THE UNIVERSITY OF TEXAS AT
Graduate Program in the Humanities
HUHI 6325 Fall 2005
Section 501 Call
# 13150 Jo
4.914 M
Professor Gerald Soliday Office: Jonsson 5.406
Office Hours: M and W 10 - 10:45 a.m., M 6 -7 p.m., and by appointment: 972-883-2760
E-mail: soliday@utdallas.edu Internet:
http://www.utdallas.edu/~soliday
HUHI 6325 Movements in Thought and Culture
This
course attempts to situate Mozart concretely as a “thinking artist” in the
society and culture of eighteenth-century Central Europe. As the seminar focuses on group
interpretation of the major operas, it also seeks to appreciate their agency as
carriers of ideas and participants in the general intellectual and cultural
life of Mozart’s time. Thus readings and
discussions will concern his biography and career, the status and working
conditions of musicians and writers, art or aesthetic theory, artistic
patronage and politics, cultural nationalism and cosmopolitanism, as well as
other manifestations of enlightenment and counter-enlightenment values in the
Germanies.
Course requirements include active participation in discussions, an oral
report on an important book or scholarly debate, as well as a final paper of
roughly twenty pages. Students may
choose writing projects that match their own interests or places in the
graduate program: a research paper suitable for revision in an M.A. portfolio,
a pedagogical or scholarly report suitable as a draft for an M.A.T. casebook
essay, or a critical review helpful for preparing doctoral exam fields.
All written work and class discussions for
this course are in gender-neutral, nonsexist language and rhetorical
constructions. Such practice is part of
a classroom situation according full respect and opportunity to all
participants by all others.
Written
work is submitted in paper copy, without cover pages or special folders. Simply put your name and course
identification at the top of the first page and staple the upper left corner. Papers are always paginated (usually at the
bottom and center of each page after the first), double-spaced, and presented
in clear 10- to 12-point type.
Parenthetical
annotation is now strongly recommended, though any form of annotation (foot- or
endnotes) and bibliography is acceptable for this course, provided that you use
it correctly and consistently. Probably
most appropriate for your work in the arts and humanities are standard guides
like Joseph Gibaldi’s MLA Handbook
for Writers of Research Papers (6th ed.; NY, 2003) or Kate L.
Turabian’s Manual for Writers of Term
Papers, Theses, and Dissertations (6th ed.; Chicago, 1996).
At
the same time, Diana Hacker's Rules for
Writers (5th ed.; Boston and NY, 2004) summarizes MLA stylistic
conventions, outlines current grammatical practices and mechanical
presentation, and offers helpful guidelines for researching and writing
papers. You may find it, her Research and Documentation in the electronic
Age (3rd ed.; Boston, 2002), and her Web site (www.dianahacker.com) especially useful
for your work in the course this semester.
Any
student who has not already read William Strunk Jr. and E. B. White, The Elements of Style (4th
ed.; Boston, 2000), should do so immediately.
I
should also mention that the eleventh edition of Merriam-Webster’s
Collegiate Dictionary (Springfield, MA, 2003) is now the standard for
everyday university work.
Most required readings as well as some recommended items for the course are
on reserve in the McDermott Library.
Paperback books used extensively are also for sale, if you wish to
purchase them, both in the University Bookstore and at Off-Campus Books. Rather than being on the library’s reserve
shelf, however, shorter readings marked with an asterisk (*) are available
online through the copy of this syllabus on my Internet Web site. Please note that those materials are under
copyright, you must always cite them properly, and you must have a password to
gain access to them. I will give you the
password in class.
For our analysis of the five Mozart operas studied in the course, you
should plan to see a performance of each on DVD, if at all possible, and if
not, do listen carefully to a good recording and follow the libretto as best
you can. Performances of each opera are
available on DVD and CD in the reserve collection in McDermott, but I have not
asked the bookstores to stock them.
Should you decide to acquire your own collection, from whatever source
you decide best, I have made some recommendations of specific recordings at the
end of this syllabus.
Please also note that there
will be some changes in the following schedule. As they occur with our decisions about
student reports, I will announce them in class and post them on the syllabus at
my Web site on the Internet. Please
check the Internet site each week.
