Nils Holger Petersen

The appearances of medieval rituals : the play of construction and modification

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A Musical Fight between Soul and Body in 1600

Abstract The subject of this article is a discussion of Emilio de’ Cavalieri’s early Baroque music drama, Rappresentatione di anima, et di corpo (The Play of Soul and Body), performed in Rome in 1600 with a particular focus on the ambivalence apparent in this work between the text’s explicit pious plea for renouncing worldly pleasures on the one hand and, on the other hand, the theatrical, musical, and even textual means in the play intended to delight the audience, but also through this delight to bring about its religious message to the audience. This ambivalence may shed light on broader issues of cultural history connected to continuities and changes in Reform Catholicism in the sixteenth and seventeenth centuries. Although seemingly influenced by a general pessimism of the time, the Catholic world could draw on a devotional, aesthetically resourceful, tradition providing ambiguous relief in contemporary pious culture, including Cavalieri’s avant-garde music dramatic devotion.

Seduction or Truth in Music

Søren Kierkegaard’s (or the Aestheticist A’s) discussion of Mozart’s and Da Ponte’s Don Giovanni (1787) in Either/Or (1843) turned the traditional religious narrative behind the opera upside-down, claiming that the opera represents Giovanni’s life as a life in the moment, that the figure of Don Giovanni is a musical topic par excellence and that his spiritual opponent, the Commendatore, is not part of the opera proper. Kierkegaard’s construction contradicts the manifest historical structure of the opera. In this article, Mozart’s Don Giovanni will be discussed in a historical light in order to contextualize the understanding of music in Either/Or. 1. Kierkegaard, A the Aestheticist, Don Giovanni, and Music Søren Kierkegaard’s staging of a discussion of Mozart’s and Da Ponte’s Don Giovanni (1787) in the Aestheticist A’s account ‘The Immediate Erotic Stages of the Musical Erotic’ in part one of Either/Or (1843) changed the traditional reform Catholic narrative behind the opera markedly. This basic narrative is, of course, prominently found in the Spanish monk Tirso de Molina’s early seventeenth-century El Burlador de Sevilla y convidado de piedra [The Trickster of Seville and the Stone Guest] and was followed more or less closely in the popular dramatic (and musical) traditions in the wake of this most famous of early Don Juan plays, which, possibly, itself constituted an – also theological – response to a popular religious narrative reaching back at least into the sixteenth century. Mozart’s and Da Ponte’s opera stays fairly – recognizably – close to the original dramatic framework although the plot was taken over from a recent eighteenth-century Venetian 110 Nils Holger Petersen opera on this subject, Don Giovanni o sia Il Convitato di Pietra [Don Giovanni or the Stone Guest] composed by Giuseppe Gazzaniga (1743–1818) to a libretto by Giovanni Bertati (1735−1815), performed in Venice in February 1787, and consequently less than a year before Mozart’s and Da Ponte’s opera premiered in Prague on October 29. The history of the Don Giovanni operas before Mozart has been treated by Stefan Kunze and is not the subject of this paper.1 However, in the context of the following discussion it is of some importance to note that generally, at Mozart’s time and thus seemingly also for Mozart and Da Ponte, an opera on the subject of Don Giovanni would have been seen as a banality, something already done over again and again. Kunze quotes the following statement by Goethe, written in a letter to Karl Friedrich Zelter in 1815, concerning experiences in connection with a performance of a Don Giovanni opera, not Mozart’s! in Rome 1787–88: Daher kömmt’s nun, dass bey lebhafteren Nationen die Stücke die einmal gegriffen haben, ins Unendliche wiederholt werden können, weil die Schauspieler das Stück und das Publicum einander immer mehr durchdringen, ferner auch ein Stadt-Nachbar den andern aufgeregt ins Theater zu gehen, und das allgemeine Wochengespräch zuletzt die Nothwendigkeit hervorbringt, dass jeder die Neuigkeit gesehn habe. So erlebte ich in Rom dass eine Oper, Don Juan (nicht der Mozartische), vier Wochen, alle Abende gegeben wurde, wodurch die Stadt so erregt ward, dass .Niemand leben konnte, der den Don Juan nicht hatte in der Hölle braten, und den Gouverneur, als seligen Geist, nicht hatte gen Himmel fahren sehen.2 Much has been said, but more still needs to be done about the relation between Mozart’s Don Giovanni and the Don Giovanni tradition of the seventeenth and eighteenth centuries. Usually, in scholarship, the differences between the traditional Don Giovanni operas and Mozart’s work are emphasized. These are marked, indeed, and it is far from my wish to deny the uniqueness or novelty of the work Mozart and Da Ponte created, but it is also important to highlight the strong ties of Mozart’s opera to the general tradition, and – as has been demonstrated by scholars like Kunze – the dramaturgical proximity of Da Ponte’s libretto to that of Bertati. I shall not pursue this historical topic further here, however. My point of focus is the relation between Kierkegaard’s – or A’s – text and the opera. One may say, on the one hand, that ‘The Immediate Erotic Stages of the Musical Erotic’ constructs a different Don Giovanni, a 1 Stefan Kunze Don Giovanni vor Mozart: Die Tradition der Don-Giovanni-Opern im italienischen Buffa-Theater des 18. Jahrhunderts, München: Fink Verlag 1972. 2 Quoted from Kunze Don Giovanni von Mozart, p. 14. Seduction or Truth in Music? 