Beethoven and the Construction of Genius: Musical Politics in Vienna, 1792-1803

by Tia DeNora

In this provocative account Tia DeNora reconceptualizes the notion of genius by placing the life and career of Ludwig van Beethoven in its social context. She explores the changing musical world of late eighteenth-century Vienna and follows the activities of the small circle of aristocratic patrons who paved the way for the composer's success.

DeNora reconstructs the development of Beethoven's reputation as she recreates Vienna's robust musical scene through contemporary accounts, letters, magazines, and myths―a colorful picture of changing times. She explores the ways Beethoven was seen by his contemporaries and the image crafted by his supporters. Comparing Beethoven to contemporary rivals now largely forgotten, DeNora reveals a figure musically innovative and complex, as well as a keen self-promoter who adroitly managed his own celebrity.

DeNora contends that the recognition Beethoven received was as much a social achievement as it was the result of his personal gifts. In contemplating the political and social implications of culture, DeNora casts many aspects of Beethoven's biography in a new and different light, enriching our understanding of his success as a performer and composer.

Genres: Music

254 pages, Paperback

First published December 3, 1995

Reviews

[Benjamin Fasching-Gray · Rating 3 out of 5]

Not only how Beethoven as genius was socially constructed in his lifetime but how the whole idea of high culture / serious music was invented. I miss the political and social upheaval of the French Revolution, Napoleon and all that. If this is the story about how a clique of pretentious aristocrats convinced a broader base of music fans that difficult, gloomy, idiosyncratic music with lots of dynamic shifts is better than pleasant, clear melodies played with a light touch... why? The author hints their motivation was to place themselves above other aristocrats by saying that Beethoven’s patrons were true music connoisseurs. But I am asking myself the whole time, what about Beethoven’s politics, his Napoleon hairdo, his obvious revolutionary sympathies? And I think if we could get at that, we might discover something about trust fund hipsters and their Wu Tang collection.

I love Beethoven but the genius thing is already deeply baked in. To be a Beethoven fan today is conservative, and not at all “hip.” So that makes reading negative reviews of his compositions and concerts kind of a shock, an almost naughty pleasure. If today you were to go around saying that Wöffl or Dussek were more interesting, you would be the pretentious hipster. Taste and “Greatness” sure are funny concepts. But I mean, however Beethoven got himself into the upper reaches of the immortal canon, however Robert Johnson was crowned the most amazing bluesman, you know, however these Geniuses got labeled, the music is awesome. Reading this book doesn’t diminish Beethoven’s wonderful stuff. If anything, I admire him more now that I appreciate what he was up against, instead of taking his ascension for granted.

[James F · Rating 4 out of 5]

Tia DeNora here provides an initial sociological investigation of music and society in Vienna during Beethoven's first decade and the presentation/reception of his music in the social context. Her thesis (I'm oversimplifying, of course) is that Beethoven (in connection with Mozart and Haydn) was "constructed" as a genius in accord with a need by the older Viennese aristocracy for an ideology of "serious" music to differentiate them from the new ("second") aristocrats and bourgeoisie as music patrons, after the decline of the aristocratic hauskapellen.

DeNora frequently states that she is not trying to "debunk" Beethoven or trying to reduce his music to a sociological datum, but to a certain extent that is the impression the book gives. The argument seems to be underlain by a postmodernist aesthetic that denies that anything is "really" of more worth than anything else, except according to some particular historically-determined criteria which could be totally different. There is no discussion of the actual music, which is more or less irrelevant; all that matters is that it was perceived as serious and difficult.

Leaving aside the postmodernist bias, it seems to me that she does have a useful point, and that it is worthwhile to ask why Beethoven's music was able to develop in the direction it did, at the time it did, while other composers (she mentions specifically Jan Dusseck, who had initial similarities with Beethoven) were compelled to keep their music more simple and accessible to earn a living. She also casts doubt on the standard story of Beethoven, and emphasizes that his ties were with the aristocracy and not with the bourgeoisie.

One point that left me confused was that she seems to have two different narratives: the main thrust of the book is that the "ideology of serious music" originated in Vienna, focusing on Beethoven, and was then diffused internationally from there during the nineteenth century; however, at one point early in the book she talks about this ideology as having been "imported" with Beethoven from North Germany. Since the ideology of serious music was largely developed in the nineteenth century precisely in Germany, from Schumann to Wagner, it is hardly irrelevant to ask whether it came from post-Beethoven Vienna or was already there in some fashion.

In the end, I think this is what is called a "seminal" book, in that it's importance lies less in the author's own conclusions than in the suggestion of paths for further inquiry. In this sense, it seems to me to be a very important book.

[Lacritica · Rating 2 out of 5]

I agree with this review by Charles Rosen
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