical culture results _ reluctance to acknowledge the fact. The liberal critique of the canon is an attractive development within an . _ . demic or pedagogical context. and one that has resulted in the teaclril_; courses on women in music; a heightened awareness of the possibility of ge:_:, criticism has perhaps been an even more important consequence."' The ::. : problem with the liberal critique of the canon is that it sufl'ers, ironicall1, :: the same pitfalls as the conservative critique that it seeks to supplant. Il one =., that certain works should now be admitted to the canon on the basis that :.,, are as good as those already included, and have onl5u been excluded because .. , are by women, Caribbean authors, or for indeed any other reason, this is as r. _ _ as to say that ob|ective value mav be identified not onl1, in the works íbr r,.._ _ admission to the canon is sought, but also in its existing members. Arrj :. objective value is exactly what is so problematic with the conservative cr::-: -., of the canon. Literary critics who have addressed questions of canon reach the concl*,. that neither the liberal nor the conservative critiques of the canon oť€ sái_: : tory. Both John Guillory and Jan Gorak also agree that, although the c. : has the ei'lect of ťreezing responses to texts inside it, it is essential 1,:: " reproduction oť culture from generation to generation.s; The consequ. _, of such a view are interesting, and bring us back to questions of rect:: ] Guillory writes: Arr individual's judgnrerrt that a rt,ork is great does rrotlrirrg in itsell' to preserve tha: unless that judgrnent is made in a certain institutiorral context, a setting itl lvh , Possible to insure the rcprodttction of the rtork, its continual reirrtroduction to gene:., of readers. TIre work of preservatiorr has other more cotnplex social contexts t:l. irnmediate responses of readers to texts.;E We might just pause for a moment on Guillory's use ol the ternr 'institu: In literary studies, it is assumed that the academy is the location of ;.. formation and preservation. In music, as has alread1, been suggested.:_. " 'l'hc lWo pcrlitrmanccs havc bccn rccortlcd: lliťlrard slrauss. l]erlin stalc ()rcra ()rchťslra lKi}ťh - 192li}: Rogcr Norringlon. lrlndon ťlassical I'laycrs (LMI Cl)c7.19656-2, l 9l]9). 'Í'()Ile l'urthcr tlcrtlrpmcnl in the criticisll ltl' ntusic in 1hc last lhirty ycars has lratl a lirrrittd inrp.,_ Opening-up o[ lhc canott: tlrc historicalIy inlilrmcd pcrlilrrnitncc ol'music. \ťith rcgarcl l() music bc[L,r. PcrhaPs 1 75(). thc pcrlilrmartcc tll"carll,music'has aut()matically involrccl tllc rťprcscnlation ol'mustc :,,_ ()utsidc 1he canon. IJut ill lllosc pcrli)rn]aitces ol' music alicr l 75() tlral usc pcriod instrumcnls ancl pla. _ niqucs. tllc apprttach lo ťandr is tto lcss trarrou,tIlan that ol'tradiliolal approachcs l() pcrli)rmanťť. '; t]uillor1,. 'Canrttr'. _] ] 7: (krrak. ,Vakirr11 ty' l/k, rví(xt0ll (iilkll. lJ, " tluillory, '(]anon'. _2 l 7; cmphttsis itriginal, - lch less So. and it ma,v Dot bc ] _ the academy would like i., : ioncert-giving organizatiorl l ,: ducers gives Guillorv's statt,:]:: -]] _]re. ': thcse ťomments arc git.ctt o: . :nr,oke a theor5z of reception i _ - :]on-forming irrstitutions, Itl jc: : _:n hc sa5ls: .:- .]s try. . . to reconstruct a /ti_r:. -, ,::_lnated, reprodrrced, reread, atlci :. , --.r to understarrd the lristorica] i::_ -*::-, canon, then. ue must see its i:..-:,:|tion oí texts. We must uttdtr::,: _ll tvňní we read but of rtlIo re;.:. . ,.:,.er all ol' tlrese questions in rlri.: --:lon of the canon.;'' -_:}e comments echo thosc nlacc , : response to the impiicatiotts . : , _ , .:ed with approval bv Krunlnr;,-: , ": :ilonship betwecn receptioll i]..: _ Reception Theories, t , i,lt oť the more liberal nlon:., _:.ťment, Dahlhaus adnrits the a:-., -:,, -although he immediatth rl, alí'ect the validitv tlf lthat h. _ :Jlr alongside Iauss's viert at r-:., :e l967paper. ,: :-]ťrit oť a literary lristor1, basc.cl .. -:1: to Which it can take an acti\ e n,. -- - _i ] ]sI cmpha§is ()riginal. l}()lh Kťrlni]ll , -..ll1urj,nlusic is lll ilc ttpprtlrtcllctl lrn tll. . -,,l;hcullurc|. 1hatis, i|l tcr|ns()l.its()sll._. , ,_,ttrccl attcl sit tt}usl thť praťliťe ()l' allil]\ . . - | -| 'lr(,r iI ltirlrrriirtt 1,1 '.It.l'r,itt,'' ;r p., ,:: tllal catttn-mcans lirst rll.tlIl tlrai ",i,|11kll-t| ,luls(Ill]1' 1l)ahlhaus, liltitllrtti,,, . - . .ul Krilpl)ngcr, '|'roblcme dcr nlusikaii:..:_ - rrutnmttcltcn'IlcZcpti()nsgcsťl)iťl]lc ] i_: music hist()rians mUst makc acstll(,tiť !]:. -, il] lllc str()ng scItst" (l)alllhaus. 