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Rethinking Salon Music: Case-Studies in Analysis

Published online by Cambridge University Press:  07 April 2022

Anja Bunzel*
Affiliation:
Institute of Art History, Czech Academy of Sciences
Susan Wollenberg*
Affiliation:
Lady Margaret Hall, Oxford University

Abstract

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Type
Introduction
Copyright
Copyright © Institute of Art History, Czech Academy of Sciences and The Author(s), 2022. Published by Cambridge University Press.

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References

1 See Ballstaedt, Andreas and Widmaier, Tobias, Salonmusik: Zur Geschichte und Funktion einer bürgerlichen Musikpraxis (Stuttgart: Franz Steiner, 1989): 257–72Google Scholar.

2 See Robert Schumann, in a review of Robert Müller's Poésies musicales Op. 5: Neue Zeitschrift für Musik 30/15 (12 October 1841): 118; Johann Christian Lobe, Fliegende Blätter für Musik: Wahrheit über Tonkunst und Tonkünstler, vol. 1 (Leipzig: Baumgärtner, 1855): 156.

3 ‘Daß es unter Salonmusik gar mancherlei Erscheinungen giebt, die nichts bedeuten und völlig werthlos sing, wer wollte das läugnen? Aber um solcher Nichtigkeiten willen dürfen wir nicht sofort die ganze Art verwerfen’. Lobe, Fliegende Blätter für Musik, 155–6.

4 Andreas Ballstaedt, ‘Salonmusik’, MGG Online, 2016; MGG2, 1998.

5 On Müller's Poésies musicales see n.2 above. See also Kenny, Aisling, ‘Tensions between the Serious and the Popular in Music: Josephine Lang's Compositional Environment’, Maynooth Musicology: Postgraduate Journal 2 (2009): 7187Google Scholar.

6 On salon music as a form of musical commercialism see David Gramit, ‘The Circulation of the Lied: The Double Life of an Artwork and a Commodity’, in The Cambridge Companion to the Lied, ed. James Parsons (Cambridge: Cambridge University Press, 2004): 301–14; James Deaville, ‘A Multitude of Voices: The Lied at Mid Century’, in The Cambridge Companion to the Lied, 142–67; Derek B. Scott, ‘Imperialism and Anti-Imperialism in Nineteenth-Century Popular Song’, in Musical Style and Social Meaning, ed. Derek B. Scott (Farnham: Ashgate, 2010): 255–67; and Derek B. Scott, ‘Music and Social Class in Victorian London’, in ibid., 205–18.

7 For Hensel see, for instance, Hans-Günter Klein, ‘… mit obligater Nachtigallen- und Fliederbütenbegleitung’: Fanny Hensels Sonntagsmusiken (Wiesbaden: Reichert, 2005) and, for an in-depth discussion of whether or not Fanny Hensel's gatherings can be considered a salon, see Hans-Günter Klein, ed., Die Musikveranstaltungen bei den Mendelssohns–Ein “musikalischer Salon”? (Leipzig: Mendelssohn-Haus, 2006), and Borchard, Beatrix and Bartsch, Cornelia, ‘Leipziger Straβe Drei: Sites for Music’, in Nineteenth-Century Music Review 4/2 (2007): 119–138CrossRefGoogle Scholar. For Schlik, see, in chronological order, Lenderová, Milena, ‘Matka, dcera, vnučka (Filippina, Elisa, Tekla): dny všední i sváteční tří dam schlikovského rodu’, Z Českého ráje a Podkrkonoší: vlastivědný sborník 15 (2002): 4368Google Scholar, Jana Sekyrová, ‘Eliška Šliková, život neprovdané hraběnky v první polovině 19. století’ (diploma thesis, Jihočeská univerzita, České Budějovice, 2006), and Milena Lenderová, ‘Portrét hraběnky Elišky Šlikové’, Z Českého ráje a Podkrkonoší: vlastivědný sborník 2009 (supplement 13): 33–42. For Mary Gladstone's involvement in Victorian salon culture see Phyllis Weliver, Mary Gladstone and the Victorian Salon: Music, Literature, Liberalism (Cambridge: Cambridge University Press, 2017). And for a study of Stieler's salon's influence on Josephine Lang's Lieder see Harald Krebs, ‘Josephine Lang and the Salon in Southern Germany’, in Musical Salon Culture in the Long Nineteenth Century, ed. Anja Bunzel and Natasha Loges (Woodbridge: Boydell, 2019): 199–210.

8 For example Petra Wilhelmy, Der Berliner Salon im 19. Jahrhundert (1780–1914) (New York: de Gruyter, 1989); Myriam Chimènes, Mécènes et musiciens: Du salon au concert à Paris sous la IIIe République (Paris: Fayard, 2004); Steven D. Kale, French Salons: High Society and Political Sociability from the Old Regime to the Revolution of 1848 (Baltimore: Johns Hopkins University Press, 2005); Ulrike Müller, Die klugen Frauen von Weimar (Munich: Sandmann, 2007); Beatrix Borchard and Heidy Zimmermann, eds, Musikwelten – Lebenswelten: Jüdische Identitätssuche in der deutschen Musikkultur (Cologne: Böhlau, 2009); and Emily D. Bilski and Emily Braun, eds, Jewish Women and Their Salons: The Power of Conversation (New Haven: Yale University Press, 2005).

9 Anja Bunzel and Natasha Loges, eds, Musical Salon Culture in the Long Nineteenth Century (Woodbridge: Boydell, 2019).

10 Gradenwitz, Peter, Literatur und Musik in geselligem Kreise (Stuttgart: Franz Steiner, 1991)Google Scholar; Andreas Ballstaedt and Tobias Widmaier, Salonmusik: Zur Geschichte und Funktion einer bürgerlichen Musikpraxis (Wiesbaden: Steiner, 1989). See also Ronyak, Jennifer, Intimacy, Performance, and the Lied in the Early Nineteenth Century (Bloomington: Indiana University Press, 2018)CrossRefGoogle Scholar, in which she devotes a chapter to ‘serious’ music in the salon.