LEADER 04250nam 2200649 450 001 9910828112303321 005 20200520144314.0 010 $a0-8014-5581-2 010 $a0-8014-7972-X 010 $a0-8014-5582-0 024 7 $a10.7591/9780801455827 035 $a(CKB)3710000000271270 035 $a(OCoLC)979575378$z(OCoLC)894512039$z(OCoLC)992904888 035 $a(SSID)ssj0001369341 035 $a(PQKBManifestationID)11787244 035 $a(PQKBTitleCode)TC0001369341 035 $a(PQKBWorkID)11289142 035 $a(PQKB)11381152 035 $a(OCoLC)1080549951 035 $a(MdBmJHUP)muse58325 035 $a(DE-B1597)480081 035 $a(OCoLC)979575378 035 $a(DE-B1597)9780801455827 035 $a(Au-PeEL)EBL3138677 035 $a(CaPaEBR)ebr10967328 035 $a(CaONFJC)MIL681565 035 $a(OCoLC)922998615 035 $a(MiAaPQ)EBC3138677 035 $a(EXLCZ)993710000000271270 100 $a20050506d2005 uy| 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aBach in Berlin $enation and culture in Mendelssohn's revival of the St. Matthew Passion /$fCelia Applegate 210 1$aIthaca, New York :$cCornell University Press,$d2005. 215 $a1 online resource (303 pages) $cillustrations 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a1-322-50283-8 311 $a0-8014-4389-X 320 $aIncludes bibliographical references (pages 265-279) and index. 327 $aGreat expectations : Mendelssohn and the St. Matthew Passion -- Toward a music aesthetics of the nation -- Music journalism and the formation of judgment -- Musical amateurism and the exercise of taste -- The St. Matthew Passion in concert : Protestantism, historicism, and sacred music -- Beyond 1829 : musical culture, national culture. 330 $aBach's St. Matthew Passion is universally acknowledged to be one of the world's supreme musical masterpieces, yet in the years after Bach's death it was forgotten by all but a small number of his pupils and admirers. The public rediscovered it in 1829, when Felix Mendelssohn conducted the work before a glittering audience of Berlin artists and intellectuals, Prussian royals, and civic notables. The concert soon became the stuff of legend, sparking a revival of interest in and performance of Bach that has continued to this day.Mendelssohn's performance gave rise to the notion that recovering and performing Bach's music was somehow "national work." In 1865 Wagner would claim that Bach embodied "the history of the German spirit's inmost life." That the man most responsible for the revival of a masterwork of German Protestant culture was himself a converted Jew struck contemporaries as less remarkable than it does us today-a statement that embraces both the great achievements and the disasters of 150 years of German history.In this book, Celia Applegate asks why this particular performance crystallized the hitherto inchoate notion that music was central to Germans' collective identity. She begins with a wonderfully readable reconstruction of the performance itself and then moves back in time to pull apart the various cultural strands that would come together that afternoon in the Singakademie. The author investigates the role played by intellectuals, journalists, and amateur musicians (she is one herself) in developing the notion that Germans were "the people of music." Applegate assesses the impact on music's cultural place of the renewal of German Protestantism, historicism, the mania for collecting and restoring, and romanticism. In her conclusion, she looks at the subsequent careers of her protagonists and the lasting reverberations of the 1829 performance itself. 606 $aMusic$xSocial aspects$zGermany 606 $aMusic$zGermany$y19th century$xHistory and criticism 615 0$aMusic$xSocial aspects 615 0$aMusic$xHistory and criticism. 676 $a780/.943/09034 700 $aApplegate$b Celia$0676296 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910828112303321 996 $aBach in Berlin$94038354 997 $aUNINA