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The 1896 corrected and indexed second edition of a classic of musical analysis, exploring this revolutionary body of compositions.
A daring composer in his own right, Hector Berlioz made a considerable reputation and a modest living for himself writing about music. This compact volume gathers brief, pithy essays Berlioz wrote on Beethoven's nine symphonies, his opera, Fidelio, and his piano sonatas and trios. Berlioz vividly depicts the salient features of the music with observations that are acute and passionate, as valuable for musicians as for amateurs. Beyond its astute commentary on the music, however, Berlioz's book offers a rare firsthand look at the reception and reputation accorded Beethoven's music in the decades following his death. Berlioz transcribes the comments of amateurs leaving the conservatoire after a performance of Beethoven's Ninth Symphony and provides a mocking glimpse of the French appreciation of the great German composer: What stands in the way of the music of 'Fidelio' as regards the Parisian public is ... the great disdain of the composer for sonorous effects which are not justified. He addresses Beethoven's skillful use of the orchestra as an instrument of drama and the general disapprobation that greeted this approach. He also includes a satirical piece on the fad of calling up the spirit of a composer and transcribing new, posthumous compositions. Berlioz's essays testify to the tumult caused by Beethoven's music in his time and offer ways to approach the music that remain enlightening and fresh.
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Antony Hopkins was most instrumental in opening up classical music to a wider audience. To celebrate his 90th birthday in 2011 (21st March, same date as Bach but different year) we are republishing some of his works.
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The premier of Beethoven’s Ninth Symphony in Vienna on May 7, 1824, was the most significant artistic event of the year—and the work remains one of the most precedent-shattering and influential compositions in the history of music. Described in vibrant detail by eminent musicologist Harvey Sachs, this symbol of freedom and joy was so unorthodox that it amazed and confused listeners at its unveiling—yet it became a standard for subsequent generations of creative artists, and its composer came to embody the Romantic cult of genius. In this unconventional, provocative book, Beethoven’s masterwork becomes a prism through which we may view the politics, aesthetics, and overall climate of the era. Part biography, part history, part memoir, The Ninth brilliantly explores the intricacies of Beethoven’s last symphony—how it brought forth the power of the individual while celebrating the collective spirit of humanity.