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Osiemnastowieczne przemiany opery w refleksji estetycznej

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Deptuch P.

Copernicus De Musica

2023

issue 2

71-76

The beginning of the 1980s brought a significant change in the perception of music of the Classical era, which was the aftermath of the ‘Baroque Revolution’. Charles Rosen suggested adopting a new perspective, noting that classical music, Mozart in particular, freed itself from the strict rules and followed a dramatic action in a sonata form. The author of The Classical Style points out that Mozart’s operatic style manifests revolutionary features and the music, though following closely the dramatic action, at the same time remains faithful to the greatest invention of the second half of the 18th century, i.e. the sonata form. Particularly noteworthy are the works of an American musicologist Peter Kivy who in his observations referred to The Passions of the Soul – an epochal work by Descartes, that strongly separated acts of will from other states of consciousness. Affect is an innate trait, suspended in the expressive space, which could only be changed by a cadence. Such a line of thought leads us directly to a dominating Baroque da capo aria with strongly contrasting parts A and B and the recurring parts A or A1. Hartley contrasted the motionless parts of the Baroque da capo aria with a diversified play of affects, which he transformed into the theory of association. Individual affects became a dynamic continuum in which polyphonic accumulations and dramatic conflicts took place. Kivy’s basic thesis is the conviction that it was Hartley’s concept that dominated the space of musical Classicism, with its most spectacular product, i.e. the sonata form. Kivy proves that the architecture of the sonata form with the thematic dualism of the exposition, the thematic work of the development with a variational basis and the tonal agreement of the reprise resembles Hartley’s stream of quickly following affects. The play of highly dramatized emotions influences the construction of the ensemble scenes, in which contrast and drama play a leading role. The world of the dualistic character of the Baroque da capo aria was abandoned by adopting the play of successive ensembles, the concept of which was derived from Hartley’s aesthetic views and their refinement in Kivy’s treatise. In Mozart’s mature operas, the ensemble is the main element constituting the dramatic course. Hence Kivy’s term ‘dramatic ensemble’, which has nothing to do with a drama understood in terms of expression and having a tremendous form-creating aspect for an 18th-century operatic work.

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1 Copernicus De Musica

1 Deptuch P.

1 2023

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Osiemnastowieczne przemiany opery w refleksji estetycznej