1iltlliri., 3ll()|J(] l()(t sJ()l] J() sJ()p ll]q.!1 lsní JultllJJJJp ()l J",,.,, ,,, ,lí,1',,,li]li'J]iij;i,Jl'jliŤ liň':l,i]:|1]:,li jl li, ,(t] 6 t ) s t t .}ls,4,! l/]/ lli llI)§|I,)7,|l,,\ ,,'tlntlJsJ()lst,.,,u","o ,,.lii|,,;]l:'J1']ffi]iií:l -,],iiri,i"j;);: sltJ ,1o ,{1tltcltsslť otll sJPnl,)xi ÍP,u ()tl tlt l|Jlt|,\l t()Ut)J PJI{IuJJlJPJJd l] ..)\lJJil.. oI Ul)L.lslt| l] J()ll. :(l l I :,, , 'IJl]/\ Jl tI()tIl].) ,!lil| \i '(It]tUJJX i , II J]l)PIIl)1 ()| Pixl()|J,lip st].u tIJlq,u \l\ {I lI rlt| .|l l i.)I IJl?JJ Jq l l§nu os |)ut] pJsl ui;1. - -_ lsnU tl()ut]J Jt|| ,l() l]iPl Jql iq PJlJJxJ JJJ()l Jtll ]{i()loiPl Ptlt) JJnlInJ u,\\{) sll .I() sulJJi tIl .5-1 ll]q| .lJJnlln.) qsl]Ua lxiltl()J JtIl tIl 1ul]tIJ tll]lJl)B-iJl) |o U()IJt]JJJdJJ]Ul tiu sl)] slsPq.)Lul]s Jt|| u() pJtIJln)Jddu oq ol sl JIsnu ,{JnltIJJ,l]: : -JUIU ,|l 'lnÍl, :U()l1ls()d i^.,{JoIJlnl) qJln)Jddl] ,{|ltll]lJnlJJ snl]qItIl](J PlIl] utlurray t11o11 ,1utt131:o "^tstlqtlutr :61 J .1ltcl q8noJti] ]sud JrJ] ,}o uor]pzllp}o] 8uro8uo at1] ul upd a^lJJE up a{pl ut]J 1! qJlqÁl oJ ]u:]; eqj uodn puadap 11tlr uotldaoa.r.Io sJlletl]see uE tlo pasuq Álo1stq Áreraltl e Jo ]lJaui -- .redud 1961 oqi saseq] ua^es slq Jo 1sJU aq] eJoIJq 1sní peluasard se ,ueln s,ssne{ eprs8uop l1p:: , -I'rtp slls sIqJ, l(r,uoueJ,JI}áqlsaB, cql sllpJ eq luqm.lcl §rprlun eql ]JeJJp r_ _ |)|noM slql lpql tuluIJ 1stnt1.1oíqo sIq sJ.)JoJuíJJ.i;alerper-uur .lq q3noqtle-.ip, _ elq,I^ P SP uouPJ eq] ]o eln]Pu aql io slsÁleu. eq} s]I.'pe sn'qlq'o .1uorua;p-enIP^ pue uoul]J .|o uolssnJslp srq Jo s]ueluolu ItsJeqII aJou áql .Jo euo _ anJP^ |PJlsnntr puP 'suoueJ 'sa_uoaqJ uotldacag ,,.,,pe3pel,r.rotr{Jeun ua]Jo ooJ sI uoueJ pue uotldecal uee^r]eq dtqsuot]e.-- Jql-ples Ápea4e spq eq se-q8noqlle 'JoqJelutunJ) Áq p,rordda q]I^^ pe]c: : uJnJ ul eru ,taq] pue 'ssnuf Jo {Jo'' Á[JEe aq] ;o suotlectldtul eq] o1 esuodsar p -8o1octsnur u uI E 161 ur re8ug;- :,_:JJ a^IlP^JasuoJ eq] qll'll J!]P[L. _. ltly ,SJaqtuatu 8urlstxa S]I tll ,.-:,: , ,,,! JoJ s{JoM eq] uI ÁIuo ]ou pJL:-.,-; its sI slql ,uoseJJ JJqlo ^Uu pJj. _.:inB.)Jg pJPnlJxJ uaáq ^lllo á.\C: : : -_ ]eqJ slsPq eq] uo uoul]J eq] ol i;_, : )llo j1 ,1uelddns ol s)lJJs lJ le!t:- * _. ,.illeoluo,rl 'sJe.IJns ]l ]Bq] sI uOLi-.: , ,_: egJ 9.,cJuenbesuoc 1uelrodrut ;_ , " j.]aJo ílrlrqrssod aq] .Io sseuaJe.l\E :-- : _;;qcea1 3q1 uI pellns3J s,l]tl lE:]_ j | '. Je ulq]IM ]ueudole^ep eAI]JBj]_:] , :]InSeJ eJn]InJ leJrsnttl JnO JO S]_--}_ *:>:]oJ aq] 1Pq] ploqepuurls aql q;: _: _JJoJJed pue SJoq]ne JeIIJtse uI J.,:; . ;: lpql MJI^ Jql ol luJsuoJ Jlln :,.. . ,JtuÁs e uI cnl€^ e,r,r sar]r]enb ]eq..,,, -_, , :lJaJ|p eq] Jepun euo ruor.1 8ui-,. 392 Ňlark Everist aesthetic experience. This dernands on the one hand-in opposition to the objectir,isr positivist literary history-a cclnscious attempt at the lbrmation of a canon, which. the otlrer harrd-in opposition to the classicism of tlre study of traditions-presuppl i: a critical revisiotl if rrot destruction of the received literary canon. The criterion -. the formation of such a canon and the ever necessary retelling of literary historl, clearly set out by the aestlretics oť reception. The step liom the history ol' the recep: , of the irrdividual lr,ork to the history oť literature lras to lead to seeing and repres.:-, irrg tlre historical sequence oť r,r,,orks as they determine and clarify the colrerenc; literature. to tlre extent that it is meanirrgful for us, as tlre prelristory of its pre:. experience."r Kerman also approaches the relationship between reception and canon. .\t ::, end of his 1983 essay he apologizes, sal,ing that his comments are'com_:.: to an end at a point where manv readers , . . would like to see them begin: F_ are canons determined, r.r,irp1 and on tirrírt authority?'('} Kerman's concluC- : remarks are a claim that we can only answer these questions when we have L, up a serious criticism of music, of the sort advocated in his Musicology,n'. F= would want to agree with this, probably none of the other contributors to :-: special issue of CriticalInquiry devoted to canons in which Kerman's essa\-l,,-: published. In considering specific walzs in which theories of reception anC::, canonic discourses in music interact, Kerman's questions, and his relusa ansv,/er, are a valuable point of departure, C,-uillory, Kropfinger, Dahlhaus, and Kerman state or imply that a theor-, reception could pla1, an important part in addressing questions of canon, bu: _ not suggest how this nright happen, The hints they give may be developei uniting agencies oť reception (Guillory's 'historical circumstances') with l,,:,. Barbara Herrnstein Smith has called 'contingencies of value'.