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. |
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Side 3
... letter urging the book's reissue : " The Changing Image of Beethoven displays an extraordinary breadth of scholarship , eloquently uniting iconography , musicology , and social history . I would go so far to say that I regard this work ...
... letter urging the book's reissue : " The Changing Image of Beethoven displays an extraordinary breadth of scholarship , eloquently uniting iconography , musicology , and social history . I would go so far to say that I regard this work ...
Side 18
... letter to his Leipzig publishers also written from Teplitz , he had announced almost breathlessly in the midst of technical instructions : " Goethe is here " ; and in his next letter to them he positively glowed with pride , reporting ...
... letter to his Leipzig publishers also written from Teplitz , he had announced almost breathlessly in the midst of technical instructions : " Goethe is here " ; and in his next letter to them he positively glowed with pride , reporting ...
Side 29
... letter of financial good tidings from his countryman the grand duke of Hessen . Bee- thoven's reception was cordial and Schlösser , at last in the presence of the " Desired One , " was sensitive to both the exalted and the mundane ...
... letter of financial good tidings from his countryman the grand duke of Hessen . Bee- thoven's reception was cordial and Schlösser , at last in the presence of the " Desired One , " was sensitive to both the exalted and the mundane ...
Side 35
... letter of 29 June 1801 to Franz Wegeler in which he had revealed the secret of his deafness to his far - off friend in Bonn , Beethoven had urgently requested that his grandfather's portrait be sent to him by mail coach as soon as ...
... letter of 29 June 1801 to Franz Wegeler in which he had revealed the secret of his deafness to his far - off friend in Bonn , Beethoven had urgently requested that his grandfather's portrait be sent to him by mail coach as soon as ...
Side 36
... letter style ( so frequently calamo currente , as Emily Anderson , translator of the letters into English , summed ... letter to Mähler quoted above - as a punctuation preferable to periods ( a duty often assigned by him to commas ) and ...
... letter style ( so frequently calamo currente , as Emily Anderson , translator of the letters into English , summed ... letter to Mähler quoted above - as a punctuation preferable to periods ( a duty often assigned by him to commas ) and ...
Innhold
1 | |
13 | |
22 | |
38 | |
Shaping the Posthumous Portrait | 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 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...