IMPORTANT NOTICE: all course correspondence by e-mail must now occur through the
student’s UTD e-mail address. UT-Dallas provides each student with a free e-mail account
that is to be used in all communication with university personnel. This allows
the university to maintain a high degree of confidence in the identity of all
individuals corresponding and the security of the transmitted information. The Department of
Information Resources at UTD provides a method for students to forward email
from other accounts to their UTD address and have their UTD mail sent on to
other accounts. Students may go to the following URL to establish or maintain
their official UTD computer account: http://netid.utdallas.edu/.
Every effort is made to
accommodate students with disabilities. The full range of resources available through
and procedures concerning Disability Services can be found at www.utdallas.edu/student/slife/hcsvc.html.
Scholastic dishonesty includes, but is not limited to: cheating,
plagiarism. collusion, and falsifying academic records. Please familiarize yourself with the
university's policies concerning scholastic dishonesty at www.utdallas.edu/student/slife/dishonesty.html.
22 Aug Introduction to the Course
29 Aug The Public Sphere &
European Culture in the Old Regimes
Discussion of T.C.W. Blanning, The Culture of Power and the Power of
Culture
(Labor Day)
12 Sep The Genius from Salzburg: Biography
& Mythology
Discussion of H.C. Robbins Landon, Mozart:
The Golden Years 1781-1791, and William Stafford, The Mozart Myths: A
Critical Reassessment
Instructor’s Report on David Schroeder, Mozart in
Revolt: Strategies of Resistance, Mischief and Deception
Report on Aleksandr Pushkin's
Interpretation of Mozart and Salieri (Marina Ozernov)
Recommended: Maynard
Solomon, Mozart: A Life
Volkmar Braunbehrens, Mozart in Vienna 1781-1791
Robert W. Gutman, Mozart:
A Cultural Biography
Wolfi in Amadeus: A Popular Representation of Musical Genius
Viewing
of scenes from the film Amadeus (1994; director’s cut, 2002) directed by
Milos Forman and based on Peter Schaffer’s play
19 Sep Music and Musicians in Eighteenth-Century
Discussion
of *William Weber, "The Contemporaneity of Eighteenth-Century Musical
Taste," Musical Quarterly 70
(1984): 175-194, and
*The Classical Era: From the 1740s to the end
of the 18th Century, ed. Neal Zaslaw (Englewood Cliffs NJ, 1989), ch. 1
Report on Zaslaw, chs. 2 (Italy), 3 (Paris),
and 11 (London) (Philippe Baugh)
Enlightenment
in the Germanies
Discussion of *The Enlightenment in National
Context, ed. Roy Porter and M.Teich (Cambridge, 1981), chs. 7, 8, and 9; *Immanuel
Kant,
“What Is Enlightenment?” The Enlightenment:
A Comprehensive Anthology, ed. Peter Gay (NY, 1973), 383-389; *H.B. Nisbet,
“’Was ist
Aufklärung?’: The Concept of Enlightenment in
Eiighteenth-Century Germany,” Journal of European Studies 12 (1982):
77-95
[McDermott Llibrary] *James Schmidt, “The Question
of Enlightenment: Kant, Mendelssohn, and the Mittwochsgesellschaft,” Journal
of
the
History of Ideas 50 (1989):
269-291 [McDermot Llibrary]; *James Schmidt,
"What Enlightenment Was: How Moses Mendelssohn and
Immanuel Kant Answered the Berlinische Monatsschrift," Journal of the History of Philosophy 30 (1992): 77-101, and *Derek
Beales,
“Christians and ’philosophes’: the case of the
Austrian Enlightenment,“ History, Society and the Churches, ed. Derek
Beales and Geoffrey
Best (Cambridge, 1985), 169-194
Report on Kant's view of enligtenment and his
aesthetic philosophy (Jack Potwarka)
26 Sep Mozart Before
Discussion of Nicholas Till, Mozart and the
Enlightenment: Truth, Virtue and Beauty in Mozart’s Operas, chs. 1-6
Report on Zaslaw, chs. 6 (Salzburg), 8 (Mannheim), and
9 (North Germanies) (John Spriggins)
Vienna as a
Discussion of *Zaslaw, chs. 4 and 5 (Vienna)
and 10 (Esterházy Court); *Christoph Willibald Gluck, “Letters,” The
Enlightenment: A
Comprehensive Anthology, ed. Peter Gay (NY, 1973), 469-477; *DerekBeales,
“Court, Government and Society in Mozart’s Vienna,“
Wolfgang Amadè Mozart, ed. Stanley Sadie
(Oxford, 1996), 3-20; idem, Mozart and the Habsburgs
Report on Peter Kivy, Possessor and the Possessed:
Handel, Mozart, Beethoven, and the Idea of Musical Genius (Monir
Saleh)
3 Oct Enlightened
Orientalism?
