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008			191203s2020 xxu||||| 00| ||eng c
010			_a 2019053066
020			_a9780190054083 _chardback
035			_a(DE-627)1684127769
035			_a(DE-599)KXP1684127769
035			_a(OCoLC)1196250804
040			_aDE-627 _bger _cDE-627 _erda
041			_aeng
044			_cXD-US
050		0	_aML410.B4
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084			_aLP 63174 _qDE-14/sred _2rvk _0(DE-625)rvk/107230:
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100	1		_aBonds, Mark Evan _d1954- _eVerfasserIn _0(DE-588)131657917 _0(DE-627)512393494 _0(DE-576)168438461 _4aut _9331
245	1	0	_aBeethoven _bvariations on a life _cMark Evan Bonds
263			_a2007
264		1	_aNew York _bOxford University Press _c[2020]
300			_aix, 147 Seiten _bIllustrationen
336			_aText _btxt _2rdacontent
337			_aohne Hilfsmittel zu benutzen _bn _2rdamedia
338			_aBand _bnc _2rdacarrier
500			_aIncludes bibliographical references and index
520			_aThe Scowl -- The Life -- Ideals -- Deafness -- Love -- Money -- Politics -- Composing -- Early-Middle-Late -- The Music -- "Beethoven".
520			_a""Vienna, March 26, 1827, late afternoon. Having scrawled his name to a legal document with the little strength he has left, the gravely ill and nearly deaf composer is now in a coma. A bolt of lightning splits the sky. A clap of thunder follows. Beethoven opens his eyes, raises a fist toward heaven, sinks back, and dies. So legend would have it. Or at least one of the legends. Accounts of Beethoven's death vary widely, and this one dates from more than thirty years after the event. There may be a grain of truth to it, for weather records confirm the early spring thunderstorm that day, even if other details remain suspect. Separating fact from fiction is a major challenge for anyone who wants to come to grips with Beethoven and his music. Yet even without the fiction, Beethoven's life is the stuff of movies. The characters and the plot are ready-made for the screen: a talented young musician, the son of an alcoholic father, leaves his provincial home and dazzles high society in the imperial capital as a pianist and composer. But tragedy strikes in the form of deafness, and our hero, rejected by the woman he loves, withdraws into a world of his own and writes music he cannot hear. He turns his isolation into an asset and wins acclaim as his generation's greatest composer of instrumental music. Commissions from abroad pour in during the final years of his life. Tens of thousands attend his funeral. It is a compelling story and true enough in its outlines. But where does the music fit into all this? Generations of critics-including Hollywood script writers-have projected Beethoven's life onto his works, treating his music as if it were the soundtrack to the life. The temptation is understandable, for his style did indeed change markedly over the course of his career. If we know anything about his life at all, it is difficult to hear the unconventional piano sonatas and string quartets of his last decade without imagining the sense of isolation his near-total deafness must have forced on him. When we listen to these late compositions against the backdrop of those earlier works from the "heroic" period-works that, like the Fifth Symphony, move from struggle to triumph-we sense that something has changed in the person who created them. The temptation to map the works onto the life is particularly strong in biographies, which by their very nature move in a more or less straight line through time, with the music often functioning as an audible diary of sorts. But ...
600	1	0	_aBeethoven, Ludwig van _d1770-1827
650		0	_aComposers _zGermany _vBiography
650		0	_aComposers _zAustria _vBiography
653			_aFellow
653			_aDaimlerChrysler
653			_aClass of Fall 2002
655		7	_aBiografie _0(DE-588)4006804-3 _0(DE-627)104213493 _0(DE-576)208867147 _2gnd-content
776	1		_z9780190054106
776	0	8	_iErscheint auch als _nOnline-Ausgabe _w(DLC)978-0-19-005410-6
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