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• W117645501 abstract "Although not the central focus of study, figures prominently in Susan McClary's article Constructions of subjectivity in Schubert's which appears in a path-breaking collection of essays entitled Queering the Pitch / The New Gay and Lesbian Musicology (Routledge Press, 1994). (I am particularly impressed by Philip Brett's first article, Musicality, essentialism, and the closet.) Professor McClary's study readdresses the issue of Schubert's sexual orientation and how that orientation is reflected most notably in the Unfinished Symphony. gets into the matter as the standard against whom Schubert composed and was received. At the outset must say that admire McClary's willingness to engage in a kind of dialogue that is new; her work, as Joseph Kerman has pointed out, is important. She asks good questions, suggests solutions that are far from dogmatic, and is willing to invite us all into a discussion on how we perceive music. If anything, she is too conciliatory. For instance, to fend off one camp of clamorous objectors, at the beginning of the article she waves an antiessentialist banner with the words I do not believe that one can discern a composer's sexual orientation (or gender or ethnicity) merely by listening to the music (p. 20). (I find this a bit curious, because what instigated the study was a question from several of her students who perceived Schubert to be homosexual because of the divergent procedures in his music.) And she back-pedals on Maynard Solomon's theories on Schubert's homosexuality (attacked in a recent issue of 19th-century Music), and altered this version of her article in light of what she regards as the provisional state of the arguments over his sexuality. Musical Analysis Having said that admire her work, however, would like to respond on two levels to her interpretations of Beethoven's biography and the Eroica in this article. In the interest of fairness, will quote her at length. My first response concerns her musical analysis of the symphony: Beethoven and Schubert belonged to successive generations, and while they continued to mine the potentials of sonata procedure, their approaches differed considerably both from Mozart and from each other. Beethoven's solutions were widely accepted as virtual paradigms, especially the one presented in the Third Symphony (the Eroica). In the opening movement of this celebrated symphony, the force of the principal theme hammers away, apparently making its own formal pathway as it goes. Any distraction from its agenda - especially the tender motives that keep cropping up during the exposition - must be resisted or annexed for the sake of satisfactory self-development. When the subject finally appears in its definitive form in the coda, the listener can scarcely help cheering the strength and self-denial that made this hard-won, heroic identity feasible. When critics refer to the virility of Beethoven's music, they have in mind this kind of narrative and those types of gestures. To be sure, himself offered many other versions of subjectivity: one thinks immediately of the slow movement of the Ninth Symphony or the Cavatina from Opus 130 as instances of extraordinary openness, tenderness, and vulnerability. In fact, composition such as Opus 127 [the String Quartet in E-flat Major] seem to try quite deliberately to critique the heroic model later so firmly associated with Beethoven's name. But it is the phantom of the Eroica that haunts criticism throughout the rest of the century and up until the present. This is the standard against which everyone else is measured and - more often than not - found wanting. Now, while it may be argued (though would not) that the Eroica became a standard against which everyone else has been measured, McClary errs in a critical way when she states that the subjective force of the principal theme hammers away . …" @default.
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• W117645501 title "Commentary: The Eroica and Beethoven's Sexuality through a Feminist Lens: Susan McClary's Readings of Beethoven in Queering the Pitch" @default.
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