Ludwig van Beethoven had a life beyond music. He considered it his duty to spend leisure-time improving his Bildung (sophistication). To this end he familiarised himself with tangible manifestations of Greco-Roman antiquity, for he perceived these cultures and their representatives as examples of intellectual, moral, and artistic perfection. He consumed such writers as Homer, Plutarch, Horace, Tacitus, Euripides, and Greek poets. These texts were morally uplifting for him, and advantageous for building character. They now hold a key to Beethoven’s ideal of a steadfast, austere, and Stoic outlook, necessary for a ‘great man’ to carry out his duties. Jos van der Zanden demonstrates that Beethoven’s engagement with Greco-Roman culture was deep and ongoing, and that it ventured beyond the non-committal. Drawing on a comprehensive investigation of primary sources (letters, conversation books, diaries, recollections of contemporaries) he examines what Beethoven knew of such topics like history, art, politics, and philosophy of antiquity. The book presents new information on the composer’s republicanism, his familiarity with the works of Plato, his admiration of the elderly Brutus, his plan to utilize ‘unresolved dissonances’ in an unknown piece of music, and his decision to subscribe to a book about ancient Greek poetry. A hitherto unknown vocal piece based on lines by Euripides is revealed. The study concludes with a comprehensive survey of all compositions and sketches by Beethoven based on Greco-Roman subjects.

Manchester Beethoven studies presents ten original chapters by scholars with close ties to the University of Manchester. It throws new light on many aspects of Beethoven’s life and works, with a special emphasis on early or little-known compositions such as his concert aria Erste Liebe, his String Quintet Op. 104 and his folksong settings. Biographical elements are prominent in a wide-ranging reassessment of his religious attitudes and beliefs, while Charles Hallé, founder of the Manchester-based Hallé Orchestra, is revealed to have been a tireless and energetic promoter of Beethoven’s music in the later nineteenth century.

Few composers even begin to approach Beethoven's pervasive presence in modern Western culture, from the concert hall to the comic strip. Edited by a cultural historian and a music theorist, Beethoven and His World gathers eminent scholars from several disciplines who collectively speak to the range of Beethoven's importance and of our perennial fascination with him. The contributors address Beethoven's musical works and their cultural contexts. Reinhold Brinkmann explores the post-revolutionary context of Beethoven's "Eroica" Symphony, while Lewis Lockwood establishes a typology of heroism in works like Fidelio. Elaine Sisman, Nicholas Marston, and Glenn Stanley discuss issues of temporality, memory, and voice in works at the threshold of Beethoven's late style, such as An die Ferne Geliebte, the Cello Sonata op. 102, no. 1, and the somewhat later Piano Sonata op. 109. Peering behind the scenes into Beethoven's workshop, Tilman Skowroneck explains how the young Beethoven chose his pianos, and William Kinderman shows Beethoven in the process of sketching and revising his compositions. The volume concludes with four essays engaging the broader question of reception of Beethoven's impact on his world and ours. Christopher Gibbs' study of Beethoven's funeral and its aftermath features documentary material appearing in English for the first time; art historian Alessandra Comini offers an illustrated discussion of Beethoven's ubiquitous and iconic frown; Sanna Pederson takes up the theme of masculinity in critical representations of Beethoven; and Leon Botstein examines the aesthetics and politics of hearing extramusical narratives and plots in Beethoven's music. Bringing together varied and fresh approaches to the West's most celebrated composer, this collection of essays provides music lovers with an enriched understanding of Beethoven--as man, musician, and phenomenon.

The opening essay by James Webster, "Beethoven in Vienna, 1792-1802: Anø'Early' Period?", evaluates the critical tradition of dividing Beethoven?s career into three periods?early, middle, and late?and shows both their artificiality andøtheir implications, including a tendency to undervalue early works. J_rgen May?s essay "Beethoven and Prince Karl Lichnowsky," considers Beethoven?s relations with one of the first of his most important patrons. In "Beethoven before 1800: The Mozart Legacy," Lewis Lockwood examines Beethoven?s sketchbooks to describe how Beethoven composed with and against models from Mozart. Glenn Stanley's essay, "The 'wirklich gantz neue Mainer' and the Path to It: Beethoven's Variations for Piano, 1783-1802," surveys Beethoven?s sets of piano variations written in his first decade in Vienna and argues the importance of the variations in Beethoven's progress as a composer. In 'Pathos and the Pathätique," Elaine R. Sisman provides a historical and aesthetic analysis of one of Beethoven?s most popular piano sonatas. The composition of one of Beethoven's most popular violin sonatas, the "Spring" sonata is traced in the sketchbooks by Carl Schachter in "The Sketches of the Sonata for Piano and Violin, Op. 24." Nicholas Marston's "Stylistic Advance, Strategic Retreat: Beethoven's Sketches for the Finale,"øalso pays precise attention to Beethoven's sketches to discover how the composition of the Second Symphony illuminates Beethoven's work on an "underlying idea." In "Hybrid Themes: Toward a Refinement in the Classification of Classical Theme Types,"øWilliam E. Caplin defines "hybrid themes" and shows their variety in Beethoven?s early compositions. William Kinderman concludes the volume with a review article onøKlaus Kropfinger?s Wagner and Beethoven and its study of the "battle for Beethoven" that racked nineteenth-century European music.

“[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.

Who hasn't been stirred by the strains of Beethoven's Ninth Symphony? That's a good question, claims Esteban Buch. German nationalists and French republicans, communists and Catholics have all, in the course of history, embraced the piece. It was performed under the direction of Leonard Bernstein at a concert to mark the fall of the Berlin Wall, yet it also serves as a ghastly and ironic leitmotif in Stanley Kubrick's A Clockwork Orange. Hitler celebrated his birthdays with it, and the government of Rhodesia made it their anthem. And played in German concentration camps by the imprisoned, it also figured prominently at Mitterand's 1981 investiture. In his remarkable history of one of the most popular symphonic works of the modern period, Buch traces such complex and contradictory uses—and abuses—of Beethoven's Ninth Symphony since its premier in 1824. Buch shows that Beethoven consciously drew on the tradition of European political music, with its mix of sacred and profane, military and religious themes, when he composed his symphony. But while Beethoven obviously had his own political aspirations for the piece—he wanted it to make a statement about ideal power—he could not have had any idea of the antithetical political uses, nationalist and universalist, to which the Ninth Symphony has been put since its creation. Buch shows us how the symphony has been "deployed" throughout nearly two centuries, and in the course of this exploration offers what was described by one French reviewer as "a fundamental examination of the moral value of art." Sensitive and fascinating, this account of the tangled political existence of a symphony is a rare book that shows the life of an artwork through time, shifted and realigned with the currents of history.

Intimate biography by Beethoven's pupil and secretary recalls composer's personality, contemporaries, deafness, irascible behavior, etc. Extensively annotated by Beethoven scholar Donald MacArdle. Revised 3rd edition. Editor's Notes. Introduction. Includes 7 illustrations.