Table Of ContentDAVID WYN JONES D
is Professor of Music at a
v The image of Vienna as a musical ciTy
Cardiff University. i
d is a familiar one. Vienna has long been
W associated with many of the most
y significant composers in Western music
n – from Haydn, Mozart, Beethoven and
J
o Schubert, through the Strauss family,
n Brahms, Bruckner and Wolf, to Mahler,
e
s Lehár, Schoenberg and Webern. Today,
venerable institutions like the Vienna
Philharmonic Orchestra, the Staatsoper
and the Vienna Boys’ Choir, together
with the shared pride of residents and
visitors in its musical inheritance, ensure
that the image of a musical city
is undimmed.
This book explores the history of
music in Vienna, focussing on three
different epochs, 1700, 1800 and 1900,
an approach which allows the very
different relationships between music
and society that existed in each of these
periods to be distinguished. Patronage,
social function and audience are
key considerations, set within wider
David Wyn Jones has had an ingenious idea and realised it brilliantly.
political and cultural developments.
Circling around (but not limited to) three decisive years at the turn of
The volume is populated by emperors,
the centuries, 1700, 1800 and 1900, he has managed to bring together princes, performers, publishers and
a wealth of social, economic and musical context to show why Vienna writers as well as composers, and deals
has been one of most remarkable centres in the history of classical with institutional and commercial
characteristics alongside representative
music. He vividly stirs in the details of continuity and change, and
individual works. Music in Vienna
brings a cultural melting-pot to the boil. I look forward to the update
frONt cOVEr: focusses on the political and social role
The Vienna Opera House and the which takes the story onto 2000!
of music, broadening our understanding
Ringstrasse between 1890 and 1900.
of the city as a musical capital. It will
Library of Congress, Prints & SIr NIchOlAS kENYON
appeal to a wide readership, including
Photographs Division, ,
mANAgINgDIrEctOr bArbIcANcENtrE
Photochrom Collection, music historians and political, cultural
LC-DIG-ppmsc-09236 and social historians, as well as the
interested general reader.
bAck cOVEr:
The Freyung, Vienna, view
from the south-west, between
1758 and 1761, by Bernardo
Bellotto, gen. Canaletto (GG1652).
an imprint of Boydell & Brewer Ltd
By kind permission of the PO Box 9, Woodbridge, Suffolk IP12 3DF and
David Wyn Jones
Kunsthistoriches Museum, Vienna, 668 Mt Hope Ave, Rochester NY 14620, USA David Wyn Jones
KHM-Museumverband. www.boydellandbrewer.com
J J
Music in Vienna
1700, 1800, 1900
Music in Vienna.indb 1 05/05/2016 11:26
Music in Vienna.indb 2 05/05/2016 11:26
J J
Music in Vienna
1700, 1800, 1900
David Wyn Jones
the boydell press
Music in Vienna.indb 3 05/05/2016 11:26
© David Wyn Jones 2016
All Rights Reserved. Except as permitted under current legislation
no part of this work may be photocopied, stored in a retrieval system,
published, performed in public, adapted, broadcast, transmitted,
recorded or reproduced in any form or by any means, without
the prior permission of the copyright owner
The right of David Wyn Jones to be identified as the author of
this work has been asserted in accordance with sections 77 and
78 of the Copyright, Designs and Patents Act 1988
First published 2016
The Boydell Press, Woodbridge
isbn 978 1 78327 107 8
The Boydell Press is an imprint of Boydell & Brewer Ltd
PO Box 9, Woodbridge, Suffolk ip12 3df, UK
and of Boydell & Brewer Inc.
668 Mt Hope Avenue, Rochester, ny 14620–2731, USA
website: www.boydellandbrewer.com
A catalogue record for this book is available from the British Library
The publisher has no responsibility for the continued existence
or accuracy of URLs for external or third-party internet websites
referred to in this book, and does not guarantee that any content
on such websites is, or will remain, accurate or appropriate
This publication is printed on acid-free paper
Designed and typeset in Garamond Premier Pro and Snell Roundhand
by David Roberts, Pershore, Worcestershire
Music in Vienna.indb 4 05/05/2016 11:26
In memory of my father,
Dr Arthur Morgan Jones
Music in Vienna.indb 5 05/05/2016 11:26
Contents
Illustrations viii
Preface ix
1 Telling Tales of Music in Vienna 1
1700
2 Music at the Imperial and Royal Court 8
Angelica, vincitrice di Alcina: an opera for the Habsburgs
Three emperors: Leopold I, Joseph I and Karl VI
Music in a fortress city
Music and Habsburg identity
3 Catholicism, Ritual and Ceremony 30
The regulation of the liturgy
Leopold I and pietas austriaca
Johann Joseph Fux: composer and theorist
4 Italian Opera and the Preservation of the Habsburg Dynasty 47
Opera, representation and identity
A coronation in Prague (1723): political unity and musical
conservatism
1800
5 Court, Aristocrats and Connoisseurs 72
Mozart’s coronation opera; Haydn’s Te Deum
Music and the Habsburg dynasty, music and the Habsburg family
The aristocracy as leaders of private and public taste in music
Prince Nicolaus Esterházy and Prince Joseph Lobkowitz
Women play and sing their part: a forgotten history
6 Demand, Aspiration and the Ennobling of the Spirit 97
Music in the market place
Behind closed doors: piano, song and string quartet
Music in Vienna in 1808: the view of a patriot
vi
Music in Vienna.indb 6 05/05/2016 11:26
7 Music, War and Peace 120
In tempore belli
1792–1799 The First Coalition to the Peace of Campo Formio
