Sublime néoclassique et sublime rhétorique: La réception musicale des Odes et mélodies spirituelles (1757) de Christian Fürchtegott Gellert
- Submitting institution
-
Cardiff University / Prifysgol Caerdydd
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 97041285
- Type
- C - Chapter in book
- DOI
-
-
- Book title
- À la croisée des arts: Sublime et musique religieuse en Europe (XVIIe-XVIIIe siècles)
- Publisher
- Classiques Garnier
- ISBN
- 9782812446795
- Open access status
- -
- Month of publication
- June
- Year of publication
- 2015
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
0
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
-
- Author contribution statement
- -
- Non-English
- Yes
- English abstract
- This chapter compares two approaches to sublimity in the musical realization of Christian Fürchtegott Gellert’s Spiritual Odes and Songs (1757) – one recommended by Gellert himself, one put into practice by CPE Bach. Where Gellert’s ‘neo-classical’ approach uses restrained chorale melodies to emphasize sublime ideas, Bach’s ‘rhetorical’ settings of Gellert’s poetry amplifies the text with elaborate melodies and harmonies. The chapter recovers and articulates two eighteenth-century musical takes on musical sublimity. It thereby counters the tendency to associate the category with (a) formal disruption and overwhelming complexity and (b) Romantic and Modernist music.