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Mozart and the Enlightenment

Till, Nicholas

24 valoraciones por Goodreads
ISBN 10: 0571161693 / ISBN 13: 9780571161690
Editorial: Faber, London, 1992
Condición: Near Fine Encuadernación de tapa dura
Librería: Peter Goodden Books Ltd, (Bath, Reino Unido)

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As usual nowadays, there is some slight browning to Faber's poor quality paper. N° de ref. de la librería 21064

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Detalles bibliográficos

Título: Mozart and the Enlightenment

Editorial: Faber, London

Año de publicación: 1992

Encuadernación: Pub's Cloth

Condición del libro:Near Fine

Condición de la sobrecubierta: Near Fine

Edición: First

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Sinopsis:

Divine idiot or journeyman tunesmith? In this book on the life and work of Mozart, the author shows that Mozart was neither of these popular fictions, but an artist of his era whose work was clearly informed by the ideas and discoveries of the Enlightenment. This book examines the traumatic emergence of a modern society in 18th century Austria, drawing on writers and thinkers such as Richardson, Voltaire, Rousseau, Kant, Goethe, Schiller and Blake to offer a radical reappraisal of the history and meaning of the Enlightenment, and of Mozart's role within it. The Vienna of the 1780s, under the revolutionary Emperor Joseph II, where Mozart lived for ten years until his death in 1791, is evoked, a world in which coffee houses, literary salons and Masonic lodges created a forum for intense intellectual argument, political debate and religious enquiry.

From Kirkus Reviews:

An erudite mix of music, history, philosophy, biography, sociology, and even depth psychology--adding up to a triumphant study of Mozart's supreme masterworks. Writers faced with Don Giovanni or The Magic Flute have generally retreated into plot summary or musical analysis. Not so here. Stage-director Till, needing to find practical theatrical solutions to the paradoxes of Mozart's operas--why are those peasants loose in Count Almaviva's palace?--turns for help to Mozart's own intellectual milieu, the ``German enlightenment.'' He weaves the chronology of Mozart's professional progress into a tapestry of 18th-century ideas: the social contract; the ``enlightened despot''; the pursuit of happiness; the moral worth of sentiment; the status of the individual. In a text dense with apt quotation from Diderot, Rousseau, Voltaire, Montesquieu, Goethe, and others, Mozart's personal and artistic ambitions are seen playing themselves out against the larger tension of a society striving to reconcile the freedom necessary for bourgeois prosperity with the authority thought necessary to hold that society together. In his early travels, Mozart fed on Enlightenment ideals (e.g., the artist as honored public figure rather than private lackey). He went to Vienna upon the accession of Germany's most enlightened prince, Joseph II, and in the next five ``years of optimism'' produced a host of mature masterpieces. Each opera from La finta giardiniera onward receives full discussion of its connection to contemporaneous social thought, and there is a particularly compelling treatment of the final operas within the context of the ``collapse'' of Joseph's reform program. Mozart's Masonic associations also receive an illuminating presentation. Not all of Till's propositions can be accepted without question, and his occasional forays into psychobiography prove the weakest link, but no matter: Few books provide such a satisfying exploration of the thoughts and feelings from which great art is born. The subtlety and richness of Till's argument cannot be conveyed by pr‚cis: A feast for the intellectually adventurous. (Photographs--not seen) -- Copyright ©1993, Kirkus Associates, LP. All rights reserved.

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