How Did Beethoven, Liszt And Stravinsky's Influence On Religion
Chapter 1: Introduction
1.1 Introduction and background to the study
One would assume that a religious composition is a direct reflection of a composer’s personal ecclesiastical devotion. My research discovered that this was not always the case. Discussions of the famous works by Beethoven, Liszt and Stravinsky do not usually focus on their religious compositions. However, their religious works represent relevant personal experiences of their lives. Their noteworthy religious works also afford Western art music enthusiasts a closer look into the emotions and the thought processes of these artists.
In this essay the denominations of Christianity will be discussed for research purposes and for clarity on the composer’s religious views. Kavanaugh …show more content…
After Beethoven started to lose his hearing he, at first, lashed out in anger: “I have often cursed my Creator; I have cursed Him for exposing His creatures to the slightest hazard, so that the most beautiful blossom is thereby often crushed and destroyed.” (Solomon 1988: 218) Despite the emotional and spiritual turmoil in Beethoven’s life during this time, he composed many religious works, whereas the preceding periods yielded very few religious compositions (Solomon 1988: 218). It would seem that his deafness led him to spirituality and that his religious compositions were a search for peace and acceptance of his growing …show more content…
This motivated Liszt to write many religious works and challenged the forms and structures in which religious music was typically composed. A letter from the Vatican which was written by Cardinal Hohenloe reads as follows; “I look forward greatly to learning when you are in Rome, the details of the plan you have formed regarding religious music.” (Merrick 1987: 87) This letter written in 1859, shows that Liszt indeed planned to reform and challenge religious music of that era. When discussing Liszt’s religious music it becomes apparent that when the music is taken as a whole, the pieces form a highly distinctive group in which it becomes clear that the character of the works are mostly drawn from the texts. In an article written by Liszt, ‘On Future Church Music’, dating back to 1834, Liszt spoke of “a pledge of greater things to come to influence the masses: we mean the ennobling of church music.”, (Merrick 1987: 87) it is also clear in this article that Liszt wanted to compose religious music that would unite “on a colossal scale, the theatre and the Church.” (Walker 1970:
1.1 Introduction and background to the study
One would assume that a religious composition is a direct reflection of a composer’s personal ecclesiastical devotion. My research discovered that this was not always the case. Discussions of the famous works by Beethoven, Liszt and Stravinsky do not usually focus on their religious compositions. However, their religious works represent relevant personal experiences of their lives. Their noteworthy religious works also afford Western art music enthusiasts a closer look into the emotions and the thought processes of these artists.
In this essay the denominations of Christianity will be discussed for research purposes and for clarity on the composer’s religious views. Kavanaugh …show more content…
After Beethoven started to lose his hearing he, at first, lashed out in anger: “I have often cursed my Creator; I have cursed Him for exposing His creatures to the slightest hazard, so that the most beautiful blossom is thereby often crushed and destroyed.” (Solomon 1988: 218) Despite the emotional and spiritual turmoil in Beethoven’s life during this time, he composed many religious works, whereas the preceding periods yielded very few religious compositions (Solomon 1988: 218). It would seem that his deafness led him to spirituality and that his religious compositions were a search for peace and acceptance of his growing …show more content…
This motivated Liszt to write many religious works and challenged the forms and structures in which religious music was typically composed. A letter from the Vatican which was written by Cardinal Hohenloe reads as follows; “I look forward greatly to learning when you are in Rome, the details of the plan you have formed regarding religious music.” (Merrick 1987: 87) This letter written in 1859, shows that Liszt indeed planned to reform and challenge religious music of that era. When discussing Liszt’s religious music it becomes apparent that when the music is taken as a whole, the pieces form a highly distinctive group in which it becomes clear that the character of the works are mostly drawn from the texts. In an article written by Liszt, ‘On Future Church Music’, dating back to 1834, Liszt spoke of “a pledge of greater things to come to influence the masses: we mean the ennobling of church music.”, (Merrick 1987: 87) it is also clear in this article that Liszt wanted to compose religious music that would unite “on a colossal scale, the theatre and the Church.” (Walker 1970: