Fr. Papandreou reminded the conference of the question which had bothered the 'composer' so much. 'Had he been talking to Beethoven in heaven? If not, to whom was he talking?' The western bishop could not contain himself any longer. 'So now the walking dead are targeting the walking living and giving them ready-made symphonies announcing the end of the world, in this case written by Beethoven but not before he died. You must be joking! Where do you get this from? Even the inspector sounds now like he is losing it.' All over the world people are buzzing about a symphony that seems divinely inspired. But even more intriguing is the statement made by the conductor that he didn't use any music to direct the orchestra. Charged with investigating the mystery for the the Times newspaper, Inspector Michael Lewis travels across the world to engage in a summit discussion about the source of the mystical piece of music. Join author Dr. Erik Eriksson for a spiritual epiphany of historic proportions, and the profound impact of Beethoven's Tenth Symphony.

From the Pulitzer Prize-winning author of Ashes to Ashes When the assistant manager of a hardware store in rural New Jersey shows up at the offices of Cubbage & Wakeham, an elite New York auction house, with a worn musical manuscript he hopes to sell for a small (or perhaps hefty) fortune, he is greeted with subdued snickers--and not surprisingly. The title page of the document reads, "William Tell: A Dramatic Symphony" and is signed "Ludwig van Beethoven." The bearer of the composition claims he recently came upon it in an old attic trunk while cleaning out his lately deceased grandfather's home in Zurich; several accompanying documents suggest the work was written there during the summer of 1814. Since virtually all lovers of classical music--and many others who can't tell Stravinsky from Springsteen--know that Beethoven wrote nine sublime symphonies, and so evidence of a new-found tenth one by the supreme master of that musical form sets off an instant international uproar. Is the seemingly miraculous discovery the genuine article or an ingenious hoax? To solve the tantalizing puzzle before placing the manuscript on the auction block at risk of becoming a global laughingstock, Cubbage & Wakeham's management organizes a team of intensely skeptical investigators, among them the world's top Beethoven scholars and forensic experts, all of them out to prove the find a fraud. But as evidence to the contrary begins to pile up, tensions rise among the corps of authenticators, the financial stakes soar as would-be exploiters of the symphony gather, the governments of five nations seek to claim the work as a national treasure, and the mystery artfully spun by novelist Richard Kluger deepens by the day. Among the beguiling questions that demand answers: The mountain of archival documentation on Beethoven's life and works is silent about his activities and whereabouts in the summer of 1814, but why would he have gone to Zurich then and written a symphony in tribute to, of all people, Swizterland's great folk hero? Why are the form and structure of the Tell symphony--each movement contains a number of vocal interludes seamlessly blended with the instrumental passages--so different from all the other Beethoven symphonies? And why, if he had produced such a monumental work, would Beethoven have abandoned it? Did he think it below his incomparably high standard of artistry? Was it stolen from him? Or did he fear pressing political considerations back in Vienna, where he had long resided, that could have endangered his career if the new work were to be publicly performed? The answers--and a cast of feisty characters with conflicting stakes in the quest--make Beethoven's Tenth a deftly twisty and challenging detective novel, enriched by the prodigious research of author Kluger, a Pulitzer Prize-winning social historian.

“[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.

Beethoven's habit of composing by making large numbers of preliminary drafts and sketches was sufficiently unusual to attract attention even during his lifetime, and his creative process has attracted a good deal more attention since. The present book incorporates the findings of recentstudies on this fascinating subject as well as providing many additional new insights. Cooper examines Beethoven's underlying creative motivation and there is and introduction to his compositional methods in general. The final part of the book is a detailed study of particular compositional problemsin six different works, selected to provide a wide range of genres, dates, and types of problem. The book as a whole adds considerably to our understanding of one of the greatest figures in the history of our culture.

Beethoven’s piano sonatas are a cornerstone of the piano repertoire and favourites of both the concert hall and recording studio. The sonatas have been the subject of much scholarship, but no single study gives an adequate account of the processes by which these sonatas were composed and published. With source materials such as sketches and correspondence increasingly available, the time is ripe for a close study of the history of these works. Barry Cooper, who in 2007 produced a new edition of all 35 sonatas, including three that are often overlooked, examines each sonata in turn, addressing questions such as: Why were they written? Why did they turn out as they did? How did they come into being and how did they reach their final form? Drawing on the composer’s sketches, autograph scores and early printed editions, as well as contextual material such as correspondence, Cooper explores the links between the notes and symbols found in the musical texts of the sonatas, and the environment that brought them about. The result is a biography not of the composer, but of the works themselves.

About an acidic music critic who is writing a book about what Beethoven's tenth symphony might have been like.

If for no other reasons than because of the long time and monumental patience expended upon its preparation, the vicissitudes through which it has passed and the varied and arduous labors bestowed upon it by the author and his editors, the history of Alexander Wheelock Thayer’s Life of Beethoven deserves to be set forth as an introduction to this work. His work it is, and his monument, though others have labored long and painstakingly upon it. There has been no considerable time since the middle of the last century when it has not occupied the minds of the author and those who have been associated with him in its creation. Between the conception of its plan and its execution there lies a period of more than two generations. Four men have labored zealously and affectionately upon its pages, and the fruits of more than four score men, stimulated to investigation by the first revelations made by the author, have been conserved in the ultimate form of the biography. It was seventeen years after Mr. Thayer entered upon what proved to be his life-task before he gave the first volume to the world—and then in a foreign tongue; it was thirteen more before the third volume came from the press. This volume, moreover, left the work unfinished, and thirty-two years more had to elapse before it was completed. When this was done the patient and self-sacrificing investigator was dead; he did not live to finish it himself nor to see it finished by his faithful collaborator of many years, Dr. Deiters; neither did he live to look upon a single printed page in the language in which he had written that portion of the work published in his lifetime. It was left for another hand to prepare the English edition of an American writer’s history of Germany’s greatest tone-poet, and to write its concluding chapters, as he believes, in the spirit of the original author. Under these circumstances there can be no vainglory in asserting that the appearance of this edition of Thayer’s Life of Beethoven deserves to be set down as a significant occurrence in musical history. In it is told for the first time in the language of the great biographer the true story of the man Beethoven—his history stripped of the silly sentimental romance with which early writers and their later imitators and copyists invested it so thickly that the real humanity, the humanliness, of the composer has never been presented to the world. In this biography there appears the veritable Beethoven set down in his true environment of men and things—the man as he actually was, the man as he himself, like Cromwell, asked to be shown for the information of posterity. It is doubtful if any other great man’s history has been so encrusted with fiction as Beethoven’s. Except Thayer’s, no biography of him has been written which presents him in his true light. The majority of the books which have been written of late years repeat many of the errors and falsehoods made current in the first books which were written about him. A great many of these errors and falsehoods are in the account of the composer’s last sickness and death, and were either inventions or exaggerations designed by their utterers to add pathos to a narrative which in unadorned truth is a hundredfold more pathetic than any tale of fiction could possibly be. Other errors have concealed the truth in the story of Beethoven’s guardianship of his nephew, his relations with his brothers, the origin and nature of his fatal illness, his dealings with his publishers and patrons, the generous attempt of the Philharmonic Society of London to extend help to him when upon his deathbed.