THE UNIVERSITY OF TEXAS AT DALLAS

Graduate Program in the Humanities

HUHI 6325 Fall 2005

Section 501 Call # 13150 Jo 4.914 M 7:00 - 9:45

Professor Gerald Soliday Office: Jonsson 5.406

Hours: M and W 10 - 10:45 a.m., M 6 -7 p.m., and by appointment: 972-883-2760
E-mail: soliday@utdallas.edu Internet: http://www.utdallas.edu/~soliday

HUHI 6325 Movements in Thought and Culture

MOZART AND THE GERMAN ENLIGHTENMENT

This course attempts to situate Mozart concretely as a “thinking artist” in the society and
culture of eighteenth-century Central Europe. As the seminar focuses on group interpretation of
the major operas, it also seeks to appreciate their agency as carriers of ideas and participants in
the general intellectual and cultural life of Mozart’s time. Thus readings and discussions will
concern his biography and career, the status and working conditions of musicians and writers, art
or aesthetic theory, artistic patronage and politics, cultural nationalism and cosmopolitanism, as
well as other manifestations of enlightenment and counter-enlightenment values in the Germanies.

Course requirements include active participation in discussions, an oral report on an

important book or scholarly debate, as well as a final paper of roughly twenty pages. Students may
choose writing projects that match their own interests or places in the graduate program: a
research paper suitable for revision in an M.A. portfolio, a pedagogical or scholarly report suitable
as a draft for an M.A.T. casebook essay, or a critical review helpful for preparing doctoral exam
fields.

All written work and class discussions for this course are in gender-neutral, nonsexist
language and rhetorical constructions. Such practice is part of a classroom situation
according full respect and opportunity to all participants by all others.

Written work is submitted in paper copy, without cover pages or special folders. Simply put
your name and course identification at the top of the first page and staple the upper left
corner. Papers are always paginated (usually at the bottom and center of each page after the
first), double-spaced, and presented in clear 10- to 12-point type.

Parenthetical annotation is now strongly recommended, though any form of annotation (foot-
or endnotes) and bibliography is acceptable for this course, provided that you use it correctly
and consistently. Probably most appropriate for your work in the arts and humanities are
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standard guides like Joseph Gibaldi’s MLA Handbook for Writers of Research Papers (6 ed.;
NY, 2003) or Kate L. Turabian’s Manual for Writers of Term Papers, Theses, and
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Dissertations (6 ed.; Chicago, 1996).
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At the same time, Diana Hacker's Rules for Writers (5 ed.; Boston and NY, 2004)
summarizes MLA stylistic conventions, outlines current grammatical practices and mechanical
presentation, and offers helpful guidelines for researching and writing papers. You may find it,
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her Research and Documentation in the electronic Age (3 ed.; Boston, 2002), and her Web
site (www.dianahacker.com) especially useful for your work in the course this semester.

Any student who has not already read William Strunk Jr. and E. B. White, The Elements of
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Style (4 ed.; Boston, 2000), should do so immediately.

I should also mention that the eleventh edition of Merriam-Webster’s Collegiate Dictionary
(Springfield, MA, 2003) is now the standard for everyday university work.

Most required readings as well as some recommended items for the course are on reserve in the
McDermott Library. Paperback books used extensively are also for sale, if you wish to purchase
them, both in the University Bookstore and at Off-Campus Books. Rather than being on the
library’s reserve shelf, however, shorter readings marked with an asterisk (*) are available online
through the copy of this syllabus on my Internet Web site. Please note that those materials are
under copyright, you must always cite them properly, and you must have a password to gain
access to them. I will give you the password in class.

For our analysis of the five Mozart operas studied in the course, you should plan to see a
performance of each on DVD, if at all possible, and if not, do listen carefully to a good recording
and follow the libretto as best you can. Performances of each opera are available on DVD and CD
in the reserve collection in McDermott, but I have not asked the bookstores to stock them. Should
you decide to acquire your own collection, from whatever source you decide best, I have made
some recommendations of specific recordings at the end of this syllabus.

Please also note that there will be some changes in the following schedule . As they occur with
our decisions about student reports, I will announce them in class and post them on the syllabus at
my Web site on the Internet. Please check the Internet site each week.