Í'5 That is ttl ... characteristics of a work's reception overlap substantially those characteri:.,. that may impart value to the rvork. In response to a hl,pothetical conserr-a: , critique o1 canon, she writes: What is conrnronly reí'erred to as 'tlre test of time' . . . is not, as the figure implie. ..: inrpersonal and impartial mechanisnr; for the cultural institutions througlr which it , _:u_ ates (sclrools, libraries, theaters. tnuseums, publislring and printing houses. edi: . : boards, prize-arvardirrg comrnissions, state censors, and so forth) are, of courv . rnanaged by pcrsotts (who, by deflnition, are those with cultural power and colnn:.. otlrer forms of power as well); arrd, since the texts that are selected and preserved b1, :, , lt'ill always tend to be those whiclr 'fit' . . . their characteristic needs, interests, resoLr:_: "] |auss.'LiteraryIIislor],asaClral|engetotilcrary'l'hcory'._2().'I'hcrcarcpoiirtsit]|auss'slbrmationol'th. , tllat thc pfťscnl chaptcr dtrs llot cllc()mpass: thc idca oI' the dťslrlťli(rl ctl' tlrc canon and thc concepl ()l . ., history ()I'literalurc Or music, "j Kerman, )\ lren, Caltonic Variations'. l 24; emphasis original. "' Kcrmatt. fullsi(1)/díly. l 1 ]-j,{. "''l'hctitlcol'anarliclc,'L'()ntingťncicsr;l'Valuc'. ůítiťll|lnqLlíl-u.1()(l98]_.}). l_]5:andabook.(bnl:, oJ vdllk': AltťnnlílťPťfspť('lil"s |i)r ('riLi!(i ?/lťoIU (('anbri(lgť, i,íass.. 1988). in Which tlrc articlc i-r rcr-- 17 5 ], ,::d purposes, that testing mechatli:::, . .lr írtIt,ttstlit,d hy tirne.^' . :is list of cultural institutiorls ,. - - ,_ose that might afl'ect the r-a]u.st. similar in scope to that olTer:,.: . _.itics, concert series, foundatic,:_. :- rels r,r,ith narrativ(.s centred, : . ,rct othcrs. An exan-rple taken ::.:, , :d societies. illustrates horl. thl, :. ,.lue might work. Sccieties exist toda5z to pronlcl; :es of musical activit5z. Irt,o nle- : _ _.::ion at Aldeburgh is an inlpcrri:_:__,:.rcial element in the constitLlIi. ]-. , :]motion of thc cause of a sin5.. _ - :er's position in the canon. Th.s : , ,., or of suclr more routine i.i: . i.lposer's working papers ťor th: . , ,-_::urrg in Basle €1oes one step 1irr:._.: :lposers; Stock}rausen, Berio. .-._:., -..s philanthropic exercisc has ::. : .lndation, except that canonic p:..: t _ ,:t-ing composcrs. : this understanding of recr.:.. " ._iqhtforward, the relationship h :.. -. ,: _ l.ption have exhibited a narrol,,. ,, .. ,:-:r sub.iect to this sort of enqli_:, a]ncr-are alread1, assured ol' a.,:l -lrJ. 5 l : cnlpltasis t)rigiIral. /\lthougil \ll| , ,_ . - .,re tll'1lrc cssct]lially ()hicťti\t stilndnt,]Jl. i)\li)rd. i C]8_]). Shc cllts. houtrcn citc ,. il-('ťlúur!t)tllra? iťhicaglr. l 9írit, ]]..] ti()u§ťlaim lirrcmpirical acslllctiťs i: _: ilt1;1 1a u si8nilicant sourťc-lcxl li)f lllr. . . _,rl mittlttcl llcr tl]inkirtg inlitrnts Ittrgc p,l: . ]]. l}riltcn-|)cars liluttdalirlrl aťls as al] .:. -_ ,,].]ali()n. lhc Áltlcburgh lrcslital. r,arittu, _ - , _ ]}ril tcn-I)cars l,i[rrar1,. ztttd prtlvicics r ilrjL _- . . _ \lan},()l'1l)cre aclivitics d0 li]r n]()re 1llat- :- ,,I thc lltlunrlatilln. l am gralťlul l(J l)au _. rrl tlrc l]ritlen-|)cilrs It)ul]ditlil)l] l lcz antl I}crill gavc 1 llcir nilmcs t() ind i \ i.], i } altd 2 -). '|'hc rnl)st rťccn1 aťquisili()ll. ,;ll/lliť§ alld d()ťulllctllary malcrial rťlnll,] _ - !riltťlll 1()l)rUc l]ťrgus()tl I't;rdiscussirl3,, : lilcralure l() my atlcntion. 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Sueod Jo ,S{JO^\ ,SJáSodtuoJ 8utlotuo-rd Suol]PpunoJ 'saIJaS ]J3JuoJ -._]LJoJ aqt ÁJup[J puu auIuI]J];: ppu 1q3tu 'eJn]eJa]ll JoJ qlltus u|elsuJJeH,rtq pa"raJ.1o }Pq} o} edocs uI JeIItU : pue 8utaas tll peJI , and also at least the first three of the quartets that would be dedicated to Hal,d:. the following year, those in G major, D nrinor and E flat maior.;r This letter from ]víozart to his father embodies a value-judgement about thc work. That judgenrent has not been shared b5l all those who have considered thi. "" '|'hť ť()llcťrtltaci origintrlly bcctl prrlgrammctl lbr ] I Nlar, l 78.{. arrcl 1hc ullrk n,as cnlcfť(] in1() §l()7ar: . VťI;ťillllli§ ()lt ]() ]\lan '" 'l'hc origirttrl (lermatt is: 'Ich sclbst hallc cs lúr tlas bcstc u,as ich ttirh iIl íncincn] Icirn gcscltricbcn ha:_ l96]_75). iii. j()9). 