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“[Beethoven’s] music never grows old— and, enjoyed alongside Mr. Lockwood’s expert commentary, it sparkles with fresh magic.”—Wall Street Journal More than any other composer, Beethoven left to posterity a vast body of material that documents the early stages of almost everything he wrote. From this trove of sketchbooks, Lewis Lockwood draws us into the composer’s mind, unveiling a creative process of astonishing scope and originality. For musicians and nonmusicians alike, Beethoven’s symphonies stand at the summit of artistic achievement, loved today as they were two hundred years ago for their emotional cogency, variety, and unprecedented individuality. Beethoven labored to complete nine of them over his lifetime—a quarter of Mozart’s output and a tenth of Haydn’s—yet no musical works are more iconic, more indelibly stamped on the memory of anyone who has heard them. They are the products of an imagination that drove the composer to build out of the highest musical traditions of the past something startlingly new. Lockwood brings to bear a long career of studying the surviving sources that yield insight into Beethoven’s creative work, including concept sketches for symphonies that were never finished. From these, Lockwood offers fascinating revelations into the historical and biographical circumstances in which the symphonies were composed. In this compelling story of Beethoven’s singular ambition, Lockwood introduces readers to the symphonies as individual artworks, broadly tracing their genesis against the backdrop of political upheavals, concert life, and their relationship to his major works in other genres. From the first symphonies, written during his emerging deafness, to the monumental Ninth, Lockwood brings to life Beethoven’s lifelong passion to compose works of unsurpassed beauty.
In the years spanning from 1800 to 1824, Ludwig van Beethoven completed nine symphonies, now considered among the greatest masterpieces of Western music. Yet despite the fact that this time period, located in the wake of the Enlightenment and at the peak of romanticism, was one of rich intellectual exploration and social change, the influence of such threads of thought on Beethoven’s work has until now remained hidden beneath the surface of the notes. Beethoven’s Symphonies presents a fresh look at the great composer’s approach and the ideas that moved him, offering a lively account of the major themes unifying his radically diverse output. Martin Geck opens the book with an enthralling series of cultural, political, and musical motifs that run throughout the symphonies. A leading theme is Beethoven’s intense intellectual and emotional engagement with the figure of Napoleon, an engagement that survived even Beethoven’s disappointment with Napoleon’s decision to be crowned emperor in 1804. Geck also delves into the unique ways in which Beethoven approached beginnings and finales in his symphonies, as well as his innovative use of particular instruments. He then turns to the individual symphonies, tracing elements—a pitch, a chord, a musical theme—that offer a new way of thinking about each work and will make even the most devoted fans of Beethoven admire the symphonies anew. Offering refreshingly inventive readings of the work of one of history’s greatest composers, this book shapes a fascinating picture of the symphonies as a cohesive oeuvre and of Beethoven as a master symphonist.
Early nineteenth-century composers, publishers and writers evolved influential ideals of Beethoven's symphonies as untouchable masterpieces. Meanwhile, many and various arrangements of symphonies, principally for amateur performers, supported diverse and 'hands-on' cultivation of the same works. Now mostly forgotten, these arrangements served a vital function in nineteenth-century musical life, extending works' meanings and reach, especially to women in the home. This book places domestic music-making back into the history of the classical symphony. It investigates a largely untapped wealth of early nineteenth-century arrangements of symphonies by Beethoven - for piano, string quartet, mixed quintet and other ensembles. The study focuses on three key agents in the nineteenth-century culture of musical arrangement: arrangers, publishers and performers. It investigates significant functions of those musical arrangements in the era: sociability, reception and canon formation. The volume also explores how conceptions of Beethoven's symphonies, and their arrangement, changed across the era with changing conception of musical works.
Brings to life the day-to-day details of staging the premiere of one the most iconic works of Western classical music. The Ninth Symphony of Ludwig van Beethoven with its final choral movement is one of the iconic works of Western classical music. And yet, the story never fully told concerns the months leading to the symphony's world premiere in Vienna on 7 May and repeat performance on 23 May 1824. In his new book, Theodore Albrecht brings to life the day-to-day details that it took to stage that premiere. It's a story of negotiating for performance halls and performers' payments, of hand-copying legible scores and individual parts for over 120 performers, of finding financiers, as well as space and time for rehearsals. Importantly, it is also a story of the relationship between Beethoven and the musicians who performed this symphonic masterpiece. In fact, as the maddening rehearsal schedule towards the symphony's premiere shows, it transpires that many passages of the Ninth have been tailored to specific orchestral players. Many modern-day musicians will recognize familiar situations in rehearsals, many scholars and students will relish unprecedented new detail. All this comes to the fore by reconstructing the story drawing on the (almost) deaf composer's Conversation Books which Beethoven had been using since 1818. In the performance story of the Ninth Symphony's premiere, Albrecht makes full use of these invaluable documents, which are now being translated for the first time into English in a series of 12 volumes published by the Boydell Press. THEODORE ALBRECHT, Professor Emeritus of Music at Kent State University, Ohio, is an award-winning Beethoven scholar. He has authored many important articles on the composer and is the editor of Letters to Beethoven and Other Correspondence (1996) as well as translator and editor of Beethoven's Conversation Books (Boydell Press).