1799–1805 The Second Coalition to the Treaty of Lunéville
1805–1809 The Third Coalition to the Peace of Pressburg
1809–1813 The siege of Vienna to the Treaty of Schönbrunn
1813–1815 The Fourth Coalition to the Congress of Vienna
A glorious moment, a new future, the Gesellschaft der Musikfreunde
1900
8 Vienna, City of Music 152
Documenting the musical world
Institutions and venues in the First District
Beyond the Ringstrasse
9 ‘Seid umschlungen, Millionen’ 178
Otto Nicolai concert, 18 February 1900
Beethoven and Wagner; Mozart and Haydn
Memorialization and monumentalism
Johann Strauss dedicates a waltz to Brahms
10 From Johann Strauss to Richard Strauss 199
The Waltz King turns to operetta
Old Vienna, New Vienna
Richard Strauss and the future operatic ideal
Notes 221
Bibliography 247
Index 261
vii
Music in Vienna.indb 7 05/05/2016 11:26
Illustrations
1 View of Vienna before 1683, from an engraving after Folbert van
Alten-Allen (Amsterdam, 1686) 24–5
2 Frontispiece from Fux, Gradus ad Parnassum, 1725 42
3 Emperor Leopold I in costume, by Jan Thomas, 1667 53
4 Galli-Bibiena’s open-air theatre for Costanza e Fortezza, Prague,
1723 61
5 List of subscribers to Beethoven’s op. 1, 1795
© The British Library Board (Hirsch IV.328) 82
6 Private performance depicted by Johann Söllerer, Vienna, 1793 111
7 Title-page of Haydn’s op. 76, Artaria, 1799
© The British Library Board (Hirsch III.299) 114
8 Title-page of Süssmayr’s Der Retter in Gefahr, 1796 125
9 Stage layout for the performances of Handel’s Alexander’s Feast
in the Winter Riding School in November 1812 (from the
Allgemeine musikalische Zeitung) 145
10 Joseph Sonnleithner (1766–1835), by Alois Karner, c. 1820 147
11 Map of Vienna from Baedeker’s Austria-Hungary, 1911 156–7
12 Interior of the Grosser Musikvereinsaal, 1870, depicted by
Johann Nepomuk Schönberg 164
13 Concert programme for the Court Opera Orchestra
(Vienna Philharmonic Orchestra), 18 November 1900
© The British Library Board (Konzertprogramm Austausch
collection) 167
14 Seating plan for the Bösendorfersaal, 1908 (from Musikbuch
aus Österreich, 1908) © The British Library Board (7899.pp) 171
15 Title-page of Johann Strauss’s ‘Seid umschlungen, Millionen’,
1892 © The British Library Board (h.3193.c.(25)) 197
16 Stage set for Act 2 of Richard Strauss’s Der Rosenkavalier,
by Alfred Roller 219
For permission to reproduce the following illustrations, thanks are
gratefully given to the British Library (5, 7, 13, 14, 15); Archiv, Bibliothek
und Sammlungen der Gesellschaft der Musikfreunde in Vienna (6, 8,
10, 12); Kunsthistoriches Museum, Vienna, KHM-Museumverband (3);
Theatermuseum, Vienna, KHM-Museum verband (16); and Wien Museum,
Vienna (1).
viii
Music in Vienna.indb 8 05/05/2016 11:26
Preface
One of the pleasures of university teaching is to experience the
dictum that teachers learn from students as much as students learn
from teachers. The content and format of this book have their origins in
a postgraduate course I taught for many years at Cardiff University, aimed
at students from a wide disciplinary background, history and European
studies as well as music. The initial intention was to study the role of
music in society in Vienna around 1800, the time of Haydn, Mozart and
Beethoven. That soon changed to curiosity about other periods in Viennese
musical history, and the idea was born of looking at music in the city a
hundred years earlier and a hundred years later as well. From one academic
year to the next, successive groups of students responded enthusiastically to
this approach, fascinated by the details of musical life in each of the periods,
the differences and the continuities. Many also lamented the absence of
a book on the subject. In the most basic sense, therefore, my gratitude to
these students is fundamental; without them, this volume would never
have existed.
A few years elapsed before I was able to turn the idea into reality – a
book on music in Vienna that had a broad remit but also engaged with
details. I was fortunate enough to be awarded a Major Research Fellowship
by the Leverhulme Trust for the period 2013–15 that enabled me to
concentrate entirely on the project. I am grateful to the trust for their
interest and their implicit view that it fitted in with one of their guiding
principles, that funded research should not only reflect the aspiration and
curiosity of the individual, but should be accessible and appeal beyond
conventional disciplinary boundaries.
Many individuals have helped with the preparation of this book in
various capacities, as scholars, librarians, linguists, referees, IT experts
and proofreaders, and it is a pleasure to acknowledge their interest as
well as their expertise, while absolving them of any responsibility for the
misrepresentations and errors that remain. John Deathridge, Simon Keefe
and Jan Smaczny were early and willing supporters; several colleagues
at Cardiff University with different interests from my own – David
Beard, Keith Chapin, Kenneth Hamilton, John O’Connell and Clair
Rowden – have, through casual conversation, caused me to pursue, revise
and reconsider certain ideas. Richard Chesser and Rupert Ridgewell of
the British Library were consistently helpful, informally and formally, as
was Peter Linnitt at the library of the Royal College of Music, while staff
in the Music Library at Cardiff University were always willing to interpret
borrowing conditions in the most enabling way. In Vienna, library staff
ix
Music in Vienna.indb 9 05/05/2016 11:26