IMPORTANT NOTICE: all course correspondence by e-mail must now occur through the
student’s UTD e-mail address. UT-Dallas provides each student with a free e-mail account that is
to be used in all communication with university personnel. This allows the university to maintain a
high degree of confidence in the identity of all individuals corresponding and the security of the
transmitted information. The Department of Information Resources at UTD provides a method for
students to forward email from other accounts to their UTD address and have their UTD mail sent
on to other accounts. Students may go to the following URL to establish or maintain their official
UTD computer account: http://netid.utdallas.edu/.

Every effort is made to accommodate students with disa bilities. The full range of resources
available through and procedures concerning Disability Services can be found at
www.utdallas.edu/student/slife/hcsvc.html.

Scholastic dishonesty includes, but is not limited to: cheating, plagiarism. collusion, and falsifying
academic records. Please familiarize yourself with the university's policies concerning scholastic
dishonesty at www.utdallas.edu/student/slife/dishonesty.html.

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 SCHEDULE OF CLASS MEETINGS AND ASSIGNMENTS

22 Aug Introduction to the Course

Wolfi in Amadeus: A Popular Representation of Musical Genius

Viewing of scenes from the film Amadeus (1994; director’s cut, 2002) directed by
Milos Forman and based on Peter Schaffer’s play

29 Aug The Public Sphere & European Culture in the Old Regimes

Discussion of T.C.W. Blanning, The Culture of Power and the Power of Culture

(Labor Day)

12 Sep The Genius from Salzburg: Biography & Mythology

Discussion of H.C. Robbins Landon, Mozart: The Golden Years 1781-1791, and
William Stafford, The Mozart Myths: A Critical Reassessment

Instructor’s Report on David Schroeder, Mozart in Revolt: Strategies of Resistance,

Mischief and Deception

Recommended: Maynard Solomon, Mozart: A Life

Volkmar Braunbehrens, Mozart in Vienna 1781-1791
Robert W. Gutman, Mozart: A Cultural Biography

12 Sep Music and Musicians in Eighteenth-Century Europe

Discussion of *William Weber, "The Contemporaneity of Eighteenth-Century Musical

Taste," Musical Quarterly 70 (1984): 175-194, and *The Classical Era: From the
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1740s to the end of the 18 Century, ed. Neal Zaslaw (Englewood Cliffs NJ, 1989),
ch. 1

Report on Zaslaw, chs. 2 (Italy), 3 (Paris), and 11 (London)

Enlightenment in the Germanies

Discussion of The Enlightenment in National Context, ed. Roy Porter and M.Teich
(Cambridge, 1981), chs. 7, 8, and 9; *Immanuel Kant, “What Is Enlighten-
ment?” The Enlightenment: A Comprehensive Anthology, ed. Peter Gay (NY, 1973),
383-389; *H.B. Nisbet, “’Was ist Aufklärung?’: The Concept of Enlightenment in
Eighteenth-Century Germany,” Journal of European Studies 12 (1982): 77-95;
*James Schmidt, “The Question of Enlightenment: Kant, Menselssohn, and the
Mittwochsgesellschaft,” Journal of the History of Ideas 50 (1989): 269-291; James
Schmidt, "What Enlightenment War: How Moses Mendelssohn and Immanuel Kant
Answered the Berlinische Monatsschrift," Journal of the History of Philosophy 30
(1992): 77-101, and *Derek Beales, “Christians and ’philosophes’: the case of the
Austrian Enlightenment,“ History, Society and the Churches, ed. Derek Beales and
Geoffrey Best (Cambridge, 1985), 169-194

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19 Sep Mozart Before Vienna

Discussion of Nicholas Till, Mozart and the Enlightenment: Truth, Virtue and
Beauty in Mozart’s Operas, chs. 1-6

Report on Zaslaw, chs. 6 (Salzburg), 8 (Mannheim), and 9 (North Germanies)

Vienna as a Musical Center

Discussion of *Zaslaw, chs. 4 and 5 (Vienna) and 10 (Esterházy Court); *Christoph

Willibald Gluck, “Letters,” The Enlightenment: A Comprehensive Anthology, ed.
Peter Gay (NY, 1973), 469-477; *Derek Beales, “Court, Government and Society in
Mozart’s Vienna,“ Wolfgang Amadè Mozart, ed. Stanley Sadie (Oxford, 1996), 3-20;
idem, Mozart and the Habsburgs

Recommended: Christoph Willibald Gluck, Dreams & Fables: Italian Arias. Perf. Cecilia
Bartoli. Akademie für Alte Musick Berlin. Cond. Bernhard Forck. Decca, 2001.

