The Universal Language. - (a musical tl)


My language is understood around the world.-
Joseph Haydn​


Joseph_Haydn.jpg



Welcome!

This is a little timeline of mine - relatively short in terms of overall text length, not necessarily in terms of covered time.
As the title says, it will (primarily, at least) deal with musical history.
I hope you are interested!

Remark on the updating rhythm: My goal is to provide new sequels roughly every week.

As usual, comments, remarks, criticism are highly welcome - including nitpicks about my writing style.
Have fun!
 
Count me in. Cultural timelines are sorely needed here, and I think this is the first classical music themed TL I've seen in this site.
 
I. A Fortunate Recovery

September 5th, 1790
Eszterháza Palace, Hungary



The old man in the bed was groaning. Surely he was not the very picture of health, but in contrast to his appearance of the week before, he seemed to slowly recover. Prince Nikolaus Esterhazy was afflicted by illnesses and old age, but for now, he was granted to add yet another colorful pearl to the chain of his life.

The doctor was sitting next to the bed. He seemed rather idle, but he did everything his scientific expertise allowed him to do to the patient's benefit: Observe breathing and pulse, grunting with worry on having determined the current values, and giving orders to the maidservants about offerings of water and ventilation of the room.

For weeks, the physician had uttered hardly more than warnings of Esterhazy's approaching end - which everybody with an acute mind considered, or even expected anyway. But now, he had changed his mind. Turning to the man standing nervously in the middle of the room, he announced: "His state will continue to improve. Perhaps he will even be well again."
Mühlenberg, the administrator of the palace, nodded understanding. He instantly beckoned a servant: "Send the Kapellmeister. He shall write a thanksgiving mass."

The butler bowed and left, bearing a menial task for a famous man: Joseph Haydn, honorary doctor of the University of Oxford - a renowned composer whose fame had long spread throughout Europe. But in this situation, he was just a princely servant.
 
Posting a bit faster for now to get the TL going ...


II. The 18th Century: Overview

from: Concise history of musical art (6 volumes),
by Michael Hanslick;
Leipzig 1921.


The 18th century was an epoche of multifarious musical styles, which partially developped from each other, refining and completing their ancestry, but also competing with other simultaneous trends. It has taken much effort by generations of experts to categorize all these different movements, so that we today can present a fairly simple and clear overview.

It started with an overlap with the Baroque epoche; here especially the late work of Johann Sebastian Bach is to be mentioned with its perfection of contrapunctal techniques and its strict ideal of purely instrumental, drama-alienated music. For Bach and other late representatives of the Baroque style, see part 3 of vol. 4.

The proper styles of the 18th century are broadly classified into Roccoco (ca. 1720 - 1780) and Idealism (ca. 1750 - 1810). The year numbers already reveal that there is a lot of overlap, which is by no means restricted to the timeframe. There has been a constant flow of mutual influence between the two styles, even though the characteristics of each one manifest themselves ever and anon over the whole period. Moreover, the assignment of individual composers to one of these categories is not always clear; often the contour line between them runs along different creative periods of a single artist.

The main criteria of distinction is the attitude towards the Baroque legacy:

Roccoco continues the Baroque tradition relatively faithfully at first. However, the strict obedience contrapunctal rules gave way to a more liberal treatment.
Main subtrends and representants:
  • Galant Style: esp. Domenico Scarlatti (Lisbon/Madrid), Johann Gottfried Telemann(Magdeburg/Leipzig/Frankfurt/Hamburg)
  • Vienna School: Monn, Wagenseil, Albrechtsberger, Haydn (ealier periods see below)
  • Berlin School: brothers Graun, Carl Phillip Emmanuel Bach. The latter also has contributed to the "Sensitive Style" (see below).



Idealism, the other style notion, leans heavily on Enlightenment as a philosophical background. The concentration on the human being and the idealization of nature inspired a radical renunciation of Baroque artitstry and a reorientation toward folk music. Pomp and pathos were replaced by clarity and lucidness.
Even more centrally, Roccoco music strives to a close, realistic representation of human emotions; this contrasts the Baroque 'encoding' of emotions into a narrow system of four to six "affectus".

