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• W63572417 abstract "I. Introduction Thanks to work especially of American nanscendentalist John S. Dwight, a Beethoven performance in nineteenth-century America was more than a mere musical event, becoming a sacralized. uplifting experience, a moment not only of transcendence but of communion with Almighty himself. Beyond sacralization, only step left for Beethoven was deification, and by early twentieth century he was viewed in both Europe and America as, if not a god, at least a pure, moral being somewhere above world that normal men inhabit. In 1925 Eugen D'Albert eulogized Beethoven: Unassailable, spotless, immeasurably strong in depths of his spirit, he stands alone. In his unfathomableness and sublimity he is like ocean. See it well forth from its deepest depths, breaking into foam and calling with a voice of thunder; then, soft and gay as a little child, smoothing itself out before our delighted eyes. Such was Beethoven's elemental nature, such his pure and beautiful soul.1 In Germany, sculptor Max Winger draped Beethoven in a Roman toga and created a Beethoven-as-Zeus sitting majestically on a throne. In France, Jose de Charmoy designed a Beethoven monument that portrayed composer with a bare, muscular torso and an idealized head looking down at humanity from atop a giant pedestal that resembled more a Greek god than a nineteenth-century musician. Such images in general might not sit well in a democratic American society, but would they be unacceptable as a statement about Beethoven? The French sculptor Emile-Antoine Bourdelle cast several large bronze heads of Beethoven that similarly glorified him, one of which Metropolitan Museum of Art in New York acquired in 192.7. In their bulletin curators proudly described their purchase: Beethoven was a great man sufiaring, silent, grim» detemiined, head, majestically, broodingly embryonic . . . there is in this head something of abbozzo [rough sketch], of ideal unattained, of incompletlon confronted with human frailty. At base of sculpture Bourdelle had inscribed, Moi je suis Bacchus qui pressure pour les hommes le nectar delicieux (I am Bacchus who presses for men delicious nectar). There is little question what museum thought of this depiction: they placed sculpture at top of main stairway of museum. It is no coincidence that piece was acquired and exhibited in 1 927, for this was centennial of Beethoven's death, accompanied by commemorative events throughout Western world. In United States, Columbia Records spearheaded efforts, recruiting a committee chaired by George Eastman that included, as label bragged, twenty-two college Presidents and educators. The committee was in close contact with and undoubtedly took ideas from Beethoven Committee of Vienna, which had been assembled for same purpose. The American committee made elaborate plans to celebrate Beethoven throughout week of March 20-26 (Beethoven died on March 26) in 500 cities in U.S., with performances, tributes, lectures, a commemorative essay by Daniel Gregory Mason distributed nationwide, and a sermon on the religious aspects of Beethoven's music. Activities in Boston and New York exemplified what occurred in most metropolitan centers. In Boston, Serge Koussevirzky served up a seven-concert feast that included all nine symphonies, Missa solemnis, as well as assorted string quartets, fortepiano sonatas, and other chamber music Walter Damrosch, conductor of New York Symphony Orchestra, appeared as pianist with violinist Harold Bauer to premiere a piano-violin arrangement of Grosse Fuge. Damrosch also conducted two performances of Ninth Symphony. Olin Downes, music critic for New York Times, attempted to put Beethoven in historical perspective, only to succeed in placing him beyond history. Acknowledging rhe different schools of composition that existed in 1927 (the Classic, Romantic, and vaguely term [ed] 'moderns' or 'ultra-moderns'), Downes found Beethoven outside them all: He stands alone, four-square to universe, beyond either rime or classification. …" @default.
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• W63572417 date "2011-07-01" @default.
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• W63572417 title "Beethoven, Spirituality, and Spiritualism in 20th-Century England and America" @default.
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