26 Sep Enlightened Orientalism?

Discussion of Mozart – Stephanie, Die Entführung aus dem Serail (1782),

and Till, chs. 7-9. Read the *synopsis in Thomas Bauman's volume in the series
of Cambridge Opera Handbooks (COH).

Report on interpretations of Entführung: Bauman (COH)

Report on Matthew Head, Orientalism, Masquerade and Mozart’s Turkish Music

Recommended: Dream of the Orient. Perf. Concerto Köln and Sarband. Dir. Werner
Ehrhardt and Vladimir Ivanoff. DGG Archiv, 2003.

3 Oct Religion & Enlightenment: The Jewish Question

Discussion of Nathan the Wise [1779] by Gotthold.Ephraim Lessing with Related

Documents, trans. and ed. Ronald Schechter

If you have time, look at Klaus Epstein, The Genesis of German Conservatism,
ch. 3 on "Religious Controversies"

Report on Jonathan M. Hess, Germans, Jews, and Claims of Modernity

10 Oct Social Order & Moral Principles in Figaro

Discussion of Mozart – da Ponte, Le nozze di Figaro (1786) and Till, chs. 10-13.
Read Tim Carter's *synopsis.

Reports on Figaro interpretations: Carter (COH) and Andrew Steptoe, The Mozart –
Da Ponte Operas

German Drama as Social Criticism: Storm and Stress

Report on Friedrich Schiller, Kabale und Liebe [Cabal and Love] (1784)

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17 Oct The Rake Punished

Discussion of Don Giovanni (1787), and Till, chs. 14 and 15.

Read Julian Rushton's *synopsis.

Reports on interpretations of Don Giovanni: Steptoe, Rushton (COH), and Charles

Ford, Così? Sexual Politics in Mozart’s Operas

“Let there be Truth”: The Classical World as Moral Example?

Report on Johann Wolfgang von Goethe, Iphigenie auf Tauris [Iphigenia in Tauris]
(1787)

24 Oct A Musical Treatise on Human Nature?

Discussion of Così fan tutte (1790), and Till, chs. 16 and 17. Read Bruce Alan
Brown's *synopsis.

Reports on Così interpretations: Steptoe, Brown (COH), and Ford

Mozart Modernized

Viewing of Destination Mozart: A Night at the Opera with Peter Sellars

Report on Peter Sellars's production of Cos ì, with viewing of scenes from the
recently released DVD

Recommended: David Littlejohn, "Reflections on Peter Sellars's Mozart,"

Opera Quarterly 7:2 (1990): 6-36

31 Oct A Turn Inward: Mozart’s Spiritualism & Romanticism?

Discussion of Die Zauberflöte (1791) and Till, ch. 18 and Epilogue. Read Peter
Branscombe's *synopsis.

Reports on interpretations of the Magic Flute: Branscombe (COH) and Jacques

Chailley, The Magic Flute: Masonic Opera

Report on Christopher McIntosh, The Rose Cross and the Age of Reason:
Eighteenth-Century Rosicrucianism in Central Europe and Its Relation to the
Enlightenment

Discussion of Paper Assignment: General Topics

7 Nov A New Aestheticism?

Discussion of Martha Woodmansee, The Author, Arts, and the Market:

Rereading the History of Aesthetics, 1-109, and instructor’s *outline of Paul O.
Kristeller, "The Modern System of the Arts," Renaissance Thought and the Arts
(Princeton, 1980), 163-227