'r limi15'l\ndcrsrtn(ccl.ancltratls.1.'I']l?LťLlťrso|,,Vll);(lld,kl/rislinlti/rl(Llrndon.19l];),s7i. :] ()l'tllcsixqUartclsdťdicalcdlolIa}r|rtlhalu,ercpublishedlrvl\rlariaas()p.l()()nlsťpt.17lij,K.]87.K,4] and K,.1_]8 u,crc cilmplctc bl,summcr l i8 ]. .: _: ]ťt\{,€€fl l 784 and the prest:-_: , .led rather badly,. Irr Hans Kc-,.: :,-": Con4tatúorr, the work is n,,: -. ., here onl1, as a ftlotnote to ])i :]:: _ ,, -.:t-t his account ol'the r1,ork.' - : -i_.]DS in such nrore restricted ::.. - , Dit,titnmru o|' MttsiL. attrl .\l;,:. . genre. and mention (albeit .:, -.: standard texts treat the tt ir:, . - .: reception of the Quintel lrlř : : ..lerations oť genre. This clear, .:h a piano conc]erto. \{€ are a_ ]- : , , :roi'essional perlbrmanc€ c_]-- : ,-,: is being enlarged all the tinl. _ -.:utions. This point was nlade .. : s \Iaster Musicians vtllunre , i. ', ,- _-ritical literature: the gerreric :. " : :uch r,torks are sidelined, Ne... -:.,lrdinarv: in a chapter €l]l,] : _ ----seven pagcs, one page onlr l. _, -:.tn]cnls. and il does ttot itt,.__ j at all. Mozart's judgenler-rt. ,, : -:.ricist nr1,opia, .:l, late of K.452 in criticisnl :. _ , lrable positiorr in terms ol' rc. :_ ; - ,5 áDd three string qlrartets nlr,: ..,-li2 ils K.45l in the t,ttrrcttl r - ,:t o1' K.428. and twice a5 nlAl],, ] r a wide range of reasons lcltl]-, . :\ \,ie\^€cl by Mozart in l784 a. .,ire in musical criticism o1' :L. -.-'hed by considering the ptl>r:. 1lls Kcllcr. "|'hc ťlramfur \lusic', ill li. ,, :] l 96j: rcpn l 977i. 9()-l ]7 l?/rr, \1,: -_ rlttatlcs lilr \,\'ind l]arld'. ibid, 76 n. ] , .:lnlcr §arlic. 'Nl()7arl, { l} í]ollann t'llrl. 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J^Pq oq,v\ JSoq I llp . .:.qE 1uaua8pní-anlp^ I] sJ]p , _ -"lo[eu ]eIJ g ptip , , - :,J o1 p3lPJlpop eq pFo^l JPq1 \,:._ : : \ PUt] ()S ř') 'UaJUOJ eUlPs .: _ _ "_: .ilqeunserd 1nq .epIs8uolp ].:_ . _:.;z SIt{] e^E8 ]JBZotr^j uoq1\\ ,l.L-__- : jP esJq] sB sjueue]u]S L|JllS ,!-: ,: joJ lalu|no aq1 ;o Álq8rtl t)s :_ Fe ue^es JoJ esodluoc ol enuuuG) m Áralr slql o] q3e]le e^t e{n sraualstt Átu 1uql ]|peJJ ÁuI o] ÁlleaÉr §ryeer se,r,r I qlnJ] eq1 ilo] ol .Ila71l ip.l plnoc noÁ qstilt 1ir,rop .elro;ouerd 4 p .4| ual]um st 11 o,.pesodtuoJ Je^o arr{ Jrl] quol polle3 qJíq,!\ ,Ja]tlln: , :p!Bs q lrnuoJ p Jo tJodeJ p Eupr8 taqgr ]o uoI]PJepISuoJ e JoJ stsPq .- _ S_iB,u eeJq] uJ uol}P^l?Jxa seli ,,-- !lLIJuaIe ecJq1 aseqJ,(litttt.l.rl.,,, ,uotldacer .Jo solJue8p uJJ.\l]_-. _ ! , enle^ Jo selJueEulluoJ pI]€ uoll p FeIdlJeJ eql SesseJppE uotldaua IEn]xe] eq} uo SesnJoJ 6un1l44 ,arat pue 0ttttl.t111 ueem]aq u.,_Jq ÁBtu uoI]doJ3J PUB SJSJI]L_ ]: ,oJeIdIIeI\ pu,; p suoqeueldxe s1l€nre au6 .(sapr puq reddn eql ppq spq esmoJstD ].-1] ]o enbI}IJJ e^I,1P^J3SuoJ eq] ,. eq] IO SeJnlJIJJS eI|] Ct] : st dlqsuouPloJ sIqJ,xopPJPC P : n aq] o] uor]deJel .IO ,._ 396 rlínrk Eyerist Beethoven's Quintet íor Piano and Wind Op. 16, composed in 1796. tl, after the posthumous publication of Mozart's work. For Alfred relationship between Mozart's K.452 and Beethoven's Op. 16 was ' known'.;8 To question the Mozart that Beethoven knew is again to the issue oí Wirkmq, and is here a very productive enquiry. True, K.4 5 ] lished by Artaria as Op. 29 in February 1794: the edition ran to severa and André, Schott, and Gótz all produced editions before 1800. But all tions were of an arrangement for piano quartet (piano and strings). edition of the version for piano and wind instruments was not publish:: September l8(X)-b1, Gombert in Augsburg-four years alter the of Beethoven's quintet.79 Unless Beethoven had a manuscript copy oi t:,. nal version, which is unlikely, whlz did he write his Op. 16? What is t: reception of. iíit is not of Mozart's piece? A piano quartet that he knerrnally been a quintet for piano and wind? The lact that was 'universalh, in l945 appears much less clear in the wake of Gertraut Haberkamp's work on Mozart first editions,8() This example points up a variety of things. First, that among Mozart': the position the quintet holds has changed radicall1, between 1781 a.,_ present. However complex the position was in 1784-and the evidence from Mozart's pen only, not from the more widely articulated descripticrn culture of Francis II's Vienna-its critical position toda1, is precarious t:, parison with that of the piano concertos. Second, although critical the work sets it to one side. recorded perlbrmances of the r,r,ork seem to that it is a work that might take a more central role in a canonic discourciated with recorded rather than live períbrmance. Finall1,, and perhap. important, the example shows how views of canonic status are historical circumstance, which in turn demands systematic analysis, The attached to a given work changes with time, and accounts lbr the position margins of certain canonic discourses of such a work as Mozart's Ouin:. Piano and Wind. Reconstructing the horizon of expectations for the rlol,_ its recipients--tven as sketchily as has been done here, with publicatic:_ ;s r\Ilic dtllqa .Io uol1ua^Jalul eql Jo 1lnseJ e se Ála8-re1 ,qleorpur pe8ueqo ,nq .rn_ _ stq;,alqt8tl8au eu]t ]eq] 1e se.tn Ártnbue Ál.reloqos ro;1ce íqns e se algord s.IuI!