The Importance of a Rhetorical Approach to Performance
The following is an abridged version of my essay, presented in Lumen, which was the recipient of the Mark-Madoff Prize for the 2022 Canadian Society for Eighteenth Century Studies conference.
Abstract: During the period 1740–1830, the classical art of rhetoric was still largely connected to music. Eighteenth-century theorists emphasized crucial links between rhetoric and the musical arts. Each mode of expression informed the other, with common goals of expressing, communicating, and persuading. Rhetoric guided musical composers and performers alike, who sought to capture the hearts and minds of listeners through artistic expression. However, such principles arguably deserve more attention in modern musical education and performances of this repertory. This essay outlines some basic principles behind a rhetorical approach to eighteenth-century music for modern musical performers in the historically informed performance field.
A bust of Marcus Tullius Cicero
The Importance of a Rhetorical Approach for Historically Informed Music Performance (1740–1830)
ABRIDGED VERSION
By Anders Muskens
This essay outlines the significant connection between classical rhetoric and musical practice during the period 1740–1830, emphasizing its value for modern historically informed performance. Classical rhetoric, defined by Quintilian as the "science of speaking well" and by Aristotle as the "art of persuasion," profoundly influenced the musical composition and performance practices of eighteenth-century Germany. During this period, music aimed to express, communicate, and persuade, mirroring rhetorical goals of appealing to reason (logos), character (ethos), and emotion (pathos).
This rhetorical approach contrasts with modern musical ideals of objectivity, precision, and emotional restraint, which emerged post-World War II. Bruce Haynes critiques contemporary trends that prioritize technical perfection over emotional vitality, arguing these practices diverge from historical artistic intentions. Although contemporary interpretations of classical repertoire have revived many historical practices, they often neglect rhetoric's central expressive principles. A rhetorical approach, rooted in practical performance skills such as speaking, declamation, and acting, can help contemporary musicians restore vitality and emotional expressiveness to historically informed performances. The author argues from experience as a performer and musicologist, advocating for the integration of rhetorical techniques derived from historical acting and declamation treatises into musical interpretation.
Rhetorical education emphasized stylistic elegance, emotional engagement, and refined taste, aiming to master audiences' emotions through persuasive and eloquent expression. James Burgh's "The Art of Speaking" (1761) vividly describes eloquence's power to captivate and command listeners' emotions, illustrating rhetoric’s profound impact. Eighteenth-century theorists such as Johann Georg Sulzer, Heinrich Christoph Koch, and Johann Philipp Kirnberger explored rhetoric's central role in music, emphasizing music’s capacity to evoke emotions directly. Rousseau and Avison asserted that music, through imitation of vocal and emotional inflections, could speak more powerfully than language itself. Quantz and Kirnberger described music as naturally connected to emotional expressions that resonate with listeners, while C.P.E. Bach highlighted the importance of emotional authenticity in musical performance, suggesting that musicians should embody the emotions they wish to convey.
Practically, adopting a rhetorical approach involves first identifying the emotional content within a piece through an understanding of rhetorical topoi. Performers must then imaginatively animate these passions, transforming themselves into vessels for the emotional states they aim to communicate. This process is akin to rhetorical acting, where structured emotional schematizations and the performer's imaginative and bodily involvement create vivid and persuasive representations of human passion. Musical interpretation involved recognizing rhetorical "topoi" or commonplaces—specific musical gestures linked to emotions. Johann Mattheson and other contemporaries cataloged these musical-affective relationships, advising composers and performers on effectively employing these emotional signifiers. Modern performers face challenges interpreting these historical gestures due to temporal distance from their original context, but studying rhetorical topoi can bridge this gap, revitalizing the emotional intent embedded in historical compositions.
Performers were advised to animate passions imaginatively within their bodies and minds, employing rhetorical acting techniques to inspire genuine emotional expression. Aaron Hill, for instance, emphasized an actor's "plastic imagination," allowing imagined emotions to manifest physically, thus rendering performance both expressive and authentic. Similar principles applied to musical performance, demanding that musicians genuinely embody the emotions conveyed in their compositions. C.P.E. Bach advocated that musicians must personally experience the affects they wish to evoke, ensuring the audience's emotional engagement through sympathetic resonance.
In conclusion, integrating classical rhetorical principles into historically informed musical performance offers modern musicians enhanced expressivity, authenticity, and emotional depth. By reconnecting with the historically grounded, emotionally vibrant rhetorical tradition, contemporary performances can recover the vital affective power central to eighteenth-century musical aesthetics, creating engaging, compelling experiences for modern audiences.