Download PDF by Janet K. Page: Convent Music and Politics in Eighteenth-Century Vienna

By Janet K. Page

ISBN-10: 1107039088

ISBN-13: 9781107039087

Janet web page explores the interplay of song and piety, court docket and church, as obvious in the course of the dating among the Habsburg courtroom and Vienna's convents. For a interval of a few twenty-five years, encompassing the tip of the reign of Emperor Leopold I and that of his elder son, Joseph I, the court's emphasis on piety and tune meshed completely with the musical practices of Viennese convents. This jointly invaluable organization disintegrated through the eighteenth century, and the altering dating of court docket and convents finds whatever of the complicated connections one of the Habsburg court docket, the Roman Catholic Church, and Viennese society. selecting and discussing many musical works played in convents, together with oratorios, performs with tune, feste teatrali, sepolcri, and different church track, web page unearths a golden age of convent song in Vienna and sheds gentle at the convents' fantastic engagement with modern politics.

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Extra resources for Convent Music and Politics in Eighteenth-Century Vienna

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She died in Vienna on January 3, 1819. Although this convent was not as famous for music as St. Jakob and St. Ursula, there was an active musical life there. 43 That they took care over their music and had kept their organs and other instruments in tune and in good repair over the years is indicated by surviving receipts: Jan. 1742: Jan. 1743: 41 42 43 44 45 to the organ maker, payment of a bill . . ]44 First, three keyboard instruments in the schoolroom prepared . . ] Further, for the organ in the choir loft, and the small one below [in the church], tuning, in total .

These ceremonies served several purposes – religious and political, certainly, but also social. Although there were some objections to this stew of meanings and intentions, it may even have strengthened the blending of life, art, and politics through which the Habsburgs and other rulers maintained 18 19 21 On Maria Theresia’s edicts, see Chapter 6 below. Zwei Jahrhunderte des Ursulinerklosters in Wien, 17–18. 20 Keller, Hofdamen, 99. ” Cited in Ann Tizia Leitich, Vienna gloriosa: Weltstadt des Barocks (Vienna: Andermann, 1947), 91.

But several things are clear: that the nuns exercised their human need for creativity most ingeniously, taking full advantage of the limited freedoms allowed them; that they explored a feminine perspective in their art; that they were ambitious; that they were encouraged; and that they often succeeded – for a time, brilliantly, as their aims and concerns meshed perfectly with those of the ruling family in a very musical city. The story of these nuns and their music offers a lesson on how art and power could fruitfully combine to exalt the powerful and sustain the artists and their art; but it also offers an equally striking, but more sobering, lesson on how a brilliant artistic culture could vanish beneath the inexorable waves of change.

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Convent Music and Politics in Eighteenth-Century Vienna by Janet K. Page


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