Lives of haydn, mozart and metastasio

R$ 138,90

Sinopse

The 'Lives of Haydn, Mozart and Metastasio'- Stendhal's first published work - owes its inspiration to the audacious pragmatism of its author. After the collapse of the Napoleonic empire, Henri Beyle was jobless, soon destined to become a refugee and in desperate need of money. His most abiding passion in life was music, so why not write about it? Unfortunately, however, he knew next to nothing about it. So, calmly and without the slightest pang of conscience, he resolved to plunder the works of other writers - in particular those of the musicologist Giuseppe Carpani, who was annoyed and said so vociferously. The result of Stendhal's unscrupulous plagiarism is one of the most fascinating literary enigmas of all time. How is it that what started as a blatant act of piracy evolved into a work of enduring genius? Despite its unpropitious beginnings, this work represents the wrong-headedness of a genius - and the singular Louis-Alexandre-Cesar Bomet who signed the 'Lives' was already, in everything that mattered, the man who was to be Stendhal, one of the most enduring literary figures of the nineteenth century.

Participantes

Autor: Stendhal

Tradutor: Elizabeth Abbott

Autor

STENDHAL

Marie-Henri Beyle, mais conhecido como Stendhal nasceu em Grenoble, França, em 23 de janeiro de 1783. Aos 16 anos mudou-se para Paris, onde passou a secretariar o primo Pierre Daru, ministro da Guerra de Napoleão. Foi assim que tomou parte da campanha da Itália, como suboficial de Dragões do exército de seu herói. Em 1814 estabeleceu-se em Milão, onde iniciou sua carreira literária publicando Vies de Haydn, Mozart et Métastase. Em seguida escreveu Rome, Naples et Florence, livro a partir do qual adota a assinatura “Stendhal”. Depois vieram De l’Amour, Armance, O Vermelho e o Negro, Les Memoires d’um Touriste, A Cartuxa de Parma, Crônicas Italianas, entre outros. Morreu em 22 de março de 1842, em Paris, sendo póstumas as obras Lamiel, Vie de Henry Brulard e Lucien Leuwen. O reconhecimento da obra de Stendahl, como ele próprio previa, só ocorreu cerca de cinqüenta anos após sua morte.