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The Temple Of Fame And Friendship Portraits Music And History In The C P E Bach Circle Annette Richards

  • SKU: BELL-47109138
The Temple Of Fame And Friendship Portraits Music And History In The C P E Bach Circle Annette Richards
$ 31.00 $ 45.00 (-31%)

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The Temple Of Fame And Friendship Portraits Music And History In The C P E Bach Circle Annette Richards instant download after payment.

Publisher: University of Chicago Press
File Extension: PDF
File size: 20.58 MB
Pages: 336
Author: Annette Richards
ISBN: 9780226806266, 022680626X
Language: English
Year: 2022

Product desciption

The Temple Of Fame And Friendship Portraits Music And History In The C P E Bach Circle Annette Richards by Annette Richards 9780226806266, 022680626X instant download after payment.

This book examines the renowned portrait collection assembled by C. P. E. Bach, J. S. Bach’s second son.
 
One of the most celebrated German composers of the eighteenth century, C. P. E. Bach spent decades assembling an extensive portrait collection of some four hundred music-related items—from oil paintings to engraved prints. The collection was dispersed after Bach’s death in 1788, but with Annette Richards’s painstaking reconstruction, the portraits once again present a vivid panorama of music history and culture, reanimating the sensibility and humor of Bach’s time. Far more than a mere multitude of faces, Richards argues, the collection was a major part of the composer’s work that sought to establish music as an object of aesthetic, philosophical, and historical study.

The Temple of Fame and Friendship brings C. P. E. Bach’s collection to life, giving readers a sense of what it was like for visitors to tour the portrait gallery and experience music in rooms thick with the faces of friends, colleagues, and forebears. She uses the collection to analyze the “portraitive” aspect of Bach’s music, engaging with the influential theories of Swiss physiognomist Johann Caspar Lavater. She also explores the collection as a mode of cultivating and preserving friendship, connecting this to the culture of remembrance that resonates in Bach’s domestic music. Richards shows how the new music historiography of the late eighteenth century, rich in anecdote, memoir, and verbal portrait, was deeply indebted to portrait collecting and its negotiation between presence and detachment, fact and feeling.

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