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Books > Arts & Architecture > Music > Western music, periods & styles > Classical music (c 1750 to c 1830)
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Painting the Cannon's Roar - Music, the Visual Arts and the Rise of an Attentive Public in the Age of Haydn (Paperback)
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Painting the Cannon's Roar - Music, the Visual Arts and the Rise of an Attentive Public in the Age of Haydn (Paperback)
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From c.1750 to c.1810 the paths of music history and the history of
painting converged with lasting consequences. The publication of
Newton's Opticks at the start of the eighteenth century gave a
'scientific' basis to the analogy between sight and sound, allowing
music and the visual arts to be defined more closely in relation to
one another. This was also a period which witnessed the emergence
of a larger and increasingly receptive audience for both music and
the visual arts - an audience which potentially included all social
strata. The development of this growing public and the commercial
potential that it signified meant that for the first time it became
possible for a contemporary artist to enjoy an international
reputation. Nowhere is this better illustrated than in the career
of Joseph Haydn. Although this phenomenon defies conventional modes
of study, the book shows how musical pictorialism became a major
creative force in popular culture. Haydn, the most popular living
cultural personality of the period, proved to be the key figure in
advancing the new relationship. The connections between the
composer and his audiences and leading contemporary artists
(including Tiepolo, Mengs, Kauffman, Goya, David, Messerschmidt,
Loutherbourg, Canova, Copley, Fuseli, Reynolds, Gillray and West)
are examined here for the first time. By the early nineteenth
century, populism was beginning to be regarded with scepticism and
disdain. Mozart was the modern Raphael, Beethoven the modern
Michelangelo. Haydn, however, had no clear parallel in the accepted
canon of Renaissance art. Yet his recognition that ordinary people
had a desire to experience simultaneous aural and visual
stimulation was not altogether lost, finding future exponents in
Wagner and later still in the cinematic arts.
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