The Pathetick Musician: Moving an Audience in the Age of Eloquence

361 Pages·2016·19.324 MB·English

by  Bruce Haynes, Geoffrey Burgess

The Pathetick Musician

The Pathetick Musician
Moving an Audience in the Age of Eloquence
BRUCE HAYNES AND GEOFFREY BURGESS
1
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Library of Congress Cataloging- in- Publication Data
Haynes, Bruce, 1942–2011, author.
The pathetick musician: moving an audience in the Age of Eloquence/Bruce Haynes
and Geoffrey Burgess.
pages cm
Includes bibliographical references and index.
“Bibliography of the writings of Bruce Haynes”: pages
ISBN 978–0–19–937373–4 (hardcover: alk. paper)
1. Music—17th century—Philosophy and aesthetics.
2. Music—18th century—Philosophy and aesthetics.
I. Burgess, Geoffrey, author. II. Title. III. Title: Pathetic musician.
ML3845.H39 2016
780.9′032–dc23
2015029319
1 3 5 7 9 8 6 4 2
Printed by Sheridan, USA
To Susie and Leon, the vibrant inspirational figures in the lives of the two authors.

CONTENTS
Foreword: Aus der Tiefe (Geoffrey Burgess) xi
Preface: Pipe Dreams (Bruce Haynes) xxi
Acknowledgments xxvii
About the Companion Website xxix
PART ONE BACH AND THE RHETORICAL HERITAGE
INTRODUCTION: THE ELOQUENT MUSICIAN (BH) 3
The Truth in Eloquence 3
Rhetorical Music 6
The Pathetick Musician 7
Ut pictura poesis 9
The Officers of Rhetoric 11
Style Coaches 14
Further Reading 16
1. IN THE REALM OF THE PASSIONS (BH) 18
Humanism and the Rhetorical Ethos 18
Seconda prattica 19
The Romantic Revolution 25
Of Æsthetics and Beauty 28
Autonomous Music: “Art for Art’s Sake” 31
Personally Expressing Passions or Passionately Expressing Persons? 33
vii
viii Contents
Afterword by Geoffrey Burgess 35
Further Reading 36
2. THE PRINCIPLES OF ELOQUENCE: THE ARTIST’S
TOOLBOX (GB) 38
The Offices of Rhetoric 38
Structuring Rhetoric 41
The Sense of Music 42
Figures of Speech, Figures of Song 44
Hypotyposis or Painting 49
Pathopoia or Arousing Passions 50
Topics: Intertextual Allusion 57
Ethopoeïa: Musical Characterization 58
Key and Character 59
On the Possibility of a Figurenlehre 65
Further Reading 66
3. BACH’S EXPRESSIVE UNIVERSE (GB) 68
Imitation: Portraying and Evoking the World 68
“Clear running water”: Schweitzer’s Legacy 69
Figuring Bach’s World 70
Bach the Poet, Bach the Painter 72
Onomatopoeia 80
Landscape Painting and “Paintings of Life” 84
Further Reading 90
4. BACH’S INNER WORLD (GB) 91
General and Particular Expression 91
Reading Bach’s Passions 93
Fear and Tremolo 98
Antithesis: At Odds with Oneself 100
Polyphonies of Passions: Passions in Polyphony 105
Laughing at Death: The Proximity of Opposites 114
Further Reading 117
Contents ix
PART TWO PERFORMING ELOQUENCE
5. ENHANCING ELOQUENCE IN PERFORMANCE
(ELOCUTIO) (GB) 121
The “Intentional Fallacy” Fallacy: Whose Intention? 121
Elocutio: The Essence of Performance Practice 127
“Humouring” the Score 128
Tempo and Affect 134
Light and Shadow 137
Further Reading 138
6. FIGURES: SPINNING STRAW INTO GOLD (GB) 139
Public Speaking, Public Musicking 139
Declamation as Figurative Speech 141
Figures as Ornamental Glosses 146
Essential Graces 149
Graces as Glosses 151
The Salt of Music, the Spice of Dissonance 153
Graces as Passionate Expression 154
Structuring Ornaments: Passaggi and Paraphrase 160
Ornaments in History 162
Further Reading 167
7. THE EXPRESSIVE GESTURE (GB) 168
Audible Architecture 168
Articulating the Musical Gesture 171
The Breath of Life 175
Agogics 181
The Agogic Accent (prolonged beat) 181
The Agogic Pickup 182
The Agogic Placement 182
The Hesitation 183
Finding the Poetry in the Notes 183
Pause to Reflect 186