Discussion
of Mozart – Stephanie, Die Entführung aus dem Serail (1782), and Till,
chs. 7-9.
Read
the *snyopsis in Thomas Bauman's
volume in the series of Cambridge Opera Handbooks (COH).
Report on interpretations of Entführung: Bauman (COH)
(James Welch)
Report on Matthew Head, Orientalism, Masquerade
and Mozart’s Turkish Music (Justin
Kirk)
Religion & Enlightenment: The Jewish Question
Report
on Nathan the Wise [1779] by Gotthold
Ephraim Lessing with Related Documents, trans. and ed. Ronald Schechter (Peter
Onyebetor)
Report on Shmuel Feiner, The Jewish Enlightenment (Blake Remington)
Report on Klaus Epstein, The Genesis of German Conservatism, ch.
3 on "Religious Controversies"
(James Jones)
10 Oct Social Order & Moral Principles in Figaro
Discussion
of Mozart – da Ponte, Le nozze di Figaro (1786) and Till, chs. 10-13.
Read
Tim Carter's *synopsis.
Reports on Figaro interpretations:
Carter (COH) and Andrew Steptoe, The Mozart –Da Ponte
Operas (Mariusz Galczynski)
German Drama as Social Criticism: Storm and Stress
Report on Friedrich Schiller, Kabale und
Liebe [Cabal and Love]
(1784) (Serin Hetou)
17 Oct The Rake Punished
Discussion of Don Giovanni (1787), and
Till, chs. 14 and 15. Read Julian
Rushton's *synopsis.
Reports on interpretations of Don Giovanni: Steptoe, Rushton (COH), and Charles Ford, Così?
Sexual Politics in Mozart’s Operas
(Sherry
Wilder)
“Let there be Truth”:
The Classical World as Moral Example?
Report on Johann Wolfgang von Goethe, Iphigenie
auf Tauris [Iphigenia in Tauris]
(1787) (Kevin Beverage)
24 Oct A Musical Treatise on Human Nature?
Discussion of Così fan tutte (1790), and
Till, chs. 16 and 17. Read Bruce Alan Brown's
*synopsis
Reports on Così interpretations: Steptoe, Brown (COH), and Ford (Krista
Roscoe)
Mozart Modernized
Viewing of Destination Mozart: A Night at
the Opera with Peter Sellars
Report on Peter Sellars's production of Così, with viewing of scenes from the recently released
DVD (Elizabeth DeRobio)
Recommended:
David Littlejohn, "Reflections on Peter Sellars's Mozart," Opera Quarterly 7:2 (1990): 6-36
31 Oct A Turn Inward: Mozart’s Spiritualism
& Romanticism?
Discussion of Die Zauberflöte (1791) and
Till, ch. 18 and Epilogue. Read Peter
Branscombe's *synopsis.
Reports on interpretations of the Magic
Flute: Branscombe (COH) and Jacques Chailley, The Magic Flute: Masonic
Opera
Report on M.F.M. van den
Berk, The Magic Flute: An Alchemical Allegory (Gary
Brown)
Report on the Development
of Folklore and the Study of Popular Culture in the Eighteenth Century (Nina
Serebrianik)
Discussion of Paper Assignment: General Topics
7 Nov A
New Aestheticism?