> , -|'IpJ )lullDllrtl9 puu u4Út,tt5 lp udIqJDq 11 ,":,Á,rol-radeJ eql, pallec Álsnc ,..; -s! ill]s pue-spÁl }Irq'tt Jo 1red paturo.; slJom lulssou o,tr1 .s()96T e]pl aq] T:__,Iulssou ;o serado aq] suleJuoJ ]sJg oqJ .selduexa o'tr] JoplsuoJ ll]'lr eM IIPlus Jo sIBnpl^IpuI relnctlrud qll.tl ÁlJBeIJ ^Je^ pa]BIJosse eq ueJ Árolredar -tuoJ B .1o ro ,1ndlno s,rasoduroc u Jo ,lJo^' P .Io sn]Pls JIuouPJ aq} ut sa8ueu - ,eJn]InJ leJlsnu ut slueudola.lep luanbesqns Jo ]no esIJE pup s]I ]P {Jo1\/I eq] u| peqlJJsul q]oq eJe^l uolJlsod ctuouec 1uenbasqns s,r_ r SIq] peulluJelep e^eq ]Pql sol]llBnb ctraue8 eqJ ,uoI}PIuJoJ uou'J 3o sts.i-: --, aq} Jq uotldaoar ]o 1ÍJoeq] P .|o ]IJeIu eq] Se]BJ]suoruep-s() s 6, 1 eql o1 S( ) t 6 . tuo{ sepn]t]]e [EJulJJ ptlP ,s()6,6I Jq] u! punos pepJoJoJ .S()6l I eq] u| ! 6í srs-l,lí].)slo Jlliollr,),s,'tl-lorllJ ttot;rll-t,ry .u()llp1()nbs!tli i -- ll]lJJ Jql ]noqt) §^)tlJuul()J JJl]iPns-l].) 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X,enr; {lpbue a^rrmpoí rq; ,(s8ur4s puu ouerd) 1apenb-o ut o1 uru8e sI nreu{ Uel\oQli;; Ť|"", sP^l 9T ,d6 s.ualroqpeg pur .I"*.r's pa{IV Joď .{Jo^l síuezol[ ew'9611 ur pssoduro3 ,9I .do po 398 Mnrk Evcrist turn had set in motion the Breitkopf and Hártel collected works. It was the 19: that sawJacques Barzun's bookBerlioz andthe Romantic Centttry, the founda. - : of a Berlioz Society and its Bulletinin 1952, andtheinfluential 1957produc.: oíLes Troycns at Covent Garden.86 Two powerful forces were at work in .-'" admission of Berlioz into both scholarlv and performing canonic discoursc -: the subsequent decade: the foundation of the Nalv Berlioz Eclition in 1965 a, the beginning of colin Davis's persuasive series of recordings of the compo=* works.s7 Between 196() and 1969, Davis recorded all the major works of -,composer including Béatrica et Bcnedict and Lcs Troplensi98 only Bettvenuto Cc---,. was omitted. what is so striking about these endeavours is that they nearl]- ., took place in the British Isles-which is even now a source of rancour the Francophone world. A comparison between the status oť Berlioz's music - 1945 and 1995 reveals a striking growth in many fie]cls of musical actir..perlbrmance, recording, and scholarly action.89 There is an interesting, and less attractive, by-product of both the Rossini a:,: the Berlioz pro-iects that deserves attention. put simply, many oíthose rr.promote a composer so avidly for inclusion in the canon are just as quick to de.-: those whose works have been left outside. It is rare to find documentary eviden:: of this, but such derision of those left outside often finds its way into less forrr. contexts. The author of the Master Musicians volume on Rossini, while a less s.;nificant player in the inclusion oť the composer's works in the canon, is qu:r, to point to the shortcomings of Rossini's contemporaries. Much of Richa:: Osborne's discussion oíL'italiana in Algeri is built around an unlhvourable coi:.parison with Luigi Mosca's setting of the same libretto.9()In an address to t}:. Royal Musical Association in London in t992, the same author offered a,-. unscriPted distinction between Rossini's Il llarbiere di Sivigtia and Morlacch: , work of the same name. The latter, he said, sounded like'so much knitting,' These are not straightforward, uncritical restatements of history: the version. by Mosca and Morlacchi r,tere ultimately eclipsed b5z those of Rossini, but a das:, to assign judgements of value is dangerous in an environment in which pr.- s" Jacqucs l}arzun, Btrlioz llul Ilv Rontd,ltl(.(bll,Illu (I]()ston. l 9 5()): TIk, BůhOzsl(i?l.!| Billrlil s,as lirst pu[rlisl-. _ asaquartcrlyinl952.antlsub*'qucnllyycarlylřom1975:tlrcsignilicancco[lhe1957l,ťsTro!|ťnsploduction scholarshiP in the l 96()S is ackrrou'lcdgcd in D. Kcrn Ilrlloman. 'ill)i1ťll§, lť§'. ilr Nťil,(j,"vť Diúídun1J ()]' OpťrLt llls. s' llugh Macl)onald. ''l'hc Ncu, llcrli()Z ljdiliul'. rvllsllrll Ti1,1ť§. 1()6 (196j). ;l8.ss (]0lin l)avis"s l]crli()Z n]cordings liom tl)c l 96()s inc|uclc tlre lbllowirrg: l,'l)ttfanu dtt Christ(()ct. l 9otl); 8riri, ťt l}Úu'di( l (r\Pn 1 96]); Itarold cn llílli{' (()ct. 196)): S!