A01=Annette Richards
Age Group_Uncategorized
Age Group_Uncategorized
Author_Annette Richards
automatic-update
Carl Philipp Emanuel Bach
Category1=Non-Fiction
Category=AV
collection
COP=United States
Delivery_Delivery within 10-20 working days
eighteenth-century music
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
Language_English
music history
networks
PA=Available
physiognomy
portrait
Price_€50 to €100
PS=Active
sensibility
softlaunch
Product details
- ISBN 9780226806266
- Weight: 794g
- Dimensions: 178 x 254mm
- Publication Date: 20 Sep 2022
- Publisher: The University of Chicago Press
- Publication City/Country: US
- Product Form: Hardback
- Language: English
Secure
checkout
Fast Shipping
Easy returns
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.
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.
Annette Richards is Given Foundation Professor in the Humanities and university organist at Cornell University, where she is also professor of music and director of the Cornell-Westfield Center for Historical Keyboard Studies. She is the author of The Free Fantasiaand the Musical Picturesque; the editor of C. P. E Bach Studies; coeditor, with Mark Franko, of Acting on the Past; and the founding editor of Keyboard Perspectives.