Read the instructor’s *outline of Paul O. Kristeller, "The Modern System of the
Arts," Renaissance Thought and the Arts (Princeton, 1980), 163-227
Report on Martha Woodmansee, The Author, Arts, and
the Market: Rereading the History of Aesthetics (John
Williams)
Report on Jonathan M. Hess, Reconstructing the Body
Politic: Enlightenment, Public Culture, and the Invention of Artistic Autonomy
(Tim
Kindy)
Noble Simplicity
& Quiet Grandeur? Classicism & Historicism
Report on Alex Potts, Flesh and the Ideal:
Winckelmann and the Origin of Art History (Margaret Adams)
Further Discussion of Paper Topics: Research Strategies & Initial Hypotheses
14 Nov The Notion of a Counter Enlightenment
Discussion of *Isaiah Berlin, “The Counter-Enlightenment,” Against
the Current (NY, 1980), 1-24, and *Geraint
Parry,
“Enlightened Government
and its Critics in Eighteenth-Century Germany,” Historical Journal 6 (1963): 178-192
Report on Isaiah Berlin, Three Critics of the
Enlightenment: Vico, Hamann, Herder (Michael
Haney)
Further Discussion of Paper Topics
21 Nov Further Discussion of Paper Topics
28 Nov Paper Due. Party at the Instructor’s Home
Please
attach a stamped self-addressed envelope to the paper, so I may return it with
comments and your marks for the course.
HUHI 6325: Mozart and the German Enlightenment Some Recommended Books
The Letters of Mozart and
His Family, ed. and trans. Emily
Anderson (3rd ed.)
Mozart's Letters, Mozart's Life, ed. Robert Spaethling
Otto Erich Deutsch, Mozart:
A Documentary Biography
The Mozart Compendium: A
Guide to Mozart’s Life and Music, ed.
H.C. Robbins Landon
The Cambridge Companion to Mozart, ed. Simon P. Keefe
H.C. Robbins Landon, Mozart:
The Golden Years 1781-1791
H.C. Robbins Landon, 1791:
Mozart’s Last Year
Ruth Halliwell, The Mozart
Family: Four Lives in a Social Context
Stanley Sadie, The New
Grove Mozart
The Operas
Rudolph Angermüller, Mozart’s
Operas
Bridget Brophy, Mozart the
Dramatist
Edward Dent, Mozart’s
Operas
Daniel Heartz, Mozart’s
Operas, ed. Thomas Bauman
William Mann, The Operas
of Mozart
Charles
Osborne, The Complete Operas of Mozart
Carolyn Gianturco, Mozart’s
Early Operas
Thomas Bauman, W.A.
Mozart: Die Entführung aus dem Serail (Cambridge Opera Handbook)
Andrew Steptoe, The Mozart
– Da Ponte Operas: The Cultural and Musical Background
Sheila Hodges, Lorenzo da Ponte
Lorenzo da Ponte, Memoirs, trans. Elizabeth Abbott and ed. Arthur Livingston
Tim Carter, W.A. Mozart:
Le nozze di Figaro (Cambridge Opera Handbook)
Julian Rushton, W.A.
Mozart: Don Giovanni (Cambridge Opera Handbook)
Bruce Alan Brown, W.A.
Mozart: Così fan tutte (Cambridge Opera Handbook)
Peter Branscombe, W.A. Mozart: Die Zauberflöte (Cambridge Opera
Handbook)
Jacques Chailley, The
Magic Flute: Masonic Opera
Musicians & Musical Life
The
Classical Era: From the 1740s to the end of the 18th Century, ed. Neal Zaslaw
Authenticity and Early Music, ed. Nicholas Kenyon
William Weber, “Learned and
General Musical Taste in Eighteenth-Century France,” Past & Present 89
(1980): 58-85
William Weber, The Rise of Musical Classics in
Eighteenth-Century
Henry
Raynor, The Social History of Music
The
Social Status of the Professional Musician, ed. Walter Salmen
Patricia
Howard, C.W. von Gluck: Orfeo (Cambridge
Opera Handbook)
Downing
A. Thomas, The Aesthetics of Opera in the Ancien Régime 1647-1785
Opera and the Enlightenment, ed. Thomas Bauman and M.
McClymonds
Thomas
Bauman, North German Opera in the Age of Goethe
M.S.
Morrow, Concert Life in Haydn’s Vienna: Aspects of a Developing
Musical and Social Institution
H.