The first such trend became known as Sensitive Style.
esp. Mannheim School and there particularly the composers Johann, Carl, and Anton Stamitz and Friedrich Benda.
Other important representants include Johann Christian Bach (Milan/London), Domenico Alberti (Venice/Rome), and the younger creative periods of Wolfgang Amadeus Mozart (eventually Salzburg).

As Idealism in the narrower sense we understand the time since roughly 1780.
This style is characterized by the perfection and at the same time balancing of the different techniques and effects developped before. Now occasionally contrapunctal techniques are employed again in central places - embedded into a larger Idealist framework. Moreover, movements are often dominated by one or a small number of basic ideas ("motives") from which the whole musical work is developped. This has been considered as a reference to the Baroque (and Roccoco) soggetto technique. These historical references mark the reconciliation of the two most important rivalling styles, and thus lets the whole century appear as a complete and wholesome era.

Compositions counted into this category are the late works of Mozart (now Vienna) and Haydn (Hungary/Vienna), and the Viennean Antonio Salieri. From the younger generation which has partially contributed to this style mainly Johann Nepomuk Hummel (Brunsvik) is to be mentioned.




There is another aspect which links these so seemingly adversary trends together:
They both had a strong preference for a genre which did not play a prominent role before, and hardly has been used since: The symphony ...
 
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III. Season Planning

November 12th, 1790
Study of Johann Peter Salomon
London, England



"Not bad, not bad at all." Salomon rearranged an armchair, cautiously balancing his newly lit pipe.
"That was a really rewarding night in the theatre after all. What do you think? Do have a seat."
The guest sat down, comfortably. "Indeed, the piece had inspiring moments."
Salomon poured from a bottle, and on his little toast the two men drank.
"Yes, there are quite a few talented artists here in London. And we had better hold them here; for it is not so easy to find others from the continent willing to make the journey."

Lambert choked. "It isn't? I thought you could make anything happen.
You've been leaning on Joseph Haydn, haven't you?"

Lambert was an musical amateur, but most intimately interested in what the top composers and performers of the world could deliver. For extra high-class music which could be provided only with extra effort, he was ready to make extra investments. That was the reason that Salomon wanted him to learn about his replanning.

"As you know, I talked to Haydn when he was in England last year. He was very interested ... However, he is still in Esterhazy's service. Now since the old prince has become bed-ridden, the adminstrator has become quite restrictive with Haydn's leaves of absence. It almost seems as though he would rather have him around in case, like a priest, for the extreme composition."
Salomon suppressed a snicker and took a draught from his glass.

Lambert looked disturbed. He shook his head several times, unbelievingly.
"But this ... this is terrible."
His eyes wandered erroneously about, finding nothing to hold grip on.
Then he recollected: "I suppose you have another suggestion."

Salomon felt thriumphant, but did not show it. This was exactly how he had planned this conversation.
Instead of presenting a complete programme, he took a deep breath and reflected for a moment.

"I would like to invite Cherubini, but it's impossible to voyage to Paris these days.", he started, as though that would be the beginning of a long list.

Lambert waved his hand. The signal was clear: Just tell me the name. Show me what you are up to.

"Salieri. It's him I've been thinking about."

This very name made Lambert's face brighten again.
"Antonio Salieri? That would be ... fantastic!"

"Indeed, sir. I've written to him, and I do think I can encourage him to come. He is interested, but he is not the travelling kind of man."

Lambert was so fascinated by this idea that he did not require to learn much more. He casually offered to sponsor Salomon when the latter cautiously mentioned the possible need for a trip to Vienna, which was costly. Their meeting had evolved into a premature celebration of the famous composer's visit.
 
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Is this leading to a timeline in which Salieri comes to more prominence? I'm intrigued, and I wonder how I've missed this previously. Like others have said, we don't see too many cultural TLs, especially not music. I, for one, am interested in seeing more.
 
Thank you very much (also Dr. Strangelove)!

Yes, Salieri will be considered more important.
This is because appreciation of composers will be less selective than IOTL - for a reason.
In other words, some composers competing with him for (contemporary as well as posthumous) fame IOTL will back out here ...
 
Anyway, here is the new sequel.
Comments welcome ...


