Assumptions of Homosexuality in 18th Century Composers
Phillip Brett begins his article on issues of sexuality in 18th century music with an observation from 20th century composer Virgil Thompson, who noted that no one in music ever talked about homosexuality. This assertion is quickly contradicted with a quote from Havelock Ellis, who states that “It has been extravagantly said that all musicians are inverts.” Ellis uses the dated psychological term “inverts” to refer to those displaying “sexual inversion” , or homosexuality. Throughout the remainder of the article, Brett discusses the sexuality and perceived sexuality of composers in Western Music from the 18th century. Though not all of the composers he discusses fall within the Classical Era, he writes primarily about Ludwig Van Beethoven, George Friedric Handel, and Franz Schubert, all Classical Era composers.
Brett explores several theories which suggest that the above composers, as well as a few others, were homosexual, and how that homosexuality affected their lives and their music. Brett takes a fairly critical stance in examining the analysis of scholars who have proposed that these composers were gay. Many of them have little or no proof, aside from their unmarried status, which often suggests a tendency toward solitude or asexuality more than homosexuality. Brett is not …show more content…
In the article he says “reports of Schubert’s relations with women are extremely meager and somewhat defensive, perhaps because some of his contemporaries seemed to feel a responsibility to clear him of charges of immoral behavior.” He also includes accounts from letters of friends of Schubert’s which describe how Schubert was indifferent to women’s flirtation. Maynard’s article also describes Schubert’s involvement in “male homosexual subcultures” and even goes so far as to suggest certain possible
Phillip Brett begins his article on issues of sexuality in 18th century music with an observation from 20th century composer Virgil Thompson, who noted that no one in music ever talked about homosexuality. This assertion is quickly contradicted with a quote from Havelock Ellis, who states that “It has been extravagantly said that all musicians are inverts.” Ellis uses the dated psychological term “inverts” to refer to those displaying “sexual inversion” , or homosexuality. Throughout the remainder of the article, Brett discusses the sexuality and perceived sexuality of composers in Western Music from the 18th century. Though not all of the composers he discusses fall within the Classical Era, he writes primarily about Ludwig Van Beethoven, George Friedric Handel, and Franz Schubert, all Classical Era composers.
Brett explores several theories which suggest that the above composers, as well as a few others, were homosexual, and how that homosexuality affected their lives and their music. Brett takes a fairly critical stance in examining the analysis of scholars who have proposed that these composers were gay. Many of them have little or no proof, aside from their unmarried status, which often suggests a tendency toward solitude or asexuality more than homosexuality. Brett is not …show more content…
In the article he says “reports of Schubert’s relations with women are extremely meager and somewhat defensive, perhaps because some of his contemporaries seemed to feel a responsibility to clear him of charges of immoral behavior.” He also includes accounts from letters of friends of Schubert’s which describe how Schubert was indifferent to women’s flirtation. Maynard’s article also describes Schubert’s involvement in “male homosexual subcultures” and even goes so far as to suggest certain possible