Marshall Brown. The Tooth that Nibbles at the Soul: Essays on Music and Poetry. Seattle: University of Washington Press, 2010. Pp. 384. $75.00 cloth/$35.00 paper. Che impensata novita! exclaim the enraged posse of characters in pursuit of Don Giovanni, when they discover Leperello in his master's guise. What a totally unexpected thing! Beset by mille torbidi pensieri, the characters reel, knocked silly. But what truly unexpected, from the Don's point of view, the behavior of everyone else in the opera. From the opening scene, when he grappled with by Donna Anna--e sono assalitrice d'assalita! she later boasts--everyone off script, refusing their roles. Of course, he persists with the old routines the end, deaf the realignment of desire and language occurring around him. Not. doesn't always mean in Don Giovanni, but as Marshall Brown brilliantly adduces in the concluding chapter of his new book, it the opera's signature utterance, along with two other epithets of the modern: sentire (to feel) and battere (to beat/fight), the latter originated by Giovanni and Anna's deadlocked struggle, but which signifies also, Brown suggests, the restless beat of Mozart's music, and the momentous historical change both the Don and Mozart's Prague audience of 1787 must be made hear (Viva la Liberta!). The skeptical energy that pulses through Mozart's Don Giovanni marks a fitting (actually rousing) conclusion Brown's The Tooth That Nibbles at the Soul, a book concerned throughout with facets of skeptical artistry (37) in music and poetry. Abstraction Brown's master term for the negativity that characterizes music and lyric poetry: how both art forms operate upon a deficit of meaning and thus are always pointing the pure necessity and energy of form. The introductory chapter includes a tour of modernist painting--Picasso, Rothko--before concluding that abstraction is a mode, not a period (14) and setting sail for the long eighteenth century. In Brown's hierarchy of arts, the abstraction or immateriality of music the condition which poetry aspires. In Faure's song Rencontre, for example--Brown's reading of which sets the terms for much of what follow--the lyric does not succeed in rescuing the music from abstraction. Rather, Faure's setting introduces a vital indeterminacy, and thus emotional depth, otherwise bland verse. In this way, the lyric art, written, sung, or played, represents an essential musicalization of experience (xi). All arts are one. In chapter two, the oft-derided subcategory of becomes the name for this principle of abstraction, a contrarian move characteristic of the skeptical sensibility Brown brings Romantic definitions of art. not license (44), even less an unbounded state of mind, but rather an achieved affect dependent on craft. Like the Mephistophelean no coursing through Don Giovanni, fantasy a questioning presence audible not only in custom-made settings such as Mendelssohn's Overture A Midsummer Night's Dream, but in such sublime edifices as Beethoven's Fifth. Fantasy Brown's name for that symphony's incomplete catharsis, its lack of a statement form shore up against the restlessness of a pulse (60). Brown's close analyses of momentary musical effects enacts the difficult rescue of music from ideology, linking it to a different kind of meaning that might rescue society from the tyranny of its principles (62). In a later chapter, Brown reiterates the point in a reading of Dickinson, whose empirical poetics of our phantasmic sense-world communicate their spirit the book (as well as its toothsome title): Poetry's estrangements are not transcendence. Rather, they are antiphonal the hymnic strains that regulate belief systems (98). In such moments as these, the very considerable stakes of Brown's enterprise become clear, as well as the specific powers of an interdisciplinary approach that takes music, not text, as the model of art. …
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