Performance or Score? Opera reviewed in German journalism in the 18th century

Discussions in recent years within operatic studies have revolved around the establishment of a methodological approach that puts the experience of the performance itself in the center. How did this shift in thought occur that judges the opera not solely by its stage presence but rather only by the musical score? In order to better understand the historical relationships of this constellation, which is described by some musical historians as almost dichotomous, one must look to the 18th century. At this time a discourse began to form that was less interested in the effect of an opera performance but on examining the score. The goal of this project is to identify these shifts in discourse within musical journalism literature about the opera within the German-speaking region in the 18th century that accompanies the use of piano reduction and the score. In order to close these gaps in academic knowledge, the respective articles about the opera in periodicals published within the German-speaking region need to be examined. What significance does music have in these articles? Does the critic base their statements on the musical text itself? Further examination also focuses on the following topics: shifts in the tendencies, trends and subjects of the operatic discourse via the use of piano reduction and scores, training of a musical-analytic critique-culture that focuses on the musical text, the relationship between the availability of printed scores and the canonization of certain opera composers, as well as the interaction with the older repertoire. Based on these studies it will also be possible to complete individual studies regarding the perception of certain composers within the larger discourse of contemporary musical debates. Moreover, these studies will allow reflecting on the historical horizon of the fundamental methodical discussions currently being held. .

Discussions in recent years within operatic studies have revolved around the establishment of a methodological approach that puts the experience of the performance itself at the centre. How did this shift in thought occur, which judges the opera not solely on its stage presence but rather only on the musical score? In order to better understand the historical relationships of this constellation, which is described by some musical historians as almost dichotomous, the musicologist Andrea Horz undertook the task of focusing on discourse formations in the German-speaking area of the 18th century. At this time a discourse began to form that was less interested in the effect of an opera performance than on the examination of the score. The goal of this project was to identify these formations in discourse within musical journalism literature on the opera within the German-speaking region in the 18th century. Results Only operatic music published in print was considered worthy of criticism It transpires that in the eighteenth century a critique was delimited from other forms of discussion such as performance reports and news from opera performances in different locations. Only prints were considered worthy of criticism, because only then did the composer hand over his work to the public for evaluation. Handwritten operatic music scores - in German-speaking countries even beyond the 18th century norm - therefore gained only rare attention in the magazines as the subject of the review, under very specific conditions. It was also customary to judge operas on the basis of vocal scores, despite access to handwritten full scores. Only a shift in aesthetic discourse produced an operatic criticism directed to music In addition to the availability of printed operatic scores, a corresponding discourse formation was also required, which not only considered the libretto as worthy of criticism, but also wanted to apply this form of public evaluation to music. This discourse shift goes hand in hand with the aesthetic reorientations of the 18th century. Opera reviewers were connected The genre "operatic critique" was not an invention of individuals working in isolation in different places. The actors who determined the music-public discourse were closely connected. No linear evolution towards a music analytical critique Speaking of operatic music in the 18th century can by no means be described as a straightforward development, for example towards a music-analytical review culture. According to the aesthetic orientations, the discourse modalities were always under discussion.