of Udolpho. Here music exerts a crucial function in the construction of the plot. The mystery
builds up thanks to the intermittent and unstable nature of sounds which exacerbate the
uncanny. Hence, a meditation on sound perception may constitute a helpful ancillary subject
matter to historical contextualization of texts dealing with music.
I wish to point to yet another example of historical or cultural contextualization of a musico-
literary work. Gabriel Josipovici’s Goldberg: Variations stages a character, Goldberg, arriving
at a manor where he is to read to his employer, Westfield. The latter suffers from insomnia,
and decides to hire a writer to read for him during the night from a room adjacent to his own,
so that it may alleviate his suffering or make him finally fall asleep. In the first chapter, it
turns out that Westfield had tried employing a musician earlier on, but the musical remedy fell
through. That is why, as a writer, Goldberg is to compose his own texts and read them out for
Westfield. The novel sets up an intersemiotic dynamics, akin to rivalry between the arts. The
musical context relates to J. S. Bach’s Goldberg Variations, and it would be instructive to
make students listen to the composition, at least the introductory theme: the Aria. In spite of
the difficulty that the analysis of the score may present, it may be spoken of on quite a general
level, through its extramusical context. In fact, Bach’s first biographer, Johann Nikolaus
Forkel reports that the composition was commissioned by Count Hermann Keyserling who
suffered from insomnia. Goldberg was to perform the variations for Keyserling in an adjacent
room. The legend is thus an interesting prerequisite for understanding Josipovici’s novel.
Representing the listener
Speaking of multifarious musical contexts, one may also tackle the historical aspects of
reception by examining texts that depict the topos of the concert. The opera scene is
frequently used in the 19th-century novel as a theatrical mirror of the milieu. In Balzac’s
novels, to take an instance, opera emerges as a mirror and a means of discovery of the
Parisian society [9]. The heuristic value of the concert representation appears in many a book,
only to mention Villiers de l’Isle-Adam’s short story, “Unknown Woman,” or Willa Cather’s
novel, The Song of the Lark.
Besides, the intimacy of the private reception (chamber music, as in Proust’s Remembrance of
Things Past) may be contrasted with public performances. Contrastive analysis reveals rich
social and historical implications. Romantic reception, as in Kate Chopin’s The Awakening,
may be paralleled with Virginia Woolf’s short story, “The String Quartet,” both within the
dynamics of contrast between public and private spheres, and within the scope of an evolving
musical sensibility. The heroine of The Awakening, Edna, does not really listen to music for
sounds, but for pictures or images:
Edna was what she herself called very fond of music. Musical strains, well rendered, had a way of evoking
pictures in her mind. She sometimes liked to sit in the room of mornings when Madame Ratignolle played
or practiced. One piece which that lady played Edna had entitled “Solitude.” […] When she heard it there
came before her imagination the figure of a man standing beside a desolate rock on the seashore. He was
naked. His attitude was one of hopeless resignation as he looked toward a distant bird winging its flight
away from him. (Chopin, 44)
On listening to one of Chopin’s Impromptus, the heroine visualizes a watery landscape:
Edna did not know when the Impromptu began or ended. She sat in the sofa corner reading Robert’s letter
by the fading light. […] The shadows deepened in the little room. The music grew strange and fantastic–
turbulent, insistent, plaintive and soft with entreaty. The shadows grew deeper. The music filled the room. It
floated out upon the night, over the housetops, the crescent of the river, losing itself in the silence of the
upper air. (Chopin, 106)
The association of water and music hints at the notion of programme music which
presupposes both a specific stance towards musical signification and a particular response to
music. It tackles the problem of reception on the whole, with all possible stereotypical