The Changing Image of Beethoven: A Study in Mythmaking
Sunstone 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.
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admiration artist Beetho Beethoven monument Beethoven's death Beethoven's music Beethoven's Ninth Berlioz Bettina biography Bonn Brahms Brahms's bronze bust chapter four Chopin Clara Schumann composer composer's concert copy critic Czerny Danhauser Danhauser's deaf Dresden entry Eroica eyes Fidelio Franz Liszt French genius German Goethe Gustav Gustav Klimt Gustav Mahler hair Haydn hero Hoffmann Ibid image of Beethoven impression inspired interpreted Johann Johannes Brahms Josef Klimt later Leipzig letter lithograph London look Ludwig van Beethoven Lyser Mahler March 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 Rellstab Richard Wagner Robert Schumann Romantic Romanticism Rossini Schindler Schubert sculptor Sonata Sonneck Spohr Thayer-Forbes Thayer's thoven throne tion Vienna Viennese Wagner Weber Weimar Wieck words writing written wrote young Zumbusch
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 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...