The Changing Image of Beethoven: A Study in MythmakingSunstone Press, 2008 - 480 sider No composer in the history of music has undergone so many makeovers in the portrayal of his facial features or the interpretation of his cultural legacy as Ludwig van Beethoven. The myth began during his lifetime when few verbal or visual portrayals of the composer adhered strictly to his physical appearance; instead his mannerisms, manners, and moods prevailed. Promoted from peevish recluse to Promethean hero, he was pictured early on as a "genius inspired by inner voices in the presence of nature, with leonine hair writhing wildly in symbolic parallel to the seething turbulence of creativity," according to the author. In this unique study of the myth-making process across two centuries, Alessandra Comini examines the contradictory imagery of Beethoven in contemporary verbal accounts and in some 200 paintings, prints, sculptures, and monuments. With a witty yet penetrating narrative, she moves through these images to construct a collective image of the composer that reflects the many differing impressions left by devoted "myth makers" ranging from Wagner, Nietzsche, Berlioz, and Brahms to Rolland, D'Annunzio, and Jenny Lind. University Distinguished Professor of Art History Emerita at Southern Methodist University, Alessandra Comini is the author of eight books, one of which was nominated for the National Book Award ("Egon Schiele's Portraits"). The Republic of Austria extended her its Grand Decoration of Honor in 1990, the National Women's Caucus for Art gave her a Lifetime Achievement Award in 1995, and a Comini Lecture Series in her honor was founded in Dallas in 2005. She is associate producer of Museum Music's recording "Klimt Musik," featuring composers from Beethoven to Alma and Gustav Mahler. |
Innhold
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| 13 | |
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| 38 | |
| 74 | |
The Musicians Musician | 120 |
Haydn to Chopin | 226 |
The ThreeDimensional Beethoven | 315 |
Apotheosis | 388 |
NOTES | 416 |
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The Changing Image of Beethoven: A Study in Mythmaking Alessandra Comini Ingen forhåndsvisning tilgjengelig - 2008 |
Vanlige uttrykk og setninger
admiration artist Beetho Beethoven monument Beethoven's death Beethoven's music Beethoven's Ninth Berlioz Bettina biography Bonn Brahms Brahms's bronze bust CHANGING IMAGE CHAPTER FOUR BEETHOVEN Chopin Clara Schumann composer composer's concert copy critic Czerny Danhauser Danhauser's deaf Dresden entry Eroica eyes Fidelio FOUR BEETHOVEN INTERPRETED Franz Liszt French genius German Goethe Gustav Gustav Klimt Gustav Mahler hair Haydn hero Ibid IMAGE OF BEETHOVEN impression inspired Johann Johannes Brahms Josef Klimt Knew later Leipzig letter lithograph London Ludwig van Beethoven Lyser Mahler mask Max Klinger Mendelssohn Moscheles Moscheles's Mozart Music and Musicians mythmaking Ninth Symphony opera orchestra Paganini painted painter Paris performance pianist piano plaster played portrait of Beethoven published Richard Wagner Robert Schumann Romantic Romanticism Rossini Schindler Schubert Sonata Sonneck Spohr Thayer-Forbes Thayer's thoven throne tion Vienna Viennese Wagner Weber Weimar Wieck words writing written wrote young Zumbusch
Populære avsnitt
Side 48 - ... had been prepared had become unpalatable. In the livingroom, behind a locked door, we heard the master singing parts of the fugue in the Credo — singing, howling, stamping. After we had been listening a long time to this almost awful scene, and were about to go away, the door opened and Beethoven stood before us with distorted features, calculated to excite fear. He looked as if he had been in mortal combat with the whole host of contrapuntists, his everlasting enemies. His first utterances...
Side 89 - ... who seem'd so great. — Gone ; but nothing can bereave him Of the force he made his own Being here, and we believe him Something far advanced in State, And that he wears a truer crown Than any wreath that man can weave him. Speak no more of his renown, Lay your earthly fancies down, And in the vast cathedral leave him. God accept him, Christ receive him.
Side 71 - Beethoven's dwelling.) After this unexpected phenomenon of nature, which startled me greatly, Beethoven opened his eyes, lifted his right hand and looked up for several seconds with his fist clenched and a very serious, threatening expression as if he wanted to say: "Inimical powers, I defy you! Away with you! God is with me!
Side 76 - I have been in a hopeless case, aggravated by senseless physicians, cheated year after year in the hope of improvement, finally compelled to face the prospect of a lasting malady (whose cure will take years, or, perhaps, be impossible), born with an ardent and lively temperament, even susceptible to the diversions of society, I was compelled early to isolate myself, to live in loneliness, when I at times tried to forget all this...
Side 87 - Buonaparte in mind, but as he was when he was First ConsuL Beethoven esteemed him greatly at the time and likened him to the greatest Roman consuls. I as well as several of his more intimate friends saw a copy of the score lying upon his table with the word “Buonaparte” at the extreme top of the title page, and at the extreme bottom “Luigi van Beethoven,
Side 99 - ... herrings, and studying the newspapers. " One evening a person took a seat near him whose countenance did not please him. He looked hard at the stranger, and spat on the floor, as if he had seen a toad ; then glanced at the newspaper...
Side 79 - Orcus — music discloses to man an unknown realm, a world that has nothing in common with the external sensual world that surrounds him, a world in which he leaves behind him all definite feelings to surrender himself to an inexpressible longing.
Side 115 - But thou, oh blessed master ! dost answer all my questions, and make it my privilege to be. Like a humble wife to the sage or poet, it is my triumph that I can understand and cherish thee : like a mistress, I arm thee for the fight : like a young daughter, I tenderly bind thy wounds. Thou art to me beyond compare, for thou art all I want. No heavenly sweetness of saint or martyr, no many-leaved Raphael, no golden Plato, is anything to me, compared with thee.
Side 141 - Morte d' un'Eroe," to that passage where he seems to depict the hero as he lies breathing his last, the sands of life gradually running out. The suppressed sobs of the bystanders and my own hot tears recalled me to the dread reality. At twenty-four minutes past nine he expired with a deep sigh.
Side 17 - Keep hold of my arm, they must make room for us, not we for them." Goethe was of a different opinion, and the situation became awkward for him; he let go of Beethoven's arm and took a stand at the side with his hat off, while Beethoven with folded arms walked right through the dukes and only tilted his hat slightly while the dukes stepped aside to make room for him, and all greeted him pleasantly; on the other side he stopped and waited for Goethe, who had permitted the company to pass by him where...