C. Robbins Landon, Haydn: Chronicle and Works
David
P. Schroeder, Haydn and the Enlightenment: The Late Symphonies and their
Audience
Volkmar Braunbehrens, Maligned
Master: The Real Story of Antonio Salieri
Heinz
Gärtner, Johann Christian Bach: Mozart’s Friend and
Richard
van Dülmen, Society of the Enlightenment
David
Sorkin, The Transformation of German Jewry
David Sorkin, Moses
Mendelssohn and the Religious Enlightenment
Steven
M. Lowenstein, The Berlin Jewish Community: Enlightenment, Family, and
Crisis, 1770-1830
Isabel
V. Hull, Sexuality, State, and Civil Society in Germany, 1700-1815
Marion
Gray, Productive Men, Reproductive Women: The Agrarian Household and
the Emergence of Separate Spheres
during the German Enlightenment
The Polity &
Political Culture
Enlightened
Absolutism: Reform and Reformers in Later Eighteenth-Century Europe, ed. H. M. Scott
James
Van Horn Melton, The Rise of the Public in Enlightenment
The
Transformation of Political Culture: England and Germany in the Late Eighteenth Century, ed. Eckhart Hellmuth
Rethinking
Leviathan: The Eighteenth-Century State in Britain and Germany, ed. John Brewer and
Eckhart Hellmuth
John
Gagliardo, Germany under the Old Regime, 1600-1790
Rudolf
Vierhaus, Germany in the Age of Absolutism
Michael
Hughes, Early Modern Germany 1477-1806
Charles
Ingrao, The Habsburg Monarchy
1618-1815
Ernst
Wangermann, The Austrian Achievement 1700-1800
Derek
Beales, Joseph II and T.C.W.
Blanning, Joseph II
C.B.A.
Behrens, Society, Government, and the Enlightenment: The Experiences of
Eighteenth- Century France and
Gerhard
Ritter, Frederick the Great
Charles
Ingrao, The Hessian Mercenary State
Intellectual &
Cultural Life
Thomas
P. Saine, The Problem of Being Modern or The German Pursuit of Enlightenment
from Leibniz to the French Revolution
Frederick
Beiser, Enlightenment, Revolution, and Romanticism: The Genesis of Modern
German Political Thought 1790-1800
Frederick
Beiser, The Fate of Reason: German Philosophy from Kant to Fichte
Frederick
Beiser, German Idealism: The Struggle against Subjectivism, 1781-1801
Klaus
Epstein, The Genesis of German Conservatism
Peter
Hanns Reill, The German Enlightenment and the Rise of Historicism
Robert
T. Clark Jr., Herder: His Life and Thought
Jonathan
Knudsen, Justus Möser and the German Enlightenment
Christopher McIntosh, The
Rose Cross and the Age of Reason: Eighteenth-Century Rosicrucianism in Central Europe
and Its Relation to the Enlightenment
Robert
A. Kann, A Study in Austrian Intellectual History from Late Baroque to
Romanticism
James
Van Horn Melton, Absolutism and the Eighteenth-Century Origins of Compulsory
Schooling in Prussia and
Charles
O’Brien, Ideas of Religious Toleration at the Time of Joseph II
Henri
Brunschwig, Enlightenment and Romanticism in Eighteenth-Century
Victor
Lange, The Classical Age of German Literature
T.J.
Reed, The Classical Centre: Goethe and Weimar 1775-1832
Walter
Bruford, Culture and Society in Classical Weimar 1775-1806
Nicholas
Boyle, Goethe: The Poet and the Age
Robert
Richards, The Romantic Conception of Life: Science and Philosophy in the Age
of Goethe
Lessing: Epoche – Werk – Wirkung,
ed. Wilfred Barner et al.