Marking the 250th anniversary of the composer's birth, this volume presents twenty-one completely new essays on aspects of Beethoven's personal life, his composing process, his manuscripts, and his greatest works.
A major new biography published for the 250th anniversary of Beethoven’s birth, offering a fresh, human portrayalThe iconic image of Beethoven is of him as a lone genius: hair wild, fists clenched, and brow furrowed. Beethoven may well have shaped the music of the future, but he was also a product of his time, influenced by the people, politics, and culture around him. Oxford scholar Laura Tunbridge offers an alternative history of Beethoven’s career, placing his music in contexts that shed light on why particular pieces are valued more than others, and what this tells us about his larger-than-life reputation. Each chapter focuses on a period of his life, a piece of music, and a revealing theme, from family to friends, from heroism to liberty. We discover, along the way, Beethoven’s unusual marketing strategies, his ambitious concert programming, and how specific performers and instruments influenced his works. This book offers new ways to understand Beethoven and why his music continues to be valued today.
How did Ludwig van Beethoven help overthrow a tsarist regime? With the establishment of the Russian Musical Society and its affiliated branches throughout the empire, Beethoven's music reached substantially larger audiences at a time of increasing political instability. In addition, leading music critics of the regime began hearing Beethoven's dramatic works as nothing less than a call to revolution. Beethoven in Russia deftly explores the interface between music and politics in Russia by examining the reception of Beethoven's works from the late 18th century to the present. In part 1, Frederick W. Skinner's clear and sweeping review examines the role of Beethoven's more dramatic works in the revolutionary struggle that culminated in the Revolution of 1917. In part 2, Skinner reveals how this same power was again harnessed to promote Stalin's campaign of rapid industrialization. The appropriation of Beethoven and his music to serve the interests of the state remained the hallmark of Soviet Beethoven reception until the end of communist rule. With interdisciplinary appeal in the areas of history, music, literature, and political thought, Beethoven in Russia shows how Beethoven's music served as a call to action for citizens and weaponized state propaganda in the great political struggles that shaped modern Russian history.
The life and music of Beethoven still fascinate classical music lovers, new and old. His many symphonies, sonatas, concertos, string quartets, and his one opera enchant audiences, challenge performers, engage students, and support scholars in their work. In Experiencing Beethoven, music historian Geoffrey Block explores in layman’s terms a highly representative body of about two dozen Beethoven instrumental and vocal works, offering listeners who know him well, or are just discovering him, an opportunity to grasp the breadth and depth of his musical genius. Designed for those unversed in musical terminology or theory, Experiencing Beethoven places the composer’s works within the evolving context of his personal and professional life and social and cultural milieu. Block sheds light on the public and private audiences of Beethoven’s music, from the concerts for the composer’s own financial benefit to the debut of the “Eroica” Symphony at the palace of Prince Lobkowitz to the historic public premiere of his Ninth Symphony. Experiencing Beethoven paints a portrait of the composer’s youth in Bonn, his early triumphs and artistic maturation in Vienna, and—despite the challenges his music posed to his contemporaries— the recognition he received during his lifetime as the most acclaimed composer of the era. Block conveys the range and scope of Beethoven’s achievement, from his heroic style to his lyricism, grappling throughout with the composer’s power to communicate his idealistic musical vision to listeners in both his time and ours. Finally, Experiencing Beethoven explores why Beethoven’s music continues to enjoy an unwavering appeal in an age saturated with a range of musical styles.
This Companion provides orientation for those embarking on the study of Beethoven's much-discussed Eroica Symphony, as well as providing fresh insights that will appeal to scholars, performers and listeners more generally. The book addresses the symphony in three thematic sections, on genesis, analysis and reception history, and covers key topics including political context, dedication, sources of the Symphony's inspiration, 'heroism' and the idea of a 'watershed' work. Critical studies of writings and analyses from Beethoven's day to ours are included, as well as a range of other relevant responses to the work, including compositions, recordings, images and film. The Companion draws on previous literature but also illuminates the work from new angles, based on new evidence and a range of approaches by twelve leading scholars in Beethoven research.
Despite the ups and downs of his personal life and professional career-even in the face of deafness-Beethoven remained remarkably consistent in his most basic convictions about his art. This inner consistency, the music historian Mark Evan Bonds argues, provides the key to understanding the composer's life and works. Beethoven approached music as he approached life, weighing whatever occupied him from a variety of perspectives: a melodic idea, a musical genre, a word or phrase, a friend, a lover, a patron, money, politics, religion. His ability to unlock so many possibilities from each helps explain the emotional breadth and richness of his output as a whole, from the heaven-storming Ninth Symphony to the eccentric Eighth, and from the arcane Great Fugue to the crowd-pleasing Wellington's Victory. Beethoven's works, Bonds argues, are a series of variations on his life. The iconic scowl so familiar from later images of the composer is but one of many attitudes he could assume and project through his music. The supposedly characteristic furrowed brow and frown, moreover, came only after his time. Discarding tired myths about the composer, Bonds proposes a new way of listening to Beethoven by hearing his music as an expression of his entire self, not just his scowling self.