Annette Richards – författare

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.

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.

A crucial category across all the arts in the late eighteenth century, the picturesque has lost its currency in modern musical criticism, in spite of its rich potential to shed new light on the fantastical elements of instrumental music in general and the genre of the free fantasia in particular. Just as English garden architecture, in which the picturesque found its origins, was changing the landscape of continental Europe, the fantastical elements of irregularity, temporal displacement, ambiguity, interruption, and self-referentiality in the music of Bach, Haydn and Beethoven were both lauded and criticized in terms borrowed from the discourse of the picturesque. This study reaffirms the centrality of the free fantasia and fantastical gesture in late eighteenth- and early nineteenth-century musical culture through an interdisciplinary approach that combines the visual, the literary and the musical.

C. P. E. Bach Studies collects together nine wide-ranging essays by leading scholars of eighteenth-century music. Offering fresh perspectives on one of the towering figures of the period, the authors explore Bach's music in its cultural contexts, and show in diverse and complementary ways the reciprocal relationship between Bach's work and contemporary literary, theological, and aesthetic debates. Topics include Bach's relation to theories of sensibility and the sublime; the free fantasy and concepts of self and being; and Bach's engagement with music history and the legacy of his predecessors. Wider questions of C. P. E. Bach reception also play an important part in the book, which explores not only the interpretation of Bach's music in his time, but also its reception over the two centuries since his death.

A crucial category across all the arts in the late eighteenth century, the picturesque has lost its currency in modern musical criticism, in spite of its rich potential to shed new light on the fantastical elements of instrumental music in general and the genre of the free fantasia in particular. Just as English garden architecture, in which the picturesque found its origins, was changing the landscape of continental Europe, the fantastical elements of irregularity, temporal displacement, ambiguity, interruption, and self-referentiality in the music of Bach, Haydn and Beethoven were both lauded and criticized in terms borrowed from the discourse of the picturesque. This study reaffirms the centrality of the free fantasia and fantastical gesture in late eighteenth- and early nineteenth-century musical culture through an interdisciplinary approach that combines the visual, the literary and the musical.

C. P. E. Bach Studies collects together nine wide-ranging essays by leading scholars of eighteenth-century music. Offering fresh perspectives on one of the towering figures of the period, the authors explore Bach's music in its cultural contexts, and show in diverse and complementary ways the reciprocal relationship between Bach's work and contemporary literary, theological, and aesthetic debates. Topics include Bach's relation to theories of sensibility and the sublime; the free fantasy and concepts of self and being; and Bach's engagement with music history and the legacy of his predecessors. Wider questions of C. P. E. Bach reception also play an important part in the book, which explores not only the interpretation of Bach's music in his time, but also its reception over the two centuries since his death.