Beethoven Hero Burnham, Scott
2020, 1995, 2020-08-04
eBook
Bringing together reception history, music analysis and criticism, the history of music theory, and the philosophy of music, Beethoven Hero explores the nature and persistence of Beethoven's heroic ...style. What have we come to value in this music, asks Scott Burnham, and why do generations of critics and analysts hear it in much the same way? Specifically, what is it that fosters the intensity of listener engagement with the heroic style, the often overwhelming sense of identification with its musical process? Starting with the story of heroic quest heard time and again in the first movement of the Eroica Symphony, Burnham suggests that Beethoven's music matters profoundly to its listeners because it projects an empowering sense of self, destiny, and freedom, while modeling ironic self-consciousness. In addition to thus identifying Beethoven's music as an overarching expression of values central to the age of Goethe and Hegel, the author describes and then critiques the process by which the musical values of the heroic style quickly became the controlling model of compositional logic in Western music criticism and analysis. Apart from its importance for students of Beethoven, this book will appeal to those interested in canon formation in the arts and in music as a cultural, ethical, and emotional force--and to anyone concerned with what we want from music and what music does for us.
Musicians, music lovers and music critics have typically considered Beethoven's overtly political music as an aberration; at best, it is merely notorious, at worst, it is denigrated and ignored. In ...Political Beethoven Nicholas Mathew returns to the musical and social contexts of the composer's political music throughout his career - from the early marches and anti-French war songs of the 1790s to the grand orchestral and choral works for the Congress of Vienna - to argue that this marginalized functional art has much to teach us about the lofty Beethovenian sounds that came to define serious music in the nineteenth century. Beethoven's much-maligned political compositions, Mathew shows, lead us into the intricate political and aesthetic contexts that shaped all of his oeuvre, thus revealing the stylistic, ideological and psycho-social mechanisms that gave Beethoven's music such a powerful voice - a voice susceptible to repeated political appropriation, even to the present day.
Die Beiträge dieses Bandes blicken aus ganz unterschiedlichen Perspektiven auf die ersten beiden Lebensjahrzehnte des großen Komponisten und Musikers. Von seiner Taufe im Dezember 1770 in Bonn bis zu ...seinem Weggang nach Wien im November 1792, der kein endgültiger hatte sein sollen, werden zahlreiche Facetten seines Lebens und seiner Sozialisation in der kurfürstlichen Haupt- und Residenzstadt beschrieben.Dabei geht es vor allem um seine wichtigsten Prägungen: seine Herkunftsfamilie, seinen Freundeskreis, seine Weggefährten, Förderer und Lehrer – Familie von Breuning, der Zehrgarten-Kreis, Eichhoff, Neefe, Ries, Simrock, Wegeler –, das opulente Musikleben am Hof und in der Stadt und schließlich die aufklärerischen Kreise, wie der Hof, die kurfürstliche Akademie oder die einflussreiche Lesegesellschaft.Thematisiert wird Beethovens erster Wienaufenthalts 1786/87, die Reise der Bonner Hofmusik nach Mergentheim 1791 und die Bedeutung des Kur- und Badeortes Godesberg für den jungen Musiker. Ein Blick auf die Reaktion auf Beethovens Tod in Bonn bildet den Abschluss eines Bandes, der sowohl bisherige Forschungsergebnisse zusammenfasst und dabei Manches neu bewertet als auch mit überraschenden Ergebnissen und Neuinterpretationen aufwartet.
Why couldn't Schubert get his 'great' C-Major Symphony performed? Why was he the first composer to consistently write four movements for his piano sonatas? Since neither Schubert's nor Beethoven's ...piano sonatas were ever performed in public, who did hear them? Addressing these questions and many others, John M. Gingerich provides a new understanding of Schubert's career and his relationship to Beethoven. Placing the genres of string quartet, symphony, and piano sonata within the cultural context of the 1820s, the book examines how Schubert was building on Beethoven's legacy. Gingerich brings new understandings of how Schubert tried to shape his career to bear on new hermeneutic readings of the works from 1824 to 1828 that share musical and extra-musical pre-occupations, centering on the 'Death and the Maiden' Quartet and the Cello Quintet, as well as on analyses of the A-minor Quartet, the Octet, and of the 'great' C-Major Symphony.
