scholarly journals Ludwig Van Beethoven: La Musica Del Silenzio

2014 ◽  
Vol 25 (4) ◽  
pp. 343-351
Author(s):  
Luciano Sterpellone

Nell'estate del 1797 all'età di 27 anni e periodo che coincide con gli inizi dei disturbi uditivi, il musicista contrae una infezione, un tifo addominale dal quale non si riprenderà più completamente, con reiterati disturbi gastrointestinali negli anni a venire. Solo nel ottobre 1802 Beethoven ammette la propria sordità, accompagnata da acufeni, una patologia che avrebbe interessato prima l'orecchio sinistro, poi quello destro, e che sarà progressiva, sino alla sordità completa. Le cure cui verrà sottoposto saranno le più diverse, ma verosimilmente tutte inutili, Beethoven sarà un paziente sui generis, che fa di testa propria, ignorando le prescrizioni dei medici, bevendo molto vino e molto caffè, e non rispettando i dosaggi dei medicinali. Poco risolvono anche i cornetti acustici, applicati a lungo solo all'orecchio sinistro, perché, il destro è già completamente sordo. Viceversa per aumentare l'intensità dei suoni si serve di uno strumento ingombrante, una specie di coperchio di legno che mentre suona interpone tra sé e il pianoforte come cassa di risonanza. Nel 1822, alla prova generale del Fidelio non sente assolutamente nulla di ciò che si canta sulla scena. Nel maggio 1824, al termine di un concerto, una cantante deve prenderlo per le spalle e voltarlo verso il pubblico perché, si renda conto che lo stanno applaudendo freneticamente. Nel 1825 compaiono i segni dell'interessamento epatico con una ematemesi che origina verosimilmente da varice esofagee. Nel 1826 le condizioni generali peggiorano compaiono coliche addominali, diarrea, ittero, e l'asche richiede numerose paracentesi con aspirazione sino a 14 litri. Il 27 marzo del 1827 Ludwig van Beethoven muore, e due giorni dopo ventimila persone seguiranno il feretro; tra i presenti Franz Schubert, ignaro che appena un anno dopo riposerà vicino a Beethoven. Sulla sordità di Beethoven non si è giunti a conclusioni definitive. Otosclérosi, un'affezione dell'orecchio interno, una degenerazione del nervo acustico, una forma post-infettiva come nel tifo addominale, una improbabile degenerazione di origine luetica, un morbo di Paget. Dai reperti autoptici appare molto probabile che la morte del musicista possa essere addebitata ad una malattia epatica, dato che all'esame autoptico questo organo risulta molto più piccolo del normale e molto poco elastico; inoltre ambedue i reni appaiono infiltrati da un liquido marrone e opaco e i calici renali appaiono calcificati. È forse “merito” della sordità se Beethoven ha così interiorizzato la sua vis creativa da vedere aumentata la propria percezione della rappresentazione corticale dei suoni.

Author(s):  
Erin R. Hochman

This chapter looks at cultural commemorations for the anniversaries of the deaths of Ludwig van Beethoven in 1927, Franz Schubert in 1928, Walther von der Vogelweide in 1930, and Johann Wolfgang von Goethe in 1932. It explores how Germans and Austrians used these festivals to stage a transborder German community in the interwar period. They hoped that a focus on culture, rather than politics, would help them overcome the sociopolitical fragmentation of the interwar years. At first glance, these cultural celebrations appeared to bridge the numerous divisions running through both societies, as people from various social and political backgrounds wanted to honor these German cultural heroes. Nonetheless, political fights broke out among participants as they interpreted the lives and impact of these cultural figures according to their own divergent worldviews. By investigating these disagreements, this chapter underscores the numerous understandings of Germanness in the Weimar era.


2012 ◽  
Vol 23 (3) ◽  
pp. 221-236
Author(s):  
Dragana Jeremic-Molnar ◽  
Aleksandar Molnar

In this article the authors are reconstructing the dichotomies which the young Theodor Adorno was trying to detect in the music of the bourgeois epoch and personify in two antipodes - Franz Schubert and Ludwig van Beethoven. Although already a devotee of Arnold Sch?nberg and the 20th century music avantgardism, Adorno was, in his works prior to his exile from Germany (1934), intensively dealing with Schubert and his opposition towards Beethoven. While Beethoven was a bold and progressive revolutionary, fascinated by the ?practical reason? and the mission to rise up and reach the stars, Schubert wanted none of it (almost anticipating the failure of the whole revolutionary project). Instead, he was looking backwards, to primordial nature and the possibility of man to participate in its mythic cycles of death and regeneration. The lack of synthesis between this two opposing tendencies in the music of early bourgeois epoch lead to the ?negative dialectics? of Sch?nberg and 20th century music avantgardism and to the final separation of Beethovenian musical progress and Schubertian musical mimesis.


