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By Tia DeNora

During this provocative account Tia DeNora reconceptualizes the concept of genius by means of putting the lifestyles and profession of Ludwig van Beethoven in its social context. She explores the altering musical global of past due 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 recognition as she recreates Vienna's powerful musical scene via modern debts, letters, magazines, and myths--a colourful photo of fixing instances. She explores the methods Beethoven used to be obvious via his contemporaries and the picture crafted through his supporters. evaluating Beethoven to modern competitors now principally forgotten, DeNora unearths a determine musically cutting edge and intricate, in addition to a willing self-promoter who adroitly controlled his personal celebrity.DeNora contends that the popularity Beethoven bought was once as a lot a social success because it was once the results of his own presents. In considering the political and social implications of tradition, DeNora casts many points of Beethoven's biography in a brand new and assorted mild, enriching our figuring out of his luck as a performer and composer.

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Extra resources for Beethoven and the Construction of Genius: Musical Politics in Vienna, 1792-1803

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Weber 1977, 1984a, 1986). It would be inappropriate to suggest on the basis of this finding, however, that the works of Haydn, Mozart, and Beethoven were programmed universally across concert locations or that they were all performed with any regular degree of intensity throughout this twenty-year period. On closer inspection, it becomes clear that performances of their works were not randomly distributed, either (in the case of Beethoven) over time, or (in the case of all three) across concert locations.

Continued on next page) < previous page page_21 If you like this book, buy it! next page > < previous page page_22 next page > Page 22 TABLE 2 (continued from previous page) Prince Karl Lichnowsky (17561814): Regular private concert host during the 1790s; after 1795 cohosted Friday morning performances of string quartets with Count Razumovsky. He was a member of the same Masonic lodge as Mozart, had been a pupil of Mozart in the 1780s, and had escorted Mozart on a foreign concert tour. Occasionally he hosted large-scale concerts (Judas Maccabaeus in 1794, according to Zinzendorf's diary).

More recently, an additional explanation has been proposed by Moore (1987). Following the social and economic historian Hannes Stekl (1975), Moore argues that the increasing popularity of kapellen was driven as < previous page page_40 If you like this book, buy it! next page > < previous page page_41 next page > Page 41 much by aristocratic observance of convention and status-consciousness as by interest in music for its own sake. Aristocrats, in order to conform to their role expectations, maintained ensembles commensurate to their financial means and station.

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