Musical Rhetoric of Johann Joachim Quantz


In this paper the 11th Chapter of J. J. Quatnz’s treatise On Playing the Flute is considered as a doctrine on musical rhetoric. This doctrine is of importance not only for performing art (both contemporary to Quantz and modern historically informed performance practice), but also for studies in history of musical-theoretical thought of Baroque and Early Classicism. The place of the 11th Chapter in overall structure of the treatise is defined and its internal formation is analyzed. Apart from this, some parallels proposed by Quantz are revealed between performing art and rhetorical doctrine on delivery of speech (pronuntiatioVortrag) and also the particular significance of the category of affectus for this author is noted. Finally, an observation is made on the presence of two important concepts of the Baroque affect theory in this Chapter: the first is the analogy of musical and emotional movements (motus harmonicimotus animæ) and the second — application of the four temperaments theory as a scientific basis for classification of passions of the soul and for detection of personal inclination (in this case — of performers) for music of one or another kind. And also singularity is denoted which feature the employment of the said ideas by the author of the treatise.


1. Бах К. Ф. Э. Опыт истинного искусства клавирной игры. Книга первая (1753 г.) / пер.
и коммент. Е. Юшкевич. СПб.: EARLYMUSIC, 2005. 169 с.

2. Гаспаров М. Л. Античная риторика как система // М. Л. Гаспаров. Избранные труды: в 3 т.
Том I. О поэтах. М.: Языки русской культуры, 1997. С. 556–589.

3. Насонов Р. А. Теория аффектов Афанасия Кирхера: тройка, восьмерка и бесконечность //
PAX SONORIS: история и современность (Памяти М. А. Этингера): научный журнал.
Вып. III / гл. ред. Е. М. Шишкина. Астрахань, 2008. С. 44–51.

4. [Bach C. Ph. E.] Versuch über die wahre Art das Clavier zu spielen mit Exempeln und achtzehn
Probe-Stücken in sechs Sonaten erläutert von Carl Philipp Emanuel Bach, Königl. Preuß.
Cammer-Musicus. Berlin: C. F. Henning, 1753 / R. 135 S.

5. [Kircher A.] Athanasii Kircheri fuldensis e Soc. Iesu presbyteri Musurgia universalis sive Ars magna consoni et dissoni in X. libros digesta. Qua Universa Sonorum doctrina, & Philosophia, Musicaeque tam Theoricae, quam practicae scientia, summa varietate traditur; admirandae Consoni, & Dissoni in mundo, adeòque Universà Natura vires effectusque, uti nova, ita peregrina variorum speciminum exhibitione ad singulares usus, cum in omni poenè facultate, cum potissimùm in Philologià, Mathematicà, Physicà, Mechanicà, Medicinà, Politicà, Metaphysicà, Theologià, aperiuntur & demonstrantur. 2 t. in 1. Roma: ex typographia haeredeum Francisci Corbelletti, 1650. [22], 690, [2]; [2], 462, [36] p.

6. [Kirnberger J. Ph.] Die Kunst des reinen Satzes in der Musik, aus sicheren Grundsätzen
hergeleitet und mit deutlichen Beyspielen erläutert von Joh. Phil. Kirnberger, Ihrer Königl. Hoheit
der Prinzeßin Amalia von Preußen Hof-Musicus. Zweyter Theil. Erste Abtheilung. Berlin und
Königsberg: Decker und Hartung, 1776. 153 S.

7. [Quantz J. J.] Essai d’une méthode pour apprendre à jouer de la flute traversière: avec plusieurs
remarques pour servir au bon goût dans la musique le tout éclairci par des exemples et par xxiv.
tailles douces. Berlin: Chretien Frederic Voss, 1752. [XVI], 336, [18] p.

8. Quantz J. J. On Playing the Flute: The Classic of Baroque Music Instruction // Translated with
notes and introduction by E. R. Reilly. 2nd ed. L.: Faber and Faber, 1985. XLIII, 412 p.