111 sort of parallel opera through literary means, and, indeed, this is what I have claimed in an article published 10 years ago.3 However, it is clear that Kierkegaard’s literary text deals with the actual opera, taking its point of departure in it. This is true even of the theoretical claims concerning what music is and concerning the oppositions between the two ‘powers’ of the Commendatore and Don Giovanni, which are brought out in Kierkegaard’s fascinating description of the overture, although in his very own way and seemingly very much informed by his own theological and philosophical agendas. ‘The Immediate Erotic Stages of the Musical Erotic’ establishes such a scheme by an interpretation of the opera and its music which – at times – seems very free. The relationship between Mozart’s opera and ‘The Immediate Erotic Stages of the Musical Erotic’ may thus be said to be dialectical, not straightforward. The main point in the following account is not to discuss the authenticity or authority of A’s interpretation, but rather to characterize the differences in the approach to what music is and can do, between the music philosophy and interpretation of A and the compositional practice of Mozart. The wider perspective concerns the question of how these views relate to overall long-term theologicomusical concerns in the Western world. Kierkegaard’s or – as it is presented in Either/Or – A’s account claims that the opera and its music fundamentally represent Giovanni’s life as a life in the moment, from moment to moment: After Mozart has brought him thus into existence, Don Giovanni’s life evolves for us in the dancing tones of the violin in which he lightly, casually, hastens forward over the abyss. As when one skims a stone over the surface of the water, it skips lightly for a time, but as soon as it stops skipping, instantly sinks down into the depths, that is how Don Giovanni dances over the abyss, jubilant in his brief respite.4 For A, Don Giovanni is a musical topic par excellence, and the way this has been realized by Mozart is unique, not only by way of the quality of the music or the dramaturgy, but because Mozart’s opera constitutes a completely new concept of Don Giovanni, never heard before: ‘The way in which sensuality is conceived in Don Giovanni – as a principle – is one in which it has never been conceived before; for this reason the erotic is also defined by another predicate: the erotic 3 Nils Holger Petersen ‘Søren Kierkegaard’s Aestheticist and Mozart’s Don Giovanni’ in Interart Poetics, ed. by Ulla-Britta Lagerroth, Hans Lund, and Erik Hedling, Amsterdam: Rodopi 1997, pp. 167-76. Here I discuss A’s description of the overture to Don Giovanni. 4 EOP, 130-131 / SKS 2, 131. 112 Nils Holger Petersen here is seduction’.5 This thought is part of a basic musical understanding presented by A which also lies behind his remark that Heinrich Gustav Hotho’s discussion of Don Giovanni, for which A expresses some respect, has not fully understood that Don Giovanni is not just the best opera (as Hotho claims), but that it is qualitatively different from all other operas.6 A further explains: Love from the soul is a continuation in time, sensual love a disappearance in time, but the medium which expresses this is precisely music. This is something music is excellently fitted to accomplish, since it is far more abstract than language and therefore does not express the particular but the general in all its generality, and yet it expresses the general, not in reflective abstraction, but in the concreteness of immediacy.7 The particular correspondence between the medium of music and the theme of Don Giovanni is developed from the very beginning of A’s treatise.8 It is due to the postulated intimate connection between the musical work Don Giovanni and the perceived idea of the work that A can also – much later – claim that the Commendatore is not part of the opera proper. After having asserted that the ‘whole opera consonate[s] in [the figure of] Don Giovanni’, he continues with the following statement: The only figure in the piece who seems an exception is, naturally, the Commendatore; but that too is why it is so wisely planned as to have him lie to some extent outside the piece, or circumscribe it; the more the Commendatore was brought to the fore, the more the opera would cease to be absolutely musical. So he is always kept in the background and as indistinct as possible. The Commendatore is the powerful antecedent and the fearless consequent between which lives Don Giovanni’s middle premiss, but the rich content of this middle premiss is the substance of the opera. The Commendatore appears only twice. The first time it is night, it is at the back of the stage, we cannot see him but we hear him fall to Don Giovanni’s sword. His gravity, made all the more strongly apparent by Don Giovanni’s parodying mockery, is something Mozart has already splendidly expressed in the music; already his seriousness is too profound to be that of a human being; he is spirit even before he dies. The second time it is as spirit that he appears, and the thundering of heaven resounds in his earnest, solemn voice, but as he himself is transfigured, so his voice is transformed into something more than human; he speaks no more, he judges.9 This particular text, however, directly contradicts the manifest construction of the opera by not acknowledging the important church yard scene – neither i

Les textes polyvalents du Quem quaeritis à Winchester au xe siècle

The documentation of the early tradition of the quem quaeritis dialogue (often described as the genesis of liturgical drama) connected with Winchester Cathedral in the 10th century is reviewed in a methodological setting inspired by the recent so-called interarts studies discourse. This discourse is briefly introduced giving rise to a discussion of the intermediality (or lack of the same) of the manuscripts contributing to the mentioned documentation as well as of their different genres. The manuscripts involved are the two (partly different) extant copies of a pre-conquest Winchester Troper (Ox 775 and Cdg 473) and the two (almost identical) copies of the normative monastic rule, the Regularis Concordia. Finally, another medium is drawn upon, the architectural text, not highlighted by the manuscripts, but possibly shedding some light on the (re-)construction of a Winchester tradition for quem queritis towards the end of the 10th century.