Prometheus in Music
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A01=Paul Bertagnolli
Act III
Augmented Sixth Chord
Author_Paul Bertagnolli
bargiel
Beethoven's Sketchbook
Beethoven’s Sketchbook
Category=AV
Category=AVLA
chords
Concert Overtures
cultural symbolism in art
diminished
Diminished Seventh Chords
Dotted Rhythms
Dramatische Kunst Und Literatur
E-flat Major
Enlightenment humanitarianism
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eq_bestseller
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form
Franz Liszt
Goethe's Ode
Goethe’s Ode
Herder's Philosophy
Herder’s Philosophy
Le Ballet De
Liszt's Music
Liszt’s Music
literary-musical analysis
myth
myth reception studies
Neue Zeitschrift
nineteenth-century musicology
Prometheus Myth
Prometheus myth in nineteenth-century music
Prometheus Unbound
Quartal Harmonies
Reichardt's Setting
Reichardt’s Setting
Romantic era aesthetics
seventh
Seventh Chord
Shelley's Prometheus Unbound
Shelley’s Prometheus Unbound
Sixth Chord
sonata
Sonata Form
subordinate
Subordinate Theme
Symphonic Poem
theme
woldemar
Woldemar Bargiel
Product details
- ISBN 9781138264977
- Weight: 720g
- Dimensions: 156 x 234mm
- Publication Date: 15 Nov 2016
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Paperback
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The ancient Greek myth of Prometheus, the primordial Titan who defied the Olympian gods by stealing fire from the heavens as a gift for humanity, enjoyed unprecedented popularity during the Romantic era. An international coterie of writers such as Goethe, Monti, Byron, the Shelleys, Sainte-Hélène, Coleridge, Browning, and Bridges engaged with the legend, while composers such as Beethoven, Reichardt, Schubert, Wolf, Liszt, Halévy, Saint-Saëns, Holmès, Fauré, Parry, Goldmark, and Bargiel based works of diverse genres on the fable. Romantic authors and composers developed a unique perspective on the myth, emphasizing its themes of rebellion, punishment for transgression and creative autonomy, in great contrast to artists of the preceding era, who more characteristically ignored the tribulations of Prometheus and depicted him as the animator of a naïve, Arcadian mankind who, when awakened from their spiritual dormancy, expressed astonishment at the wonders of nature and paid homage to the Titan as a new god. Paul Bertagnolli charts the progress of the myth during the nineteenth century, as it articulates an extraordinary variety of issues pertaining to culture, society, aesthetics, and philosophy. Drawing on archival research, dance history, sketch studies, literary theory, linear analysis, topos theory, and reception history, individual chapters demonstrate that the legend served as a vehicle to express opinions on subjects as diverse as aristocratic patronage, movements of the body on the public stage, rebellion against political and religious authority, outright atheism, humanitarianism of the German Enlightenment, interest in the music of Greek antiquity, industrialization, nationalism inflamed by war, populism, and the aesthetics of musical form. Composers often resorted to varied and unorthodox musical techniques in order to reflect such remarkable subjects: Beethoven outraged critics by implying a key other than the tonic at the outset of the overture to
Paul Bertagnolli is Associate Professor of Musicology at the Moores School of Music, University of Houston, USA.
