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Books > Arts & Architecture > Music > Western music, periods & styles > Classical music (c 1750 to c 1830)
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Music, Sexuality and the Enlightenment in Mozart's Figaro, Don Giovanni and Cosi fan tutte (Hardcover, New Ed)
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Music, Sexuality and the Enlightenment in Mozart's Figaro, Don Giovanni and Cosi fan tutte (Hardcover, New Ed)
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Music, Sexuality and the Enlightenment explains how Mozart's music
for Le nozze di Figaro, Don Giovanni and CosA fan tutte 'sounds'
the intentions of Da Ponte's characters and their relationships
with one another. Mozart, by way of the infinitely generative and
beautiful logic of the sonata principle, did not merely interpret
Da Ponte's characterizations but lent them temporal, musical forms.
Charles Ford's analytic interpretation of these musical forms
concerns processes and structures in detail and at medium- to
long-term levels. He addresses the music of a wide range of arias
and ensembles, and develops original ways to interpret the two
largely overlooked operatic genres of secco recitative and finales.
Moreover, Ford presents a new method by which to relate musical
details directly to philosophical concepts, and thereby, the music
of the operas to the inwardly contradictory thinking of the
European Enlightenment. This involves close readings of late
eighteenth-century understandings of 'man' and nature, self and
other, morality and transgression, and gendered identities and
sexuality, with particular reference to contemporary writers,
especially Goethe, Kant, Laclos, Rousseau, Sade, Schiller, Sterne
and Wollstonecraft. The concluding discussion of the implied
futures of the operas argues that their divided sexualities, which
are those of the Enlightenment as a whole, have come to form our
own unquestioned assumptions about gender differences and
sexuality. This, along with the elegant and eloquent precision of
Mozart's music, is why Figaro, Giovanni and CosA still maintain
their vital immediacy for audiences today.
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