|Dl|tuilil, lil,Ilílstiqlrť(Ň{ay 1 96 ]): Concert ()vcrtures (o., l965): lio''l(i) ťl ,hlliťllť(t]cb.-]VIan 196ti): 'l'c l)cum (Jan, 1969); /,ťs ?iouť,ls (scpt.<)ct. l969): (;,lilulť MťsJť,i. ,Vorts (Nov l 969). lror a c(xnplclc list ol' the recordings 0l' lhis pcriod scc [,talcolm \&ilker. 'Discograpiry'. in 1\l:] l]lyth. (iril/ Ddl,is (shcppcrlon. 1972). 61_]. s9 Kcrman(j\IlewCanonic\/ariati()ns'.l]5)listsl]c,rlioza|ortgsidci\,íussorgskyVercli.Rachmar)inol'l;andsibeli_, as ccttllptlscrs n,lrtlsc inťlusion llas changcd tlre 'stanclarti canon' bctu,een l 9]li (thc datc oí. his examplc taken [rr,: l\ldous liuxley's l'oíllL Colntťr Poiltt) and l9t] } (lhc dalc Ol'Kcrman's article)- T1] ll i chard ()sbornc. liossilri. N,l astcr ful usicia ns (1,ondon, l 9 li 6 ). 1 5 9-6 1 . '|'he ulr l artlu rirbic con parison is bafu : on tllc l!?llo )\i capricci ciclla sllrlc' Iiom ,\ct l ol'bolh works. "l ()sbornc. 'I{ossini and his t,ibretlists'. papcr rcad at lloyal lVlusical Associa(ion meeling. líndon. 1i Fe: 199). _, .]ns and recordings, let aL:::. , . -round of the works. do n_-. . ,:: exclusion of Morlacchr ,. , -,rtend liom the beginnrr.,:lťth-need serious Cott.tc_: , ::nlnation. , :llposers whose names be;_., .: :a eager to protect recent rů.:_ ,,, : is j\Ieyerbecr. A surrťpli:. _ " j: : _:om members of the ediia,:- ., - - -.; results. Whereas Osborn. , , - : ]])t to demonstrate Valuc,- : ,_.ral. One inlbrnrant (an inl!._ . - - s to the l98()s) declared t:. ,- _.nlv heard one unfepíť>c]--,: -:d a recording of Lc Prtlr/;i:, ' iat is so interesting in the.. : , ,",lduals who seek to adnlit ;: :: . iiberal critique of the can_,.,_ ]: ,,, to the conservative: to cl. .. . : \íorlacchi.94 Wh1, one nrig:,: -:, : _3 are offered as scholarl1, c_ _-.:_-: the ways in which hist.-,r--,, ,:s ]t matter, for example. tha: : . , _: ,c Teatro Argentino. rthcr.., - - ,ttled Italian court opera .:. ,: setting a new libretto b,,- : ., - ,-..lini's libretto written lbr : .. : ..ini ltas writing Íbr an Ita...:, _,,r elqeJno^P.Iun ue pUnoJts }|In; : :_:qJIE Jo qJntr{ .setle,rodtuolutl-- , :,5 sl ,uoupJ eql ul s)|JoM S.]Jr * _ ,: s ssa1 e allq,lt 'Iutssou uo aunlo_\ s:,: :;]oJ ssal o1ut Áe,tr s1I spug ua|o :: : :: _JpI^e ÁJB}ueulnJop pug o] elBJ s: _. lp o] {JInb sP ]Sn[eJe uoueJ aq] :j _,,,r Jsoq] Jo Áueul .1,1durs ]nd ,u _ ] _? lulssou eq] q]oq 3o 1cnpord-.iq ,;, _Á\,U - __\I]JB IeJIsnLu Jo splag Áuetu ut -l._ - _]ISnuI s,ZoIIJea Jo snlE]s eq] uJJ_.,:__ JnOJUPJ JO eJJnOS e ^rOU Ue_\a : . -ilreau Áeq] ]EtI] sl sJno^pepuJ .s: -,:J) oJlluaNldg Áluo ..:sur/io-lJ s,ll :.:_] Jo S{JOM JoÍPu eq] lle papJoJ.J > , _:sodtuoc eq} .Jo s8urproJeJ Jo SJIli: . .':2 C96I UILlOlJlPg ZOIU)fl l!1r\ ar{] . - sJsJnoJslp JluoueJ 8utruro.;rad pu: :-1 ul IloM }P aJJM sJJJoJ JnJJJ,\1, - ]]]JnpoJd ls 6,T lPIluenIJuI eq] puÉ: : - _ I]EpunoJ eI]]'Íi]nTDJ JIJI|DL\|[ Jit -. . ! 6 T eq] se^{ ]I ,S{JO^1 pe]JelloJ Ie] .j}j:j 4(X) jl{arŘ ťr,crist bOtmJidc subjects íbr scholarl1, enquiry, those who 1,liork on Morlacchi and beer ma1, have to contend with hostile |udgenrents oť value liom tht>. would have been in an identical position only thirty years ago. Implicit in the lbregoing discussion o1'liberal critics becoming conserr-a. : the question of relativism. This was the point of disagreement, referred to ť1- *between Krummacher and Dahlhaus in the early 198()s. The point at issi-l; -:: that a theory of reception procluces a wide range of documents that bear rr ... ,. to the echo ol'a work across histor,v and thereíbre to a series of competirre -:.-.pretations that aífect our current view oť their value and their placein a ca:, discourse.96 How are we to judge the value oť one interpretation over Ii:. another? If we consider again the example of Sibelius's Fifth Sympho.\- :]arbitrate definitively between the composer and Tove1, about the meaning ,_. .Finale's second theme. manv might agree that we should prefer the conp. }:view to that oí'Tovey. But why? In the English-speaking world at least, Sibe.