Abstract
Abstract This article examines the first movements of Haydn’s keyboard sonatas Hob. XVI: 40 and 42, composed for and dedicated to Princess Marie Esterházy. The movements are explored alongside the various public portraits of the princess to observe how the music might have helped confirm or reinforce the feminine ideals and behaviours of the eighteenth-century culture of sensibility. The studies of Hob. XVI: 40’s Allegretto e innocente and Hob. XVI: 42’s Andante con espressione focus respectively on the notions of innocence and politeness. Framed in this way, these works can be heard as a musical choreography of tasteful innocence and politeness in the culture of sensibility—the music, when performed, brings forth an experience similar to reading a sentimental fictional narrative and a chapter in a conduct-book.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.