Beethoven and the Construction of Genius: Musical Politics in Vienna, 1792-1803
Beethoven and the Construction of Genius: Musical Politics in Vienna, 1792-1803
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贝多芬与天才的构建：维也纳的音乐政治，1792-1803 年
DOI：
10.2307/2076635
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发表时间：
1997
期刊：
影响因子：
--
通讯作者：
David B. Dennis
中科院分区：
文献类型：
--
作者：
Nicholas Vazsonyi;T. DeNora;David B. Dennis
贝多芬与天才的建构：维也纳的音乐政治，1792-1803。蒂亚·德诺拉著。伯克利：加州大学出版社，1995,[17]，232页。ISBN 0-520-08892-1。29.95美元。《贝多芬与天才的建构》试图解释路德维希·范·贝多芬是如何在1792年到达维也纳和1803年左右作为重要的音乐人物“到达”之间获得他的特殊声誉的。蒂亚·德·诺拉考察了维也纳的音乐场景。贝多芬的音乐赞助人，以及当时帮助塑造作曲家职业生涯的美学问题。这本书改编和扩展了以前发表的文章，前三章致力于从1785年左右的沃尔夫冈·阿马迪斯·莫扎特开始的维也纳音乐的社会背景。作者特别关注维也纳的贵族音乐赞助人，他们的家庭管弦乐队的解散，以及18世纪末音乐品味的逐渐转变，以断言这座城市正在进行的重大社会变革有利于并强调了贝多芬成功的事业——德诺拉称之为“贝多芬声誉的社会学”（第5-8页）。接下来的五章重点介绍了贝多芬的早期职业生涯，调查了他的社会关系，将他与莫扎特和约瑟夫·海顿联系起来的叙述的衍生和操纵，他早期音乐评论的编年史，他与约瑟夫·沃尔夫（1799）的钢琴“决斗”，以及他在维也纳钢琴结构改革中的作用。将贝多芬的职业道路和作品与同时代的扬·拉迪斯拉夫·杜塞克（Jan Ladislav Dussek）进行有趣的比较，进一步说明了社会差异和为前者提供的机会的影响。在目前对贝多芬研究的关键时刻，对许多（主要是）英国和美国学者的最新研究进行整理和总结是非常有帮助的，这些研究被大量引用。一些参考作品尚未出版或普遍可用，使它们难以评估。作为一名社会学家而不是音乐学家，德诺拉为研究文化史提供了新的社会范式，并为研究社会如何定义和对待“天才”提供了新的方法。她雄心勃勃的作品努力突破仍然流行和神话般的贝多芬形象，并绕过严格的音乐理论争论，导致贝多芬的“伟大”或价值的基本原理。她关注的是作曲家职业生涯的社会维度。但其中存在一个问题。她甚至很少提到贝多芬在这一时期创作的音乐的风格细节，更不用说讨论了，她省略了一个强有力的证据，可能支持也可能反驳她的说法。作者明智地避免了关于贝多芬的古典主义或浪漫主义风格的陈词滥调，但她创造了自己有问题的术语，即新兴的“严肃音乐文化”——一种学术杰作的意识形态，“形式复杂，所谓的高级流派”（第35,25页）。但是“严肃”这个词的真正含义是什么呢？…
Beethoven and the Construction of Genius: Musical Politics in Vienna, 1792-1803. By Tia DeNora. Berkeley: University of California Press, 1995, [xvii, 232 p. ISBN 0-520-08892-1. $29.95. Beethoven and the Construction of Genius attempts to explain how Ludwig van Beethoven achieved his particular reputation between the years 1792, his arrival in Vienna, and around 1803, his "arrival" as an important musical personality. Tia De-Nora examines the Viennese musical scene. Beethoven's music patrons, and the current aesthetic issues of the day that helped to shape the composer's career. An adaptation and expansion of previously published articles, the book devotes the first three chapters to the social context of music in Vienna beginning with Wolfgang Amadeus Mozart around 1785. The author pays special attention to Vienna's aristocratic musical patrons, the disbanding of their house orchestras, and the gradual shift of musical tastes at the end of the eighteenth century to assert that the major social changes welt underway in the city favored and underlined Beethoven's successful career--what DeNora calls "the sociology of Beethoven's reputation" (pp. 5-8). The next five chapters focus on Beethoven's early career, with investigation of his social connections, the derivation and manipulation of narratives that linked him to Mozart and Joseph Haydn, a chronicle of his early critical music notices, his piano "duel" with Joseph Wolfl (1799), and his role in the reform of piano construction in Vienna. An interesting comparison of the career paths and outputs of Beethoven with his contemporary Jan Ladislav Dussek further illustrates the impact of social differences and opportunities afforded the former. Very helpful at the present juncture in Beethoven research are the sorting out and summaries of many of the newest lines of (primarily) English and American scholarship, which are cited copiously. Some of the referent works are not yet published or generally available, making them difficult to evaluate. As a sociologist rather than a musicologist, DeNora offers new social paradigms to the study of cultural history and new ways of looking at how societies define and treat "genius." Her ambitious work strives to cut through the still popular and mythic Beethoven image and to circumvent the strictly musical-theoretical arguments that lead to rationales about Beethoven's "greatness" or value. Her focus is the social dimension of the composer's career. But therein lies a problem. By rarely even naming, much less discussing, stylistic details of the music that Beethoven composed during the period, she omits a powerful body of evidence that might support as well as refute her claims. Wisely, the author avoids threadbare arguments about Beethoven's Classical or Romantic styles, but she coins her own problematic terminology of an emerging "serious music culture"--an ideology of learned masterpieces, of "formal complexity, the so-called higher genre" (pp. 35, 25). But what is really meant by the word "serious? …