- -comments were not made known until 199 ], and even in F.innish lt€re nol .:, erall5z known before 1965. For near§, sixty 1zears, English musicians fan:__.r with Tovey have had his image of Thor swinging his hammer at the back of ]:.. : minds, and this clearly had value for conductors of the r,tork, its audier::: critics, and scholars. claiming that sibelius's interpretation automaticallr :- =. more value than Tovey's-just because it comes Í}om the composer-is to p:. , lege our current reception of the rtork over that of the period igls-g;. tt i. . merely to replace an 'incorrect' account by a critic by the composer's .Corl.:interpretation.T ; If there are problems with these sorts of evaluations, how have oth., attempted to come to terms with this question of relativism? Dahlhaus olIe::: the idea oť the kairos or point tlc la perJbction: a time in a composition's hist,- . when its reception was more accurate, more sensitive, to the artistic naturů the work, His example, which he had been cleveloping since the earlv ]97()s, il-.. the reception of Bruckner's sl,mphonies in the l92t'r.''* Krummacher tt., right11, unhapp1, with this iclea. His critique of Dahlhaus is well put: But the suggestiorl does not orrly presuppose that it is krrown lionr tlre start \11-]..: such a kniros is to bc íbund. It also presupposes trust in a hierarchy oť values: one has: '"' Set, lhc rcl'crenccs proviclccl in n. I 4 abirrt. " ll is slrikin8 lhat tto rcllrcncc t0.1l)\t}, is maclc in I lcptlktrski. .si/,ťjllls: .s4,np/l(rii/ .\o. 5, n(}1 cvcn ilt ilre il::,_ 11{)7),'l'ltc ttulltltr clcclarcs tltal rcllrcnces t()'ll)\,c},lr,cre omiltccl dclibcratcly: ,r\ctuall1r l lell ou1.Iilre1, lirlm -Sibclius jlh btxlk tttt PurPtlsc, lt n,as ollc ol'1hc carl},(iccisiOns, ltasicall1,, l u,as s() lirccl i,t,ttrut uI,| qu()1ati.n th. didn'1 h'i]nl to rcť]'ťlc it, ť\tn in rcluting i1,'l'hc idťa n,as t() (,clipsc it lotilll}i t() rclldťr it irrclevant, l]ut il pr()t]ij] clidn'1 urlrk, ll's too lirnlly ingraincd inl0 1hc rccťpli()n tratlitiorr . . . tlrc crror. in a|l likclihlrltl. u,ill conljttutpcrsist' (clcclrl)niť c(!nlnuniťali()tl 1() llle aulhot 2.{ ]\lay l 99j),.l.|l15 ls iln cxlrclnť p(}siliott t() 1akť in lcrms ()l :: _ cVillutlli()n ()l' colllpcling intcrprclilti()lrs. alttl ctlultl lrc, scctr tts tt ottcc-rcnrorccl cxatrlplc ()l, privilc8ing tlre conrpL,t,()\'er llr('ť(nrtcxl-Prclirritl8 il iust-rccovcrť(i ť()mposcr's vicu,(}l' it nrlrk ttt a crilic,s viťw ttl, a ullrk utll cmlxL]c.: i!l a musica] culturc, ll sltoultl hc slrcsscd, ltort,cvcr, 1hil1 thc ab()\c c()inmcnls rcprcscn1 no ťriliquc ttl thc voIur uttdcr discussitltt. bul orl11,ol'a gerrcrtll tcltdcncy ()l.u,hiťh thc bq)k is just onc pafl. ''- I)illllhaus, li)|lllúilil)|11. 1 77: idclt, 'Zur Wirkungsgcscllichlť mUsikalisťl)cr \^rcrkc,. Nťlt, Zťilsl./lríi/iir ,\lll! . ll]ll.,, ]r,]li-lrl, right away which qualities oía Only then would one not hare 's point of depariu:. receptions of the rtort r the obiective status oi a :: . at present. Both Krumnla--:.. queslion ol relativism,,:.,:., chaptex it may be said that Yoď arrd that a cclnsideratiol , n (borrowed lrom Ing;.::. l ()() -_: question oť hclrt to deal :, -- us may be answered by vitr recent thought on the _su'a,._ Smith, and especiall,.- :. is enough to show how the_v dií _ ..,nction between relativisnl ;: -- Jistinguish betvl,een cofil]= , )1are the need to arbitrate , : |0 b€ argued c.lťťpíin the tr: - ::,llogical agenda as does a :. : need to arbitrate bcttt,eerl , ]. ]een put excellentlv bv Herl:_., ]l r]crmřltl rcads: 'lntlcs sclz der \ --.. - . .gl. lir bcdingt aucIt cltts ZulTaurt: llcs \\trks in uclcher Zeil am alllr-* , - , -,,1,1\ l{(,Z(,Jllitlll\7ťu!lli\\( lli.ll .l' ,' ]]! lul) lcrts ťitcd b1, botll l)aIrlhau. , -: :h rlcl: I'rolrlťmiilika ttltlasu \trl: . _]L\dli()n dcs IitťrarisCl}cll \\trks-l,- ,iik. s,+-l l J: lirrglish 1rilI]s, b\ |t)I]: tl rll' \crucltt's \\orks', itl l'clťr st. - .,,r\ iť sťrics. a] (/\uslin.'l'ex,, l 9s] \IuLitr,,rskl l(\ls,l. 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Jo s]Itull eq] puoÁeq sI uolssnJslp qons q8noq]lv ,Iusl^I]ts|ar 1o uotlsanb esuodsáJ s.e{JIpoA xIlec a}IJ snpqIqEC pue laqJerutunJ) qloB ,1ueserd ]e o] llnJUJIp SI ]I ]eq] uol1rsod e ,stsÁluue IPJIsnlu P Jo snlP]S antlcafqo eql luq] uol]lsod P Jlaslt {Jo^r eq} Jo SISliIeue q]|^\ {JoM eq] Jo suol]deJoJ 3 ;o uosrruduoJ e}IÁut o1 st uelqcl.rd slq1 Jo] a,rnlredep ;o 1utod s,req .Jo sluaulnJop 1ua8.rarrtp Áq pa8eluu,rpeslp eq o] e^eq }ou auo plnom rtaq1 ,l1ti, qJIr{M ]e Álalerrdorddu ]soul pJAIJJoJ aJalu )Jolu u 1o setltlenb qctq,lr Áe,lre 1tlÉtT ()Ť srs-llioJslo Jrilollr:,),s,)I.10JlíJ ttot]ri.t.-t.lu ., )t]l )7 ,rll,}, ,.r)JJ\\ JJtl]\l l]] . _ '],ttlrl lttrl lsn . 4 Jo JnblllJJ otI }uesaJdil sluJuue] ilú! ] ]íj(),!\ t] .J() ,!\JI^ s,JlIIJJ I] ()] \] -,j] ilIl3JlI^ud.|o Jltlutexa partrur-,.l] ,)]il]l ol tl()Ills()d JulJJlxJ ill) . . |\ ,Po()t{lIJlll IIt] tll ,JoJ.l.) iLl] -]] ]ut),\JJJJJI ll JJptIJJ o) 1(lll]] : Pl(J ]l]t|t.