The New Beethoven: Evolution, Analysis, Interpretation

doi:10.1017/9781787448124

The New Beethoven

Evolution, Analysis, Interpretation

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Edited by Jeremy Yudkin

Publisher:: Boydell & Brewer
Online publication date:: September 2020
Print publication year:: 2020
Online ISBN:: 9781787448124
DOI:: https://doi.org/10.1017/9781787448124

Series:: Eastman Studies in Music
Subjects:: Music, Music: General Interest

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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.

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Frontmatter
pp i-iv
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Dedication
pp v-vi
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Contents
pp vii-x
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Preface
pp xi-xiv
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Chronological Bibliography of Books, Articles, Book Chapters, and Musical Editions by Lewis Lockwood
pp xv-xx
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Acknowledgments
pp xxi-xxii
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Introduction
pp 1-6
- By Jeremy Yudkin
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Part One - A Creative Life
pp 7-8
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1 - Of Deserters and Orphans: Beethoven's Early Exposure to the Opéras-Comiques of Monsigny
pp 9-36
- By Steven M. Whiting
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2 - “A Really Excellent and Capable Man”: Beethoven and Johann Traeg
pp 37-49
- By David Wyn Jones
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3 - A Four-Leaf Clover: A Newly Discovered Cello, the Premiere of the Ninth Symphony, Beethoven's Circle of Friends in Bonn, and a Corrected Edition of the Song “Ruf vom Berge,” WoO 147
pp 50-77
- By Michael Ladenburger
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4 - “Where Thought Touches the Blood”: Rhythmic Disturbance as Physical Realism in Beethoven's Creative Process
pp 78-88
- By Bruce Adolphe
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5 - The Sanctification of Beethoven in 1827–28
pp 89-120
- By Christopher Reynolds
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Part Two - Prometheus / Eroica
pp 121-122
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6 - The Prometheus Theme and Beethoven's Shift from Avoidance to Embrace of Possibilities
pp 123-147
- By Alan Gosman
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7 - Beethoven at Heiligenstadt in 1802: Deconstruction, Integration, and Creativity
pp 148-160
- By William Kinderman
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8 - “Mit Verstärkung des Orchesters”: The Orchestra Personnel at the First Public Performance of Beethoven's Eroica
pp 161-202
- By Theodore Albrecht
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Part Three - Masses
pp 203-204
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9 - “Aber lieber Beethoven, was haben Sie denn wieder da gemacht?” Observations on the Performing Parts for the Premiere of Beethoven's Mass in C, Opus 86
pp 205-227
- By Jeremiah W. McGrann
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10 - Heart to Heart: Beethoven, Archduke Rudolph, and the Missa solemnis
pp 228-243
- By Mark Evan Bonds
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11 - God and the Voice of Beethoven
pp 244-258
- By Scott Burnham
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Part Four - Quartets
pp 259-260
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12 - “So Here I Am, in the Middle Way”: The Autograph of the “Harp” Quartet and the Expressive Domain of Beethoven’s Second Maturity
pp 261-273
- By M. Lucy Turner
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13 - Meaningful Details: Expressive Markings in Beethoven Manuscripts, with a Focus on Opus 127
pp 274-331
- By Nicholas Kitchen
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14 - The Autograph Score of the Slow Movement of Beethoven’s Last Quartet, Opus 135
pp 332-354
- By Barry Cooper
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15 - Early German-Language Reviews of Beethoven's Late String Quartets
pp 355-386
- By Robin Wallace
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Part Five - Explorations
pp 387-388
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16 - Three Movements or Four? The Scherzo Movements in Beethoven's Early Sonatas
pp 389-404
- By Erica Buurman
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17 - Utopia and Dystopia Revisited: Contrasted Domains in Beethoven's Middle-Period F-Major and F-Minor Works
pp 405-436
- By Barbara Barry
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18 - Schooling the Quintjäger
pp 437-447
- By David B. Levy
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The New Beethoven

Evolution, Analysis, Interpretation

Book description

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Contents

Frontmatter
pp i-iv

Dedication
pp v-vi

Contents
pp vii-x

Preface
pp xi-xiv

Chronological Bibliography of Books, Articles, Book Chapters, and Musical Editions by Lewis Lockwood
pp xv-xx

Acknowledgments
pp xxi-xxii

Introduction
pp 1-6

Part One - A Creative Life
pp 7-8

1 - Of Deserters and Orphans: Beethoven's Early Exposure to the Opéras-Comiques of Monsigny
pp 9-36

2 - “A Really Excellent and Capable Man”: Beethoven and Johann Traeg
pp 37-49

3 - A Four-Leaf Clover: A Newly Discovered Cello, the Premiere of the Ninth Symphony, Beethoven's Circle of Friends in Bonn, and a Corrected Edition of the Song “Ruf vom Berge,” WoO 147
pp 50-77

4 - “Where Thought Touches the Blood”: Rhythmic Disturbance as Physical Realism in Beethoven's Creative Process
pp 78-88

5 - The Sanctification of Beethoven in 1827–28
pp 89-120

Part Two - Prometheus / Eroica
pp 121-122

6 - The Prometheus Theme and Beethoven's Shift from Avoidance to Embrace of Possibilities
pp 123-147

7 - Beethoven at Heiligenstadt in 1802: Deconstruction, Integration, and Creativity
pp 148-160

8 - “Mit Verstärkung des Orchesters”: The Orchestra Personnel at the First Public Performance of Beethoven's Eroica
pp 161-202

Part Three - Masses
pp 203-204

9 - “Aber lieber Beethoven, was haben Sie denn wieder da gemacht?” Observations on the Performing Parts for the Premiere of Beethoven's Mass in C, Opus 86
pp 205-227

10 - Heart to Heart: Beethoven, Archduke Rudolph, and the Missa solemnis
pp 228-243

11 - God and the Voice of Beethoven
pp 244-258

Part Four - Quartets
pp 259-260

12 - “So Here I Am, in the Middle Way”: The Autograph of the “Harp” Quartet and the Expressive Domain of Beethoven’s Second Maturity
pp 261-273

13 - Meaningful Details: Expressive Markings in Beethoven Manuscripts, with a Focus on Opus 127
pp 274-331

14 - The Autograph Score of the Slow Movement of Beethoven’s Last Quartet, Opus 135
pp 332-354

15 - Early German-Language Reviews of Beethoven's Late String Quartets
pp 355-386

Part Five - Explorations
pp 387-388

16 - Three Movements or Four? The Scherzo Movements in Beethoven's Early Sonatas
pp 389-404

17 - Utopia and Dystopia Revisited: Contrasted Domains in Beethoven's Middle-Period F-Major and F-Minor Works
pp 405-436

18 - Schooling the Quintjäger
pp 437-447

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The New Beethoven

Evolution, Analysis, Interpretation

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