Abstract
One of the perennial questions that continues to fascinate music scholars is the degree of influence that events and personages in composers’ lives exert on their artistic output. Oscar Wilde’s “The Artist,” which concerns a sculptor who melted down his “Sorrow that endureth forever” to provide the metal for his new commission, “the Pleasure that abideth for a moment,” suggests that works of art display little, if any, relation to the current physical or emotional state of their creator. Thus, Beethoven’s idyllic Second Symphony was contemporary with his agonizing “Heiligenstadt Testament.” On the other hand, students of Tchaikovsky have convincingly demonstrated the close ties that, on occasion, link that composer’s personal life with his music.
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© 2007 Matthew Bribitzer-Stull, Alex Lubet, and Gottfried Wagner
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Gauldin, R. (2007). Tracing Mathilde’s A♭ Major. In: Bribitzer-Stull, M., Lubet, A., Wagner, G. (eds) Richard Wagner for the New Millennium. Studies in European Culture and History. Palgrave Macmillan, New York. https://doi.org/10.1057/9780230607170_2
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