|o pJJll os st]u l ii , - . ie9J lno UJ| l ]íJlBnlJV :Álal€Ja;rpp pq3 o}1á lotl ,9 .o1ul liao4dulr.9;sn4aq5 r5c* ] - :§anlPl\ 1O lrlCrUratt1 P t;l _:' -, .j'i:j aq] uloJl ulllou) sl 11 _:, : :1nd 1aan sI sneq1qso Joil .npeuflunJ) go.S0Z6T 9{p q § 51 Ál,ree aq1 eculs 8rndoJar+l JI]SIIJP eq] o] 'e^I]lsues :_ , s.IIoBIsoduoJ e uI surB B :lr,g mPqFIeo ťusI^IlPIaJ Jo uopse eleq Aroq 'suouEnlE^g Jo §u s.Jesoduoc eql Áq cpFJ p q lI,€6-§r6T potred eq1 Jo rBIp .tr s--. lesodtuoc eql ulo4 seuxxr iecgeruolne uoqeleJdJelul §.§q S1I '{Jo^,l eql Jo sJopnp0o 'J'Pq Jql le JJ(utrluq stq i:.,-, sue|c|sntu qqPug .sJEeÁ ril! eJefi qsluuld ul ue^e puB.t66 '$pel le plroan 8uqeeds-q$ eq} JeJeJd plnoqs e^A lptp r : jTLIpaIu aq] ]noqu Áa,ro1 pu,, _,.. ,:qdu,t5 qlJlc s,snIIaqIS .1, ] _ ř,Áo uolleleJdralur euo Jo tlF e ut eceld.neq] pue enlea,J.§xp, IuoJ Jo selJes E o} eJoJeJnp .r€Jq ]uql s]uelunJop .Jo aE-u: _ - . }P ]ulod eqJ ,s086I Álree eq p3JJeJeJ '}uetuaeJ8Esrp Jo lm 8uturocaq sJI}IJJ [aExH ,o8p sJEeÁ rrr.rqi,ir"" i §rq] ulo{ enlp^ Jo slueuraEpní ; PUe tqJCeIJOI/t UO {JO^i\ Oq^!,J§fr 102 fuínrk Evcrist and by Feyerabend in his critique of Popper and Putnam.l')}Il one is an idea of a receptiorr history of music that simply tracks the ' musical works, there is contestable ground bctween a relativist ancl ail tivist. Ií.conversely, reception theory is taken as one of the premisses of a ticated history of music that takes its synchronic dimension serious-- difficult to identify an1, complaint that an objectivist might make. The central claim of this chapter has been that locations of receptiorl substantially with contingencies of value, and therelbre that a theor1, ,-,l' tion is fundamental to a diagnosis of canonic discourse. This is a basis f,-: of history that assimilates both synchronic and diachronic trajectories. fuses a traditional history of works, compo§ers, and institutions rt,it]-- : worked-out history of music based on a theory of reception. The result a significant contribution to a history o1 nrusic conditioned by, lbr tural anthropolog1, or attttaliste thought.r('+ This is a very difl'erent the arid concept of separate spheres of historical endeavour-one musir one reception history---envisioned by Dahlhaus. Whatever type of rative one is trying to write, whatever philosophy of history one this sense it does not matter whether the perspective is Whig. ntrtrnlisti Historicist-reception theory, and a critical account of canonic deserve a place centre stage in the theatre of music history. ror llc}crabcnd. '\i()lcs ul ltclativism'. 79-8 ], l()r l]oth thcsc ltistoriographical tclldcncics arc tllc victims 0l' a rcluctattce to ťngagc wilh lI)c pr.. ti()ns they embtlc|y lltlr thc cultural-antlrropological vicu,()l' histor],scc (lilry'll)mlinSon. "I'hc \\ťr ť()ntcxtlbrNlusic()l()!ly'. l(]t/l-(i]llll,?,t,íilsi{,.7(198.1).];()6f.ancl llrctrcnchantcommcnlsabtru: t'hilip\{|}olrlnrarl.'()rrlhcl]nrcrnarkablcini\,íusic'. l9lll-(illtl1,1/,\,ll/sir, l6(l99]).]()7n. 17,'I'hť ol'Ilistorical 1h()ugllt Ilas ?tn c\tl} morc tclruous grip oIt musicolog1,: scc Ianc l;ulťI}cr.,CUrrťt1l CuIturc and thc l\,lcaning ol' ('ullural IIisl()ry in France'lixlay'. SIi,úOrd l\1,tx]1 lirrirrr. 9 (19lii WilliamWcbcn'Nícnlalila.,traditionct()rigillcs(lucalr0IlITusicalcnlrfanťcclcn^nglclcrrcauxViii'.-. lil)lkrniťs, sol,i(Jl(js. .il,iJislltilrls, .14 ( l 9 lt9 ). lt-l9-72, Althouglt Irulcltcr's ctltclusioIl may n01 bc lrcr cxpl?lllali()tl trl'atutrtiistnr is l)l' grcat valuc. but should be rcad in coniunction u'ilh morc scepti.,, lloisi/)ltlť ,lilllill lřorn thc Ánglo_i\mcrican ntlrlcl (such as llobtrt I)arnton's illtroduction trl ?'llr (ir,.:: i]ulOtht l]l)iso(lťs in l:Hu]l Clll]ult!.It]sll)ru (Ncu,Ýlrk. l9l]4) ).'l'hc publication ol'\,\icltr's artiťlť]' "1rlrlrlrs: lJ.§ť spcaks lilr itscll] The \ Starl subject of this chapte or prinled, tt,helhcr ,,r : oI developmenl. dtr. : a nusical text need be ,,,,: .rrd indeed whether a per] :, text. I shall retllrn t1_ : :, with a tacit assumption tl :.Iten or printed musical tel: blind trust exactly when bďi at many points tt,her: .ramples r,till illustrate thl: , irst is a case of opposites: :,:l the manner in which th. . as those oť Artur Sch t: " _ , :iurs, fingerings, addecl t1., :, , and advice on horr- tc, a:, _riginal melodic material, >understanding oť (sonre:.:, and advanced musician ..and mattv perforntert. , as stemming lřom Beeth.,,,. back to the composer: tl. view exemplified bl t:l. l,,,hich annotations nright |. .. that could impl1, specific a: schnabel's cdition lbr commenl. l m ol'a íine musical mind. I n,iýr tlg is a brief but lbndamcntal diffusb o lll Souls' Studies, 1 (london. 1 96 ] l. ]r-