Abstracts - American Musicological Society

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ThursdaY afternoon cv!""^'--r'd'a conremporary descriptions descriptioit or t?:n'=.,*i;, ' , :,f-- '"'""-ir-rnt'"o*" of thc al. ;;;; More "ori"rpot"ry inporCantly, i;p"riantry, r I wiIl wi11. brinE*:o bri-ng Lv '.'f,.""a abound "o*" in vocal voca - , .".y co-lasclone "initatiorr""^.thit earlv seventeentl t"ylo"ta, and theorbo t::1" eatrY seventeenth keyboard, and theorbo muslc o! "t"'t1-. il'."^ - ^*r""as for the century. Slnce Since no no written wrrLuctr tt"tt*.::-'-"" ^ ".it.rrty. imiiations * tha"" imitations seventeenth-cencury seventlenth-century cora>Lrvtre' colascione ' ,i - arra acutal ^^,rral music rnusic transmit an accurate reproduction c r ij-L+ :;;;:Ti:";"b;':;:';.';;;i;-;";;;;, and shed light on the "unwritten" tradition of the seventeenth-century Italian colascione. corpus or of iconosraphical iconog?eDtricar iltuiliiiur;" n:;l:'",Xa"t,l performa-nces' THE ROSTOCK TABLATURES: LAUTEN.GALANTIEREN FOR pRTNCESS LOUTSE OF WijRTTEMBERG (1722-L79I) Arthur J. Ness, Amherst, NY During the late eighteenth century, as the lute and its repertory slipped into obsolescence in most parts of Europe, a handful of composers continued to provide pieces in 1e go0t moderne for the use of north German dilettante lutenists such as Princess Louise Frederike of Wtirtcemberg, after 1746 Duchess of Mecklenberg-Schwerin. Between her maiden years in Stuttgart and 1789, Princess Louise regularly acquired tablatures that ranged through a diversity of Austro-German baroque and galant lutenist styles. Included are solo and ensemble works by (to cite a few) c. P. Telemann (1681-f738), S. L. Weiss (1686-1750), J. F. Schwingharnmer (f1. 1743), c. Werner (1693-1766), W. Spurny (c. L720-after 1.71O), c. P. Kress (Ll19-L179), R. Straube (I717 -c. 1780) , J. F. Daube (c. Ll30-Ll97) , and J. A. F. ileiss (c. 1740-1814). With over 415 items, Princess Louise's is the largest collection of lute music to survive from the late eighteenth century. The manuscripts have received scant attention owing rnainly to their frustrating disarray: many pages have separated from the deteriorating bindings and been removed from original envelopes. Nevertheless, during a visit to Rostock in 1980, I was able to locate some forrnerly misplaced works and reassernble most of the collection by marshalling watermark, scribal and staffliner evidence. In this paper, after briefly placing the collection within its appropriate musical and chronological contexts, I shall discuss selected works by Princess Louise's teachers, Johann Eriedrich Daube and Johann Eranz Schwinghanmer, master representatives of the lute's twilight years .
Thursday afternoon HAYDN AND BEETHOVEN Elaine Sisrnan, Columbia University Chair A PROBLEM OF HARMON]C STRUCTURE IN HAYDN'S MINOR.KEY SYMPHONIES Stephen C. Fisher, I,Iidener University About 1-77 3 , Haydn stopped writing the quick movements of symphonies in the rninor mode and did not resume the practice for nearly a decade. Though attempts to explain this have often Looked to biographical or psychological factors, some primarily musical elements may also be brought into consideration. In a fast symphonic movement in the maj or node, Haydn invariably moves to the dominant in the exposition and takes the developnent section to a climax in a harmonic area past the dominant in the circle of fifths: the supertonic, the mediant, or, most commonly, the submediant. Present- day analytical thought often associaces motion in the direction of the dominant with increasing tension and motion in the subdorninant direction with a lowering of tension. Joseph Riepel's Grundregeln zur Tonordnung insgemein (1755), a copy of which was in Haydn's library, seems to rnake a s irnilar po int . In the minor mode , Haydn' s harmonic vocabulary does not encompass any areas past the dominant; the other available regions lie in the opposite direction. Haydn thus may have found hinself handicapped in creating in the minor mode the tensional harmonic structure that he could achieve in the major mode. Riepel appears to be aware of the difficulty, though he discusses it only briefly. The three impressive minor-key symphonies of the early L710s, Nos. 44, 45, and 52, seem to show Haydn struggling with this problem but not finding a solution valid beyond the confines of an individual work. Haydn may have quit writing minor-key symphonies because other: compositional possibilities looked more promising. COMPOS ITIONAL PROCES S , TEXT , IN HAYDN'S VARIATIONS FOR PIANO Leon Plantinga and Glen Pierr Johnson AND GENRE IN F MINOR , Yale University Haydn's "Andante con variazioni" in F minor (Hob. XVTI:6), composed in I193, has long been praised as one of his strongest and most expressive composil-ions for piano. Though easily recognizable as a set of double variations, it shows structural and stylistic features not at al1 usual in pieces of that sort in the later eighteenth century. There ate unusual harmonic complexities: Lhe second segment of the first binary
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Luscig, Roger' 63- \\aceY, Patrick'
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Abstracts - American Musicological Society

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