Le 1er juillet 2017
de 11h00 à 11h30
Le Patio (université de Strasbourg)
22 rue René Descartes, 67000 Strasbourg
amphithéâtre 4
Séance - Formenlehre, Old and New
Pré-acte / Acte
Auteurs : Timothy Jackson et Veijo Murtomäki
The discussion of the premises of analytical research in Classical music in general—and the symphony in particular—has been more active than ever in last twenty years or so. Perhaps the most widely accepted consequence to have been drawn is that a profound knowledge of the writings of theorists of the Classical Era like Heinrich Christoph Koch is as necessary for such research as a command of modern analytical concepts and techniques, including Schenkerian analysis. Since Koch’s theory of “Punctuation Form” is based on the coordination of harmony and form (rather than melody, as in the nineteenth century), and a Schenkerian approach to form on the counterpoint between formal design and tonal (i.e., harmonic) structure, both approaches are genuinely compatible, and in combination may contribute to our understanding of form. The corpus of this study consists of 41 G minor symphonies from around 1740 to the early years of the 19th century, contributed by 27 composers from Italy (4), Spain (1), France (5), Belgium (2), the Netherlands (1), England (1), Denmark (1), Germany (4), Austria (7), and Bohemia (7). Our synthetic approach combines neo-Kochian and Schenkerian analysis to reveal remarkable subtleties in the manifold formal-tonal plans of G minor symphonies’ first movements, not just by well-known composers Joseph Haydn and Mozart, but also contemporary masters Sperger, Eichner, Rosetti, Wagenseil, Vanhal, Kozeluch, and Joseph Wölfl.