IV. Yours Truly, Peter Salomon



To Master
Ludwig van Beethoven
Bonngasse 20
Bonn, Archbishopric Cologne


Given in London, November 13th, 1790


Dear Ludwig!

I hope all is well with you and your father. It has been quite a long time that I have had the opportunity to come to Bonn and to meet you. ...

I have read about your plans to attend lessons with a master worth of that name, and I heartily endorse that you will not spoil the talent which you have without doubt. We have to trade with what we have received ...

I heard that you are investigating among the masters in Vienna. I can understand quite well that you want to return there, as many great musicians have resided there and still do.

But I am not so sure whether you will find one there who is ready to teach you. You do not want to go back to Mozart, so I doubt Vienna can offer you what you are seeking. There are other masters, true; but there are few in the world who would be able to hold a candle to Mozart. I presume that you do not like the Vienna style; this is a very questionable fancy, and you should still go on studying their works.

But I gathered that a different style, a different place would be better for you to learn.
Have you ever thought about London?
I could arrange lessons for you with Clementi, who I think is hardly second to Schenk or Albrechtsberger in Vienna. I am quite condfident he would accept. Perhaps you could also get some education from Pleyel, a rather modern composer need not be a bad teacher either.

I am sure you would profit a lot from this chance. Be cautious, these choices will control much of you future life ...
 
Interesting

I shall be quite intrigued to see how this turns out, as what I have heard about Salieri make him out to be quite the villain.
 
Well, most rumors about him don't seem that reliable.
They rather seem to have originated from the Mozart rage after his early death,
combined with Mozart's own touchiness of Salieri's success (although he sure was popular enough himself).

And yes, Salieri was a great composer in the opinion of his contemporaries.
 
Roughly one week after the last sequel, ladies and gentlemen, the next one.


V. B as in Beethoven

from: Encyclopedia Britannica,
edition of 1904



Beethoven, Ludwig van, was a German political rebel. Born: not after Dec., 17th 1770 in Bonn; executed May, 5th 1804 in Vienna.

Youth and musical carrier.
B. was born in 1770 in Bonn. He show some promising talent as a pianist and composer, and pursued a respective carreer at first. From 1787 he received instruction from /`Mozart in Vienna; in 1792 he moved to London in order to attend lessons with the virtuoso /'Clementi. B. taught piano himself and performed a couple of public concerts, but he soon seemed to lose his interest in the musical profession.

Beginning of revolutionary activity.
It is uncertain when and how B. developped his revolutionary point of view; it has been speculated that while in London, he had access to a wider spectrum of literature and jounals than in Bonn or Vienna and that he made aquaintance with democratic and cosmopolitan philosophies in this way. Moreover, the foundation of the first republican-liberal state in Germany, the "Rhenish-German Republic" (aka "Republic of Mainz") during his absence from the country may have played a role.

In summer 1793, Prussian and Austrian forces recaptured the city of Mainz and thereby crashed the "Rhenish-German Republic". Three months later, Beethoven travelled through Prussia to Mainz to stir civil unrest against the occupying forces. However, he did not have much success as the stauch supporters of the republic were ruthlessly persecuted, which effectively intimidated most of the undecided citizens. Angry and disappointed, B. left in the following year.

Gallophilia.
After a short visit to Bonn and some inconspicious time in London, B. decided to move to Paris. As the terror slowly gave way to a more structured and enjoyable public order, France must have appeared to B. and his fellow-liberals as the optimal place to live for a progressive man.

In 1796, B. travelled to Paris to apply for a musical position. The precise kind of that job is not known, nor are the details of his trip; but the most likely reconstruction assumes that his application failed, and B. wanted to leave the French zone of influence (possibly for London), but was hindered to do so. Apparently he lived incognito in frequently changing places in the French countryside (Champagne, Burgundy, Provence) and Northern Italy, dodging and using martial activity. Finally, he escaped - his next habitation we now for certain is in 1799 in (Austrian) Venice.

Further activity and death.
B. did not stay there for long. He left for Vienna in June 1799, presumably to obtain support from acquaintances he had since his first stay there. He fled to Bavaria in the same summer, perhaps for the Austrian authorities pursuing him as a self-confessing sympahtiser of revolutionary France, on the evidence of his moving plans. But more probably he had readopted his subversive habit of inciting public unrest, which was noticed by the police.