Noble Simplicity & Quiet Grandeur? Classicism & Historicism

Report on Alex Potts, Flesh and the Ideal: Winckelmann and the Origin

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 of Art History

Further Discussion of Paper Topics: Research Strategies & Initial Hypotheses

14 Nov The Notion of a Counter Enlightenment

Discussion of *Isaiah Berlin, “The Counter-Enlightenment,” Against the Current

(NY, 1980), 1-24, and *Geraint Parry, “Enlightened Government and its Critics in
Eighteenth-Century Germany,” Historical Journal 6 (1963): 178-192

Report on Isaiah Berlin, Three Critics of the Enlightenment: Vico, Hamann,

Herder

Further Discussion of Paper Topics

21 Nov Further Discussion of Paper Topics

28 Nov Paper Due. Party at the Instructor’s Home

Please attach a stamped self-addressed envelope to the paper, so I may
return it with comments and your marks for the course.

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HUHI 6325: Mozart and the German Enlightenment Some Recommended Books

General Works & Biographical Studies

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The Letters of Mozart and His Family, ed. and trans. Emily Anderson (3 ed.)
Mozart's Letters, Mozart's Life, ed. Robert Spaethling
Otto Erich Deutsch, Mozart: A Documentary Biography
The Mozart Compendium: A Guide to Mozart’s Life and Music, ed. H.C. Robbins Landon
The Cambridge Companion to Mozart, ed. Simon P. Keefe
H.C. Robbins Landon, Mozart: The Golden Years 1781-1791
H.C. Robbins Landon, 1791: Mozart’s Last Year
Ruth Halliwell, The Mozart Family: Four Lives in a Social Context
Stanley Sadie, The New Grove Mozart

The Operas
Rudolph Angermüller, Mozart’s Operas
Bridget Brophy, Mozart the Dramatist
Edward Dent, Mozart’s Operas
Daniel Heartz, Mozart’s Operas, ed. Thomas Bauman
William Mann, The Operas of Mozart
Charles Osborne, The Complete Operas of Mozart
Carolyn Gianturco, Mozart’s Early Operas
Thomas Bauman, W.A. Mozart: Die Entführung aus dem Serail (Cambridge Opera Handbook)
Andrew Steptoe, The Mozart – Da Ponte Operas: The Cultural and Musical Background
Sheila Hodges, Lorenzo da Ponte
Lorenzo da Ponte, Memoirs, trans. Elizabeth Abbott and ed. Arthur Livingston
Tim Carter, W.A. Mozart: Le nozze di Figaro (Cambridge Opera Handbook)
Julian Rushton, W.A. Mozart: Don Giovanni (Cambridge Opera Handbook)
Bruce Alan Brown, W.A. Mozart: Così fan tutte (Cambridge Opera Handbook)
Peter Branscombe, W.A. Mozart: Die Zauberflöte (Cambridge Opera Handbook)
Jacques Chailley, The Magic Flute: Masonic Opera

Musicians & Musical Life

The Classical Era: From the 1740s to the end of the 18th Century, ed. Neal Zaslaw
Authenticity and Early Music, ed. Nicholas Kenyon
William Weber, “Learned and General Musical Taste in Eighteenth-Century France,” Past &
Present 89 (1980): 58-85
William Weber, The Rise of Musical Classics in Eighteenth-Century England

Henry Raynor, The Social History of Music

The Social Status of the Professional Musician, ed. Walter Salmen
Patricia Howard, C.W. von Gluck: Orfeo (Cambridge Opera Handbook)
Downing A. Thomas, The Aesthetics of Opera in the Ancien Régime 1647-1785
Opera and the Enlightenment, ed. Thomas Bauman and M. McClymonds
Thomas Bauman, North German Opera in the Age of Goethe
M.S. Morrow, Concert Life in Haydn’s Vienna: Aspects of a Developing Musical and Social Institution
H. C. Robbins Landon, Haydn: Chronicle and Works
David P. Schroeder, Haydn and the Enlightenment: The Late Symphonies and their Audience
Volkmar Braunbehrens, Maligned Master: The Real Story of Antonio Salieri
Heinz Gärtner, Johann Christian Bach: Mozart’s Friend and Mentor

The Social Order

Richard van Dülmen, Society of the Enlightenment
David Sorkin, The Transformation of German Jewry
David Sorkin, Moses Mendelssohn and the Religious Enlightenment
Steven M. Lowenstein, The Berlin Jewish Community: Enlightenment, Family, and Crisis, 1770-1830

