Haydn's incorporation of a pantomime into the finale of the 'Farewell' Symphony constitutes as radical a violation of generic expectations as Beethoven's introduction of a chorus in the Ninth symphony, yet until now no one has analyzed this pantomime or decoded its meanings. The reception history of this piece suggests a paradoxical mixture of heightened historical recollection with a sort of willed amnesia.

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URN

URN:NBN:SI:DOC-NDL9BH3E

COBISSID

41646946

Added

01.12.2014

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Citation

APA:

Korsyn, Kevin Ernest (2009). Reception history and the trauma of real history. Muzikološki zbornik, volume 45, issue 2, str. 143-158. URN:NBN:SI:DOC-NDL9BH3E from http://www.dlib.si

MLA:

Korsyn, Kevin Ernest. "Reception history and the trauma of real history." Muzikološki zbornik volume 45. issue 2 (2009) str. 143-158.
<http://www.dlib.si/?URN=URN:NBN:SI:DOC-NDL9BH3E>

Muzikološki zbornik
1965-
(Assembly record)

številka

Muzikološki zbornik
2009
(Complete issue)

Reception history and the trauma of real history : decoding the pantomime in Haydn's 'Farewell' SymphonyZgodovina recepcije in travma resničnosti : dekodiranje pantomime v Haydnovi "Simfoniji slovesa"

Reception history and the trauma of real history : decoding the pantomime in Haydn's 'Farewell' Symphony
Zgodovina recepcije in travma resničnosti : dekodiranje pantomime v Haydnovi "Simfoniji slovesa"