In his last couple of years before his death, B. moved rapidly between Southern German capitals (Vienna, Munich, Stuttgart, Baden-Baden). He could hope for little support because he was agitating against both Napoleon and the traditional monarchs in Germany; this made him an obvious target for political prosecution in France-allied Bavaria, Wurttemberg, and Baden.

Finally, he was arrested in late summer 1803 while in Vienna again. B. had to spend several months in prison before being presented to a judge, and even after the actual process the sentence was delayed until next spring. He was accused and found guilty for illegally acquiring and storing arms and planning a violent upheaval. However, it is doubtful how B. should have managed a arms storage while on the run almost permanently. Moreover, it does not likely that he had sufficiently many followers to make any such plans possible. So it is conjectured today that this was just a pretext to get rid of this rebel. His long time in prison roughly coincides with the development of a new, more radical strategy of the Austrian throne towards political threats. The sentence of death was pronounced on April, 30th 1804, and executed within a week's time.


Personality and reception.
Despite the meager sources about B. some statements about his personality and attitudes can be made. One of the most unique aspects of his actions was his completely cosmopolitan point of view; one may say B. has dreamed of a world under the laws of the early French Republic, but without national borders. Naturally, this view caused adamant resistance or even incomprehension both with the highly nationalistic supporters of France and its client republics, and loyal aristocracy subjects. His views were rare at all times, and it clearly shows B.'s mental independance and strength that he upheld these views all the time.

Even worse for his success, he seems utterly incapable of convincing or persuading. Contemporary letters describe him as "impatient, short-tempered, obstinate, bossy, and dogmatic". It was his insolent behaviour at the court which conclusively barred the way to a more benign sentence, in case this was still an option: B. did not even answer most questions by the judge, and remained silent on commands to reply. The reason is unclear; perhaps B. tried to stage himself as martyr, or he had already seen the futility of any attempts to change the prepared decision.

Due to his excentric views, B. does not play an important role for any modern political associations.
 
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I'm sorry for all these typos in my original last post.
In particular, the single "lady" in the initial line was not on purpose. :)

Please feel free to tell me if that happens again ...

And more to the point, I was actually hoping for some comments at this stage of the TL ...
 
VI. Till Death Do You Part

October, 14th, 1792
Vienna


For Joseph Haydn and Luigia Polzelli a long standing dream had come true: Finally they were kneeling before the altar, and a priest was about to seal their union.

The groom was 60, the bride 32 and they had known each other for almost fifteen years.

"Yes, I will." Haydn did not need to speak up, his voice was clearly audible in the small monastery church.
He had arranged their wedding in this smallish monastery church - much unlike his first marriage, which had taken place in the cathedral of the city. But meanwhile, Haydn was well-known, and he had chosen this place to avoid too much attention.

This might have been overdone: The Vienneans were distantly aware of Haydn's fame abroad, and they did like his music themselves; nevertheless, he had never been much of a sensation here at home. But now when people had become crazy for Mozart's private objects, or were pilgrimaging to his grave, he wanted to be sure ...


They had been particularly lucky: Haydn's wife Maria Anna had died in 1791, a pleasant event for itself. But the particular time this happened made the situation even happier: It was less than half a year after Luigia had become a widow, a particular godsend. Now that they both had fulfilled their year of mourning, nothing seemed to be able to prevent their marital bliss.

"Yes", Luigia's reply was heard. She may not have been the world's most talented singer - but even the casual listener must have noticed that she knew how to use her voice.

The monsignor wound his stole around their hands. From the benches Luigia's son Antonio was watching fascinatedly, Haydn's new stepson, or as all parties involved assumed, his son anyway.
 
That was a telling silence. ;)

So I'll stop it here.

Perhaps I'll continue this TL at some later time. If so, I'll inform anybody who will have posted in this thread by PM, so that you won't miss it ...

Anyway, in case you stumble across this thread and you're interested, and need to fill in the waiting time, then figure out why Beethoven didn't reply in court ...

(... if you haven't already.)
 
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