Author(s):  
Steven Isserlis

Franz Schubert: Fantasia in F minor, D940 Robert Schumann: Symphony No. 1 in B flat major ‘Spring’ The Beatles: I’m Only Sleeping Terry Jones: I’m So Worried Johann Sebastian Bach: St Matthew Passion Ludwig van Beethoven: String Quartet No. 13 in B flat major, Op. 130...


Muzikologija ◽  
2011 ◽  
pp. 203-218
Author(s):  
Aleksandar Vasic

The very first music magazines started in Belgrade between World Wars were ?Muzicki glasnik? (issued monthly from January to December 1922) and ?Muzika? (also issued monthly in the period January 1928 - March 1929). These magazines used to publish music essays, researches, debates, notes, news and other kind of articles. This paper brings an analysis of texts on West European music in these two journals. ?Muzicki glasnik? published only few articles on European music. Those were on bibliographical news concerning editions on musicology in England and on French music magazines. There was a report on the concert held in Leipzig in1922 in honour of late Arthur Nikisch. ?Glasnik? also published an obituary to Camille Saint-Sa?ns containing, by contemporary standards, excessively complimentary evaluation of his music. West European music was far more present on the pages of ?Muzika? magazine. The editorial board used to publish thematic issues dedicated to jubilees of great European composers (such as Franz Schubert, Ludwig van Beethoven). One issue was dedicated to English music and this magazine also wrote about Puccini. Essays on European music were translated from foreign languages and the authors of some were coming from Yugoslavia. ?Muzika? magazine was addressing wide, educated audience, not only musicians. Therefore the texts giving biographical and psychological portraits of composers used to prevail over musicological analyses of their works. Serbian music community was not highly developed thus ?Muzika? moderately used expert terminology. Essays, as dominant forms in Serbian musicography up to 1941, were often written in a literary manner. This is evident in ?Muzika? as well. ?Muzika? and ?Muzicki glasnik? adopted different aesthetics and ideology. The fact that the reception of West European music in ?Glasnik? was minimal was not only due to the insufficient number of associates. The editorial board of ?Glasnik? was more concerned with domestic music and problems of music institutions. Besides, the editors of this magazine were of opinion that the Serbian music should not solely look up to West European composers but even more to the Slav and domestic music exemplars. The editors of ?Muzika? were, however, strongly adhering to West European tradition. They thought that only high culture and knowledge could bring the Serbian music to a serious level, both technique and art wise. The editors of this magazine did not desire our composers to be epigones of Western musicians, but wanted to provide domestic musicians and readers with information on European art. In this regard, ?Muzika? used to have an enlightening mission in our country.


2021 ◽  
Vol 67 (2) ◽  
pp. 154-174
Author(s):  
Christian Storch

Zwar haben Besuche von "großen" Künstlern wie Ludwig van Beethoven in Teplice, Franz Schubert in Bad Gastein oder Johannes Brahms und Anton Bruckner in Bad Ischl bereits die Aufmerksamkeit punktuell auf Badeorte gelenkt. Die vermeintliche geografisch wie kulturell periphere Lage gerade kleinerer Badeorte und deren kaum dokumentierte und aufgearbeitete Musik- und Theatergeschichte haben jedoch dazu beigetragen, eine Beachtung, Rekonstruktion, Analyse und Einordnung in die allgemeine Musikgeschichte zu unterlassen. Am Beispiel des Comödienhauses (heute Kurtheater) im Kurort Bad Liebenstein im ehemaligen Herzogtum Sachsen-Meiningen wird dieser Forschungslücke begegnet, es werden außerdem weitere Anreize geliefert, sich Badeorten als musikhistorischem Sujet intensiver zu widmen. Dabei stehen folgende Fragestellungen im Vordergrund: 1. Für welche musikalischen und theatralischen Aktivitäten wurde das Gebäude genutzt und welchen kulturellen Stellenwert nahm es innerhalb des Kurbetriebes ein, vor allem in Bezug auf die Publikumsstruktur? 2. Wie gestaltete sich das Repertoire in der ersten Saison und welche Vergleichsmomente zu den kulturellen Zentren der Zeit lassen sich hieraus ablesen? 3. Kann man aus dem Repertoire ein bäderspezifisches Theater- und Musikleben deduzieren? 4. Welche Rolle spielte, stellvertretend für zahlreiche Kurtheater deutschlandweit, das Comödienhaus in Liebenstein für die Rezeptionsgeschichte von Oper und Schauspiel im ländlichen Raum um 1800?


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