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Inside the Hearing Machine - Inside the Hearing Machine: Beethoven on His Broadwood; Piano Sonatas Opus 109, 110 and 111 - Tom Beghin pf Evil Penguin Records Classic EPRC 0025, 2017 (1 CD: 63 minutes) Liner notes by Tom Beghin, Robin Wallace, Thomas Wulfrank and Martha de Francisco - Inside the Hearing Machine - Steven Maes director Evil Penguin Productions and the Orpheus Institut, 2017 (online film: 54 minutes) Available at www.insidethehearingmachine.com/documentary - Inside the Hearing Machine - Orpheus Institut, www.insidethehearingmachine.com Website includes 360-degree videos, sound clips and other resources

Published online by Cambridge University Press:  09 May 2019

Elaine Sisman
Elaine Sisman*
Affiliation:
Columbia Universityes53@columbia.edu
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Abstract

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Type
Multimedia Review
Information
Nineteenth-Century Music Review , Volume 16 , Issue 2 , August 2019 , pp. 317 - 322
Copyright
Copyright © Cambridge University Press, 2019 

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References

1 Skowroneck, Tilman, ‘A Brit in Vienna: Beethoven's Broadwood Piano’, Keyboard Perspectives 5 (2012): 41–82, at 53–60Google Scholar.

2 Skowroneck, Tilman, Beethoven the Pianist (Cambridge: Cambridge University Press, 2010)CrossRefGoogle Scholar; idem, ‘A Brit in Vienna’, 47–50. The Wiener Zeitung put the arrival of the piano on its front page (8 June 1818); it is available online at http://anno.onb.ac.at/cgi-content/anno?aid=wrz&datum=18180608&seite=1&zoom=33.

3 Beghin, Tom, ‘Beethoven's Hammerklavier Sonata, Opus 106: Legend, Difficulty, and the Gift of a Broadwood Piano’, Keyboard Perspectives 7 (2014): 81–121, at 114–19Google Scholar.

4 Beghin, Tom, The Virtual Haydn: Paradox of a Twenty-First Century Keyboardist (Chicago: University of Chicago Press, 2015)CrossRefGoogle Scholar; and The Virtual Haydn: Complete Works for Solo Keyboard, available as a 12-CD set with accompanying DVD (Naxos 8.501203, 2011) and as a 4-Blu-ray disk set (Naxos NBD0001–04, 2009). The CDs were reviewed by architectural historian Deborah Howard in the Journal of the American Musicological Society 68 (2015): 465–75CrossRefGoogle Scholar.

5 On ‘hearing deafly’ see Jones, Jeannette DiBernardo, ‘Imagined Hearing: Music Making in Deaf Culture’, in The Oxford Handbook of Music and Disability, ed. Howe, Blake, Jensen-Moulton, Stephanie, Lerner, Neil and Straus, Joseph (New York: Oxford University Press, 2016), 54–72Google Scholar.

6 Beghin discusses this fully in the essay ‘The C-natural That Wants to be a C-sharp: Visions and Realities of Beethoven's Broadwood’, in Artistic Research in Music: Discipline and Resistance, ed. Impett, Jonathan (Leuven: Leuven University Press, 2017), 43–87Google Scholar.

7 Quoted from Beghin's essay in the liner notes.

8 Beethoven: The Complete Sonatas on Period Instruments (Claves 50–9707/10, 1997).