Defining Genius : Early Reflections of J . S . Bach ’ s Self - Image 1 CHRISTOPH WOLFF

نویسنده

  • CHRISTOPH WOLFF
چکیده

ELL BEFORE THE END of the eighteenth century, a conscious and deliberate discussion about self-image, that is, the way an artist sees himself, became a matter of course. Hence Mozart could write in 1778, at age twenty-two, “I am a Composer and was born a Capellmeister. I must not and cannot bury my gift for composing that a benevolent God has bestowed upon me in such a rich measure—I may say so without arrogance because I am aware of it now more than ever before.” 2 Even when similarly uninhibited in approbation of their own talent, musicians and composers of earlier generations generally did not refer to their metier and vocation in such terms. Critical self-knowledge was an unnecessary notion for those who understood themselves as being in the service of church, court, or town—in other words, serving God’s representatives, whether bishop, prince, or civic authority. However, when in 1784 the German poet and writer C. F. Daniel Schubart discussed Johann Sebastian Bach’s significance, he showed no interest in whom his “Orpheus of the Germans” had once served or what he had produced in that capacity. 3 Intending to give his idol Bach divine status and immortality, he borrowed the Orpheus analogy from the classicist Johann Matthias Gesner, who, in his Quintilian commentary of 1738, had stated, “Favorer as I am of antiquity, the accomplishments of our Bach . . . appear to me to effect what not many Orpheuses,

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تاریخ انتشار 2001