Beethoven Forum, Volume 7

Overview

The essays in this volume grew out of an international Beethoven conference held in honor of Lewis Lockwood at Harvard University in 1996. Michelle Fillion’s opening essay explores the Mass in C and its turn away from the “heroic” style of the “middle-period” works. In “Beethoven and the Aesthetic State,” Karol Berger reflects on the manner in which the composer’s music often shifts back and forth between a “real” and an “imagined” world. William Drabkin examines the role of the cello part in Beethoven's late ...
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Overview

The essays in this volume grew out of an international Beethoven conference held in honor of Lewis Lockwood at Harvard University in 1996. Michelle Fillion’s opening essay explores the Mass in C and its turn away from the “heroic” style of the “middle-period” works. In “Beethoven and the Aesthetic State,” Karol Berger reflects on the manner in which the composer’s music often shifts back and forth between a “real” and an “imagined” world. William Drabkin examines the role of the cello part in Beethoven's late quartets, particularly in regard to the elusive parameter of texture. Richard Kramer’s reading of the song Resignation (1818) opens new perspectives on the idea of a “late” style in the composer’s output. In “Beethoven's ‘Expressive’ Markings,” Leo Treitler demonstrates how seemingly straightforward directions to performers about tempo, mood, or dynamics raise fundamental questions about the relationship between music and language. Michael C. Tusa reviews more than a century of attempts to relate form and content in the last movement of the Ninth Symphony and offers a new interpretation on the idea of the choral finale as a kind of four-movement symphony in its own right. Maynard Solomon’s essay on the “Diabelli” variations argues that the theme itself, although simple, is by no means trivial and indeed is “perfectly suited to unpacking issues of firstness and lastness and their interchangeability.” William Drabkin concludes the volume with a review essay on Beethoven: Interpretationen seiner Werke, edited by Albrecht Riethmüller, Carl Dahlhaus, and Alexander Ringer.
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Editorial Reviews

Der Spiegel
“Since 1992, the University of Nebraska Press has published a Beethoven Forum, which is rich in information and knowledge. Fundamental research and topicality, once the domain of the Beethoven-Haus in Bonn, are admirably combined in the Forum.”—Der Spiegel
Stanley Sadie
“The best of present-day Beethoven scholarship.”—Stanley Sadie, editor of New Grove Dictionary of Music & Musicians
Der Spiegel

“Since 1992, the University of Nebraska Press has published a Beethoven Forum, which is rich in information and knowledge. Fundamental research and topicality, once the domain of the Beethoven-Haus in Bonn, are admirably combined in the Forum.”—Der Spiegel

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Product Details

  • ISBN-13: 9780803212923
  • Publisher: University of Nebraska Press
  • Publication date: 5/28/1999
  • Series: Beethoven Forum Series
  • Pages: 172
  • Product dimensions: 8.46 (w) x 10.68 (h) x 0.83 (d)

Meet the Author

Christopher Reynolds is a professor and chair of the Department of Music at the University of California at Davis. His articles have appeared in Journal of the American Musicological Society, Nineteenth-Century Music, and Early Music History. Lewis Lockwood is Fanny Peabody Proessor of Music at Harvard University. He is the recipient of the Einstein, Kinkeldey, and Marraro prizes and author of Beethoven: Studies in the Creative Process, and Music in Renaissance Ferrara. James Webster is a professor of music at Cornell University. He received the Kinkeldey award for his book, Haydn's "Farewell" Symphony and the Idea of Classical Style
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