Beethoven's middle-period quartets, Opp. 59, 74 and 95, are pieces that engage deeply with the aesthetic ideas of their time. In the first full contextual study of these works, Nancy November ...celebrates their uniqueness, exploring their reception history and early performance. In detailed analyses, she explores ways in which the quartets have both reflected and shaped the very idea of chamber music and offers a new historical understanding of the works' physical, visual, social and ideological aspects. In the process, November provides a fresh critique of three key paradigms in current Beethoven studies: the focus on his late period; the emphasis on 'heroic' style in discussions of the middle period; and the idea of string quartets as 'pure', 'autonomous' artworks, cut off from social moorings. Importantly, this study shows that the quartets encompass a new lyric and theatrical impetus, which is an essential part of their unique, explorative character.
The Grosse Fuge, composed by Ludwig van Beethoven in his late period, has an involved and complicated history. Written for a string quartet but published as an independent work, the piece raises ...interesting questions about whether music without words can have meaning, and invokes speculation about the composer and his frame of mind when he wrote it. Kahn looks closely at the musical, aesthetic, philosophical, and historical problems the work raises, considering its history, structure and development, meaning, and response among critics and contemporaries. Kahn also studies Beethoven's difficulties with publishers and sponsors, his everyday life, and his character in light of recent advances in the pharmacology of depressive illness. The book places both Beethoven and the Grosse Fuge in their historic and social contexts, arguing that Beethoven intended the Fuge as the finale of his String Quartet Opus 130 and created a substitute finale for the quartet at his publisher's urging; not because he was unhappy with the work. Beethoven is examined as a freelance musician: a vocation whose members were frequently excluded from society and the protection of its laws, including respect for copyright. Viewed in this light, Beethoven's famous quirks and resentments become understandable, even rational. Kahn also devotes a chapter to the phenomenon of synesthesia—a sense of motion through three-dimensional volumes of space—examining how some works of Western music can evoke synesthesia in listeners. He also speculates that Beethoven's creative dry spell in his late 40s was caused by an extended bout with clinical depression. Written for a general audience and including a bibliography and index, this fascinating study will interest scholars and fans of classical music and Beethoven.
Beethoven and Rossini have always been more than a pair of famous composers. Even during their lifetimes, they were well on the way to becoming 'Beethoven and Rossini' – a symbolic duo, who ...represented a contrast fundamental to Western music. This contrast was to shape the composition, performance, reception and historiography of music throughout the nineteenth and twentieth centuries. The Invention of Beethoven and Rossini puts leading scholars of opera and instrumental music into dialogue with each other, with the aim of unpicking the origins, consequences and fallacies of the opposition between the two composers and what they came to represent. In fifteen chapters, contributors explore topics ranging from the concert lives of early nineteenth-century capitals to the mythmaking of early cinema, and from the close analysis of individual works by Beethoven and Rossini to the cultural politics of nineteenth-century music histories.
Beethoven's Ninth Symphony has held musical audiences captive for close to two centuries. Honing in on the significance of the symphony in contemporary culture, this book establishes a dialog between ...Beethoven's world and ours. In particular, it outlines what is special about the Ninth in millennial culture, where music is encoded not only as score but also as digital technology.
In this original study, Christopher Alan Reynolds examines the influence of Beethoven's Ninth Symphony on two major nineteenth-century composers, Richard Wagner and Robert Schumann. During 1845-46 ...the compositional styles of Schumann and Wagner changed in a common direction, toward a style that was more contrapuntal, more densely motivic, and engaged in processes of thematic transformation. Reynolds shows that the stylistic advances that both composers made in Dresden in 1845-46 stemmed from a deepened understanding of Beethoven's techniques and strategies in the Ninth Symphony. The evidence provided by their compositions from this pivotal year and the surrounding years suggests that they discussed Beethoven's Ninth with each other in the months leading up to the performance of this work, which Wagner conducted on Palm Sunday in 1846. Two primary aspects that appear to have interested them both are Beethoven's use of counterpoint involving contrary motion and his gradual development of the "Ode to Joy" melody through the preceding movements. Combining a novel examination of the historical record with careful readings of the music, Reynolds adds further layers to this argument, speculating that Wagner and Schumann may not have come to these discoveries entirely independently of each other. The trail of influences that Reynolds explores extends back to the music of Bach and ahead toTristan and Isolde,as well as to Brahms's First Symphony.