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Isabel V. Hull, Sexuality, State, and Civil Society in Germany, 1700-1815
Marion Gray, Productive Men, Reproductive Women: The Agrarian Household and the Emergence
of Separate Spheres during the German Enlightenment

The Polity & Political Culture

Enlightened Absolutism: Reform and Reformers in Later Eighteenth-Century Europe, ed. H. M. Scott
James Van Horn Melton, The Rise of the Public in Enlightenment Europe
The Transformation of Political Culture: England and Germany in the Late Eighteenth Century, ed.
Eckhart Hellmuth
Rethinking Leviathan: The Eighteenth-Century State in Britain and Germany, ed. John Brewer and
Eckhart Hellmuth
John Gagliardo, Germany under the Old Regime, 1600-1790
Rudolf Vierhaus, Germany in the Age of Absolutism
Michael Hughes, Early Modern Germany 1477-1806
Charles Ingrao, The Habsburg Monarchy 1618-1815
Ernst Wangermann, The Austrian Achievement 1700-1800
Derek Beales, Joseph II and T.C.W. Blanning, Joseph II
C.B.A. Behrens, Society, Government, and the Enlightenment: The Experiences of Eighteenth-
Century France and Prussia
Gerhard Ritter, Frederick the Great
Charles Ingrao, The Hessian Mercenary State
Jonathan M. Hess, Reconstructing the Body Politic: Enlightenment, Public Culture, and the
Invention of Artistic Autonomy

Intellectual & Cultural Life

Thomas P. Saine, The Problem of Being Modern or The German Pursuit of Enlightenment from
Leibniz to the French Revolution
Frederick Beiser, Enlightenment, Revolution, and Romanticism: The Genesis of Modern German
Political Thought 1790-1800
Frederick Beiser, The Fate of Reason: German Philosophy from Kant to Fichte
Frederick Beiser, German Idealism: The Struggle against Subjectivism, 1781-1801
Klaus Epstein, The Genesis of German Conservatism
Peter Hanns Reill, The German Enlightenment and the Rise of Historicism
Robert T. Clark Jr., Herder: His Life and Thought
Jonathan Knudsen, Justus Möser and the German Enlightenment

Robert A. Kann, A Study in Austrian Intellectual History from Late Baroque to Romanticism
James Van Horn Melton, Absolutism and the Eighteenth-Century Origins of Compulsory Schooling
in Prussia and Austria
Charles O’Brien, Ideas of Religious Toleration at the Time of Joseph II
Henri Brunschwig, Enlightenment and Romanticism in Eighteenth-Century Prussia

Victor Lange, The Classical Age of German Literature

T.J. Reed, The Classical Centre: Goethe and Weimar 1775-1832
Walter Bruford, Culture and Society in Classical Weimar 1775-1806
Nicholas Boyle, Goethe: The Poet and the Age
Robert Richards, The Romantic Conception of Life: Science and Philosophy in the Age of Goethe
Lessing: Epoche – Werk – Wirkung, ed. Wilfred Barner et al.

H. Kiesel and P. Münch, Gesellschaft und Literatur im 18. Jahrhundert: Voraussetzungen und
Entstehung des literarischen Markts in Deutschland
Albert Ward, Book Production, Fiction, and the German Reading Public 1740-1800
Pamela E. Selwyn, Everyday Life in the German Book Trade: Friedrich Nicolai as Bookseller and
Publisher in the Age of Enlightenment 1750-1810
Walter Bruford, Theatre, Drama and Audience in Goethe’s Germany

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The Mozart Operas Some Recommended Recordings

Die Entführung aus dem Serail (1782)

Böhm: 1974 recording for DG available on CD and 1980 Munich performance on DG

DVD
Gardiner: 1992 recording for DG Archiv available on CD

Le nozze di Figaro (1786)

Erich Kleiber: 1955 recording for Decca available on CD

Böhm: 1968 recording for DG available on CD and 1976 television production directed
by Ponnelle now available on DG DVD
Östman: 1981 performance at Drottningholm for Swedish television, now on Image DVD
Gardiner: 1993 performance in Paris available on DG Archiv DVD
Jacobs: 2004 recording for harmonia mundi on CD

