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J. S. BACH Jonathan Berkahn - Victoria University - Victoria ...

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CHAPTER 3<br />

CLASSICAL STYLE, CLASSICAL IDEOLOGY, AND<br />

THE INSTRUMENTAL FUGUES OF JOSEPH HAYDN<br />

THE VIENNESE TRADITION<br />

Throughout the first half of the eighteenth century, St Leopold’s day (14 November)<br />

was celebrated by the imperial court at Klosterneuburg, just outside Vienna. Always<br />

performed during this celebration was a setting of the Vespers that had been composed<br />

by the Emperor Leopold I (1640-1705). 1 This tradition may serve as a symbol of the<br />

integration of music and court life at Vienna: the way in which a particular piece, for a<br />

particular place and a particular time, existed by virtue of its de tempore function in<br />

the yearly cycle of minutely prescribed feasts and observances according to which<br />

court time was regulated. Two crucial ideas would soon shatter this dense network of<br />

relationships: the capitalist development of music as a transferable commodity, and the<br />

cultured bourgeois notion of absolute music for its own sake. Joseph Haydn would be<br />

at the forefront of both developments; but when he first came to Vienna in 1740, the<br />

centrality of court and cathedral could be taken for granted. 2<br />

There was little about Vienna’s musical establishment at this time to suggest<br />

that the city was about to become one of the leading centres of stylistic innovation.<br />

Even by contemporary European standards the ritual of the imperial court was<br />

unusually dazzling, heavy, and inflexible, and this was well expressed by Fux’s rich<br />

but conservative style. J. J. Quantz’s description of his Constanza e Fortezza (1723)<br />

1 S. Wollenberg, ‘Vienna under Joseph I and Charles VI’, Music and society: the late Baroque era,<br />

ed. G. Buelow (Englewood Cliffs: Prentice Hall, 1994), p.331-2; H. V. F. Somerset, ‘The Habsburg<br />

emperors as musicians’, Music & Letters 30 (1949), 204-215.<br />

2 Court and church were to retain their status in Vienna longer than anywhere else in Europe.<br />

Significantly, however, the musicians we now regard as being most important (Haydn, Mozart, and<br />

Beethoven) operated around the periphery of these institutions.<br />

197

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