By Tia DeNora
During this provocative account Tia DeNora reconceptualizes the thought of genius through putting the existence and occupation of Ludwig van Beethoven in its social context. She explores the altering musical global of overdue eighteenth-century Vienna and follows the actions of the small circle of aristocratic consumers who prepared the ground for the composer's success.DeNora reconstructs the improvement of Beethoven's acceptance as she recreates Vienna's powerful musical scene via modern money owed, letters, magazines, and myths--a colourful photograph of fixing occasions. She explores the methods Beethoven used to be noticeable through his contemporaries and the picture crafted via his supporters. evaluating Beethoven to modern opponents now principally forgotten, DeNora finds a determine musically leading edge and complicated, in addition to a willing self-promoter who adroitly controlled his personal celebrity.DeNora contends that the popularity Beethoven got was once as a lot a social fulfillment because it was once the results of his own presents. In considering the political and social implications of tradition, DeNora casts many elements of Beethoven's biography in a brand new and varied mild, enriching our figuring out of his good fortune as a performer and composer.
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Additional info for Beethoven and the Construction of Genius: Musical Politics in Vienna, 1792-1803
Indeed, they appear as "most often programmed" composers at these venues as well as at the Theater an der Wien and the Universitätssaal (see Table 5). It would be wrong to conclude, however, that the taste for "serious" music was distributed evenly across social groups simply because compositions by Haydn and Mozart appeared at all concert locations. A look at the particular works by Mozart and Haydn performed at each location (see Table 6) reveals that the type of composition featured varied from place to place, and this is especially the case with Mozart.
Married Princess Maria Theresa von Hohenlohe Waldenburg in 1800. Haydn's Creation was performed at his Vienna palace on 4 April 1800, arranged for septet. He was a noted collector and arts patron, his library contained more than sixteen hundred volumes, and he possessed more than three hundred paintings. Fries's father was an ennobled banker. Prince Golitzin (172193): Russian ambassador to Vienna, he hosted weekly private concerts from 1790 to 1793. ): Member of GAC. Schönfeld said he was also a fine dilettante musician (he played the flute).
Just as Mozart's earlier mixed reception during the late 1780s can be considered as part of a reorientation by some aristocrats (away from the quasi-public concert and toward the more private forums of salons), so too can his posthumous renown. The 1790s' celebration of Mozart as a master composer was part of and contributed to a general reorientation of taste. Vienna's Musical Aristocrats In The 1790s In 1805, a Viennese correspondent to the Zeitung für die elegante Welt described the world of Viennese salons and notes of one that "Sunday mornings, and perhaps also Fridays are usually devoted to true music, which one never loses sight of here.
Beethoven and the Construction of Genius: Musical Politics in Vienna, 1792-1803 by Tia DeNora
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