Don Giovanni (1787)

Furtwängler: 1954 Salzburg performance available on DG DVD

Klemperer: 1965 recording for EMI Angel now available on CD
Harnoncourt: 1988 recording for Teldec available on CD and 2001 production at Zürich
available on Arthaus DVD
Gardiner: 1994 recording for DG Archiv available on CD

Così fan tutte (1790)

Böhm: 1963 recording for EMI available on CD

Östman: 1984 recording for Decca L’Oiseau-Lyre available on CD and 1984 performance at
Drottningholm, now on Thorn-EMI videotape
Gardiner: 1993 performance in Paris available on DG Archiv DVD
Jacobs: 1999 recording for harmonia mundi available on CD

Die Zauberflöte (1791)

Beecham: historic 1936 recording in Berlin, now available on CD

Böhm: 1965 recording for DG available on CD
Bergman production: 1974 film adaptation made at Drottningholm, available on Criterion DVD
Östman: 1989 performance at Drottningholm, now on Image DVD
Gardiner: 1995 semi-staged performance at the Concertgebouw, Amsterdam, available on
DG Archiv videotape

Idomeneo (1781): Gardiner: 1991 recording for DG Archiv available on CD

Clemenze di Tito (1791): Gardiner: 1991 recording for DG Archiv available on CD

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Other Eighteenth-Century Music Some Recommended Recordings
on period instruments

Dream of the Orient. Perf. Concerto Köln and Sarband. Dir. Werner Ehrhardt and Vladimir
Ivanoff. DG Archiv, 2003.

Opera Arias [Mozart Haydn Gluck]. Perf. Anne Sofie von Otter. The English Concert.
Dir. Trevor Pinnock. DG Archiv, 1997.

Gluck, Christoph Willibald. Dreams & Fables: Italian Arias. Perf. Cecilia Bartoli.
Akademie für Alte Musick Berlin. Cond. Bernhard Forck. Decca, 2001.

Alceste. Dir. Robert Wilson. Perf. von Otter, Groves. English Baroque Soloists.
Monteverdi Choir. Cond. John Eliot Gardiner. DVD. Image, 2000.

Orphée et Eurydice. Dir. Robert Wilson. Perf. Kozenà, Bender, Petibon. Orchestre
Révolutionnaire et Romantique. Monteverdi Choir. Cond. John Eliot Gardiner. DVD.
Image, 2000.

Orfeo ed Euridice. Perf. McNai, Ragin, Sieden. English Baroque Soloists. Monteverdi
Choir. Dir. John Eliot Gardiner. Rec. 1992. CD. Decca, 2003.

Orfeo & Euridice. Perf. Fink, Cangemi, Kiehr. Freiburger Barockorchester. RIAS-
Kammerchor. Dir. René Jacobs. CD. harmonia mundi, 2001.

Haydn, Joseph. Die Schöpfung. Perf. McNair, Brown, Schade, Finley, Gilfrey. English
Baroque Soloists. Monteverdi Choir. Cond. John Eliot Gardiner. DG Archiv, 1996.

Mozart Night Music. The English Concert. Dir. Andrew Manze. harmonia mundi, 2003.

Mozart, Wolfgang Amadeus. Requiem. Perf. Bonney, von Otter, Blochwitz, White. Engliish
Baroque Soloists. Monteverdi Choir. Cond. John Eliot Gardiner. Philips, 1986.

The Symphonies. The Academy of Ancient Music. Dir. Jaap Schröder and Christopher
Hogwood. Rec. 1978-1985. 19 CDs. Decca, 1997.

Symphonies 38 – 41. English Baroque Soloists. Cond. John Eliot Gardiner. 2 CDs.
Philips, 1990-1992.

The Salieri Album. Perf. Cecilia Bartoli. Orchestra of the Age of Enlightenment. Cond. Adam
Fischer. Decca, 2003.

Salieri, Antonio. Tarare. Deutsche Händel Solisten. Cond. Jean-Claude Malgoire. DVD.
Arthaus, 1988.

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