H. Kiesel and P. Münch, Gesellschaft und
Literatur im 18. Jahrhundert: Voraussetzungen und Entstehung des literarischen
Markts in Deutschland
Albert
Ward, Book Production, Fiction, and the German Reading Public 1740-1800
Pamela
E. Selwyn, Everyday Life in the German Book Trade: Friedrich Nicolai as
Bookseller and Publisher in the Age of
Enlightenment 1750-1810
Walter
Bruford, Theatre, Drama and Audience in Goethe’s
Die Entführung aus dem Serail (1782)
Gardiner: 1992 recording for DG Archiv available on CD
Le nozze di Figaro (1786)
Erich Kleiber: 1955 recording for Decca available on CD
Böhm: 1968 recording for DG available on CD and
1976 television production directed by Ponnelle now available on DG DVD
Östman: 1981 performance at Drottningholm for Swedish
television, now on Image DVD
Gardiner: 1993 performance in Paris available on DG Archiv DVD
Don
Giovanni (1787)
Furtwängler: 1954
Salzburg performance available on DG DVD
Klemperer: 1965
recording for EMI Angel now available on CD
Harnoncourt: 1988
recording for Teldec available on CD
and 2001 production at Zürich
available on Arthaus DVD
Gardiner: 1994
recording for DG Archiv available on CD
Così fan tutte (1790)
Böhm: 1963 recording for EMI available on CD
Östman: 1984 recording
for Decca L’Oiseau-Lyre available on CD
and 1984 performance at
Drottningholm, now on
Thorn-EMI videotape
Gardiner: 1993 performance in Paris available on DG Archiv DVD
Jacobs: 1999 recording for harmonia mundi available on CD
Die
Zauberflöte (1791)
Beecham: historic 1936 recording in
Berlin, now available on CD
Böhm: 1965 recording for DG available on
CD
Bergman production: 1974 film adaptation
made at Drottningholm, available on Criterion DVD
Östman: 1989 performance at Drottningholm, now on Image DVD
Gardiner: 1995 semi-staged performance at the
Concertgebouw, Amsterdam, available on DG Archiv videotape
Idomeneo (1781): Gardiner: 1991 recording for DG Archiv
available on CD
Clemenze di Tito (1791): Gardiner: 1991 recording for DG Archiv
available on CD
on period
instruments
Dream of the Orient. Perf.
Concerto Köln and Sarband. Dir. Werner Ehrhardt and Vladimir
Ivanoff. DG
Archiv, 2003.
Opera Arias
[Mozart Haydn Gluck]. Perf. Anne Sofie von
Otter. The English Concert.
Dir. Trevor Pinnock. DG
Archiv, 1997.
Gluck, Christoph
Willibald. Dreams & Fables:
Italian Arias. Perf. Cecilia Bartoli.
Akademie für Alte Musick
Berlin. Cond. Bernhard Forck. Decca,
2001.
Alceste. Dir. Robert Wilson. Perf. von Otter, Groves. English Baroque Soloists.
Monteverdi Choir. Cond.
John Eliot Gardiner. DVD. Image, 2000.
Orphée et Eurydice. Dir. Robert Wilson. Perf. Kozenà,
Bender, Petibon. Orchestre
Révolutionnaire et Romantique.
Monteverdi Choir. Cond. John
Eliot Gardiner. DVD.
Image, 2000.
Orfeo ed Euridice. Perf. McNai, Ragin, Sieden. English Baroque Soloists. Monteverdi
Choir. Dir. John Eliot
Gardiner. Rec. 1992. CD.
Decca, 2003.
Orfeo & Euridice. Perf. Fink, Cangemi, Kiehr. Freiburger Barockorchester. RIAS-
Kammerchor. Dir. René
Jacobs. CD. harmonia mundi, 2001.
Haydn, Joseph. Die Schöpfung. Perf. McNair, Brown, Schade, Finley, Gilfrey. English
Baroque Soloists.
Monteverdi Choir. Cond. John
Eliot Gardiner. DG Archiv, 1996.
Mozart Night Music. The English Concert. Dir. Andrew Manze. harmonia mundi, 2003.
Mozart, Wolfgang
Amadeus. Requiem. Perf. Bonney, von Otter,
Blochwitz, White. Engliish
Baroque Soloists.
Monteverdi Choir. Cond. John
Eliot Gardiner. Philips, 1986.
The Symphonies. The Academy of Ancient Music. Dir. Jaap Schröder and Christopher
Hogwood. Rec.
1978-1985. 19 CDs. Decca, 1997.
Symphonies 38 – 41. English Baroque Soloists. Cond. John Eliot Gardiner. 2 CDs.
Philips, 1990-1992.
The Salieri Album.
Perf. Cecilia Bartoli. Orchestra of the Age of Enlightenment. Cond. Adam
Fischer. Decca, 2003.
Salieri, Antonio. Tarare.
Deutsche Händel Solisten. Cond. Jean-Claude Malgoire. DVD.
Arthaus, 1988.