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Music --- Haydn, Jozef --- Beethoven, von, Ludwig --- Mozart, Wolfgang Amadeus --- Classicism in music --- Haydn, Joseph, --- Mozart, Wolfgang Amadeus, --- Beethoven, Ludwig van, --- Criticism and interpretation --- % 9611AR --- 840 --- -Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Style, Musical --- Muziekgeschiedenis: essays (histor. onderwerpen, literaire analyses) --- History and criticism --- Beethoven, Ludwig van --- -Haydn, Joseph --- Mot︠s︡art, Volʹfgang Amadeĭ, --- Mōtsaruto, --- Mot︠s︡art, Iogann-Krizost Volʹfgang Gotlib, --- Mozart, Johann Chrysostom Wolfgang Amadeus, --- Mozart, W. A. --- Mozart, Wolfgango Amadeo, --- Mot︠s︡art, V. A. --- Mocartas, V. A., --- Motsart, Volphnkank Amedaios, --- Mot︠s︡art, Volfang Amadeus, --- Mozzart, Apollo, --- Mozart, Joannes Chrysostomus Wolfgangus Amadeus, --- Mozart, Johannes Chrisostomus Wolfgangus Theophilus, --- Mozhate, --- Моцарт, Вольфганг Амадей, --- מוצרט --- מוצרט, וולפגנג אמדאוס --- 莫札特, --- Criticism and interpretation. --- -Muziekgeschiedenis: essays (histor. onderwerpen, literaire analyses) --- Haydn, Franz Joseph --- Mozart, Johannes Chrysostomus Wolfgangus Theophilus --- van Beethoven, Louis --- von Beethoven, Ludwig --- Beethoven, Ludwig --- Gaĭdn, Ĭ., --- Gaĭdn, Ĭosif, --- Gaĭdn, Ĭozef, --- Haiden, Josip, --- Haidnas, J., --- Haidun, --- Hayden, Joseph, --- Haydn, --- Haydn, F. J. --- Haydn, Franz Josef, --- Haydn, Franz Joseph, --- Haydn, Giuseppe, --- Haydn, Ios. --- Haydn, J. --- Haydn, Jos. --- Haydn, Josef, --- Haydn, Joseph --- Heyden, Joseph, --- Khaĭdn, Ĭozef, --- היידן, י., --- van Beethoven, Ludwig --- Bītʹhūfin, --- Beethoven, L. van --- Beethoven, Louis van, --- Beethoven, Ludvig van, --- Bethovenas, L., --- Betkhoven, Li︠u︡dvig van, --- Beṭhoṿn, Ludṿig ṿan, --- Beethoven, Ludwik van, --- Betkhoven, L. van --- Bētōven, Rūtovihhi van, --- בטהובן --- בעטהאָוון, לודוויג וואן --- ベートベン, ルートビッヒ, --- 贝多芬, --- 513 --- Muziekanalyse - vormleer --- מוצרט, --- מוצרט, וולפגנג אמדאוס, --- Mozart, Wolfgang Amadeusz, --- Mozart, W.A. --- Mot︠s︡art, Volʹfgang Amadeĭ --- Mot︠s︡art, Iogann-Krizost Volʹfgang Gotlib --- Mozart, Johann Chrysostom Wolfgang Amadeus --- Mozart, Wolfgango Amadeo --- Mocartas, V. A. --- Motsart, Volphnkank Amedaios --- Mot︠s︡art, Volfang Amadeus --- Mozzart, Apollo --- Mozart, Joannes Chrysostomus Wolfgangus Amadeus --- Mozart, Johannes Chrisostomus Wolfgangus Theophilus --- Mozhate --- Моцарт, Вольфганг Амадей --- Mozart, Wolfgang Amadeusz --- Haydn, Joseph, - 1732-1809 - Criticism and interpretation --- Mozart, Wolfgang Amadeus, - 1756-1791 - Criticism and interpretation --- Beethoven, Ludwig van, - 1770-1827 - Criticism and interpretation --- Haydn, Joseph, - 1732-1809 --- Mozart, Wolfgang Amadeus, - 1756-1791 --- Beethoven, Ludwig van, - 1770-1827

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""What is the real business of the critic?" Rosen asks of George Bernard Shaw in one of his essays. It is a question he answers throughout this collection as he demonstrates and analyzes various critical approaches. In writing about the Romantic poets Lord Byron, William Wordsworth, William Cowper, and Friedrich Holderlin, he examines the kind of criticism which attempts to uncover concealed code. He investigates the relationship between Romantic aesthetic theory and artworks, and explores the way Romantic art criticism has been practiced by critics from Friedrich Schlegel to Walter Benjamin. In essays on Honore de Balzac, Robert Schumann, Gustave Flaubert, and others, he highlights the intersections between Romantic art and music; the artist's separation of life and artistic representations of it; and the significance of the established text."--Jacket.

Romanticism --- Romantiek --- Romantisme --- Literature, Modern --- Romanticism. --- History and criticism. --- Pseudo-romanticism --- Romanticism in literature --- Music --- Aesthetics --- Fiction --- Literary movements --- History and criticism --- Literature [Modern ] --- ROMANTICISM --- LITERATURE, MODERN --- HISTORY AND CRITICISM

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Music --- Musique --- History and criticism --- Histoire et critique --- Haydn, Joseph, --- Mozart, Wolfgang Amadeus, --- Beethoven, Ludwig van, --- Criticism and interpretation --- Classicism in music. --- History and criticism. --- Criticism and interpretation.

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Romanticism in music. --- Music --- Romantisme dans la musique --- Musique --- History and criticism. --- Histoire et critique --- -Romanticism in music --- Musical romanticism --- Romanticism (Music) --- Style, Musical --- Neoromanticism (Music) --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- History and criticism --- Music and romanticism --- Musique romantique --- Muziek [Romantische ] --- Romanticism in music --- Romantiek in de muziek --- Romantische muziek --- Romantisme en musique --- 19th century

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Is there a moment in history when a work receives its ideal interpretation? Or is negotiation always required to preserve the past and accommodate the present? The freedom of interpretation, Charles Rosen suggests in these sparkling explorations of music and literature, exists in a delicate balance with fidelity to the identity of the original work.Rosen cautions us to avoid doctrinaire extremes when approaching art of the past. To understand Shakespeare only as an Elizabethan or Jacobean theatergoer would understand him, or to modernize his plays with no sense of what they bring from his age, deforms the work, making it less ambiguous and inherently less interesting. For a work to remain alive, it must change character over time while preserving a valid witness to its earliest state. When twentieth-century scholars transformed Mozart's bland, idealized nineteenth-century image into that of a modern revolutionary expressionist, they paradoxically restored the reputation he had among his eighteenth-century contemporaries. Mozart became once again a complex innovator, challenging to perform and to understand.Drawing on a variety of critical methods, Rosen maintains that listening or reading with intensity-for pleasure-is the one activity indispensable for full appreciation. It allows us to experience multiple possibilities in literature and music, and to avoid recognizing only the revolutionary elements of artistic production. By reviving the sense that works of art have intrinsic merits that bring pleasure, we justify their continuing existence.

530 --- Muziekwetenschappelijke essays --- Music --- Music appreciation --- Musique --- Philosophy and aesthetics --- Philosophie et esthétique --- Appréciation --- Literature -- History and criticism. --- Music -- History and criticism. --- Music Literature --- Music appreciation. --- Literature --- Appraisal of books --- Books --- Evaluation of literature --- Criticism --- Literary style --- History and criticism. --- Appraisal --- Evaluation --- History and criticism --- Muziek --- Geschiedenis en kritiek