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 15
... words , and for those in pursuit of how , as well as why , myths are made , an immediate observation must be noted . The composer's name was subject to two different pronunciations . As a Rhinelander who spent the first twenty - one ...
... words , and for those in pursuit of how , as well as why , myths are made , an immediate observation must be noted . The composer's name was subject to two different pronunciations . As a Rhinelander who spent the first twenty - one ...
Side 26
... words . By the time of Höfel's portrait , some thirteen years later , his deafness was known to the world . If the image of Beethoven created by Höfel struck Schindler as one surging with good health , the impression is due far more to ...
... words . By the time of Höfel's portrait , some thirteen years later , his deafness was known to the world . If the image of Beethoven created by Höfel struck Schindler as one surging with good health , the impression is due far more to ...
Side 28
... words to sum up the conduct and the appearance of the famous man who congratulated him on Der Freischütz : " rough " and " repellent . " " 24 One reporter thought to comment on Beethoven's teeth , and he was a mu- sician , not a dentist ...
... words to sum up the conduct and the appearance of the famous man who congratulated him on Der Freischütz : " rough " and " repellent . " " 24 One reporter thought to comment on Beethoven's teeth , and he was a mu- sician , not a dentist ...
Side 29
... words which came stammering from the depths of my soul , never- theless seemed to touch him , and this induced me to tell about my nocturnal pursuit of him after the performance of Fidelio . ' But what prevented you from coming to see ...
... words which came stammering from the depths of my soul , never- theless seemed to touch him , and this induced me to tell about my nocturnal pursuit of him after the performance of Fidelio . ' But what prevented you from coming to see ...
Side 36
... word was on the downstroke of individual letters . These downstrokes moved into agitated side- strokes as his deafness progressed . His innate rebellion against convention sur- faces in the calligraphic solution he devised for avoiding ...
... word was on the downstroke of individual letters . These downstrokes moved into agitated side- strokes as his deafness progressed . His innate rebellion against convention sur- faces in the calligraphic solution he devised for avoiding ...
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...