Censorship of the gout moderne in 1730s Ludwigsburg and the Music of Giuseppe Antonio Brescianello

Owens, Samantha (2004). Censorship of the gout moderne in 1730s Ludwigsburg and the Music of Giuseppe Antonio Brescianello. In: Eleventh Biennial International Conference on Baroque Music, Manchester, United Kingdom, (). 14-18 July, 2004.

Author Owens, Samantha
Title of paper Censorship of the gout moderne in 1730s Ludwigsburg and the Music of Giuseppe Antonio Brescianello
Formatted title
Censorship of the goût moderne in 1730s Ludwigsburg and the Music of Giuseppe Antonio Brescianello
Conference name Eleventh Biennial International Conference on Baroque Music
Conference location Manchester, United Kingdom
Conference dates 14-18 July, 2004
Publication Year 2004
Sub-type Published abstract
Open Access Status
Language eng
Formatted Abstract/Summary
The year 1730 saw the Württemberg court (based in Ludwigsburg) promote Kammerjunker Christian Adolf von Ziegesar to the newly-created position of aristocratic Obermusicdirector. Charged with improving discipline amongst the court musicians, Ziegesar’s employment contract also demonstrates that the censorship of music was central to his role. Rather remarkably, he was specifically required to ensure the exclusion of the ‘goût moderne’ from performances at the court ‘at all times’, a situation which raises a number of issues relating to the artistic priorities of the duke and those of the members of his Hofkapelle.

This paper will examine the relationship between the Württemberg ‘goût moderne’ and the Neapolitan-orientated style galant, as well as the extent to which this authoritarian edict was put into practice and the impact it had upon music written for the court. Not surprisingly, Ziegesar’s appointment produced a great deal of tension within the Hofkapelle, particularly in terms of conflict with the Oberkapellmeister Giuseppe Antonio Brescianello (c.1690-1758), for which palpable evidence exists in the form of letters and reports written by both men. Brescianello is a key figure in this investigation—not least because Ziegesar’s appointment significantly undermined his authority—and his extant music for the court will be analysed in light of these questions. His compositional output, some of which can be dated, includes both vocal and instrumental music, primarily in manuscript form but also a published set of XII Concerti et Sinphonie dedicated to his employer, Duke Eberhard Ludwig of Württemberg (1676-1733).
Q-Index Code EX
Q-Index Status Provisional Code
Institutional Status UQ

Document type: Conference Paper
Collection: School of Music Publications
 
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Created: Thu, 20 Feb 2014, 14:17:02 EST by Dr Samantha Owens on behalf of School of Music