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By Héctor Angulo, Carlos Fariñas, Harold Gramatges, Edgardo Martín, Leo Brouwer y José Ardevol

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The Postlude, in turn, shows to what extent this self-confidence, which culminates in The Magic Flute, was undermined as the Revolution failed to achieve its democratic goals. The traditional image of Beethoven as the tone poet of the heroic Revolutionary and Napoleonic history, while not false, is, I argue here, one-sided. The Beethovenian abstraction out of time is the obverse of the Beethovenian heroic quest and its temporal teleology. Music had no sooner acquired its “classical” ability to represent linear time than it began “romantically” to undermine and question it by exploring moments of timelessness.

The post-1550 shift consisted in the increased prominence and practical relevance accorded the ancient idea that music could make humans feel various changeable passions and thus form a person’s enduring character (ethos)—this as an alternative and challenge to the previously dominant and equally ancient idea of music as the sounding, sensuous embodiment of the intelligible harmony of simple numerical ratios (harmonia). By 1550 it was increasingly believed that the latter aim had been fully accomplished by early sixteenth-century Franco-Flemish vocal polyphony, the ars perfecta, “to which nothing could be added” (as Glarean put it), and codified by Gioseffo Zarlino in his Le Istitutioni harmoniche of 1558.

19 and 20, to the alto in Nos. 30, 59, and 60—or to a soprano-alto duet (No. 27a). Even in No. 67, which calls on all four voices, they appear successively rather than jointly. The Faithful, on the other hand, always have an accom- The Arrested Procession / 49 panying role and are always impersonated by the second choir. The blurring of clear role distribution that can be observed toward the end of No. 1, where both choirs together sing a common text, becomes a structural feature of the Passion as a whole when, in the numbers that end each of Picander’s two Parts (Nos.

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6 Autores cubanos. 10 obras para guitarra by Héctor Angulo, Carlos Fariñas, Harold Gramatges, Edgardo Martín, Leo Brouwer y José Ardevol


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