"This is an essential guide for students of the nine Beethoven symphonies and a starting-point for young conductors. Drawing on his lifelong experience of conducting these works, Del Mar offers an analysis of the music's structure, pointing out key events in the score and offering advice on how to achieve the desired effect. He also compares variant readings in the different editions and further traces the development of Beethoven's style and that of the symphony over the 24 years of their composition."--Publisher's description.

It might be thought presumptuous to detail every thought, beat, and gesture in conducting the standard repertoire, for the art of interpretation must always, by its very nature, be a personal one. But from his lifelong experience in conducting the Beethoven symphonies Norman Del Mar is able to lead us in a discussion of them with passion and great insight. This is an essential guide for students of these great works and a starting-point for young conductors. Del Mar offers an analysis of the music's structure, pointing out key events in the score and offering advice on how to achieve the desired effect. He also compares variant readings in the different editions. But his book further traces the development of Beethoven's style and that of the symphony over the twenty-four years of their composition, from the inspired yet simple First, so evocative of Haydn and Mozart, to the supreme peak of the `Choral', one of the greatest masterpieces of the symphonic form. Del Mar is thus able to speak to all devotees of Beethoven's symphonic output, and enhance our appreciation of these works.

Essays by the noted authority on nineteenth-century music, the topics ranging from Beethoven and Schubert to comic opera to Scriabin and Janácek. In Beethoven's Century: Essays on Composers and Themes, world-renowned musicologist Hugh Macdonald draws together many of his richest essays on music from Beethoven's time into the early twentieth century. The essays are here revised and updated, and some are printed in English for the first time. Beethoven's Century addresses perennial questions of what music meant to the composer and his audiences, how it was intended to be played, andhow today's audiences can usefully approach it. Opening with a revealing analysis of Beethoven's not always generous regard for his listeners, the essays probe aspects of Schubert's musical personality, the brief friendshipbetween Berlioz and Schumann, Liszt's abilities as a conductor, and Viennese views of Wagner as expressed by Hugo Wolf. Essays on comic opera and trends in French opera libretti in the late nineteenth century reflect the author's long-standing sympathy for French music, and strikingly eccentric personalities in the world of music, such as Paganini, Alkan, Skryabin, and Janácek, are brought to life. Beethoven's Century concludes with a wrylook at some startling developments in early twentieth-century music that have often been overlooked. Hugh Macdonald has taught music at the Universities of Cambridge, Oxford, and Glasgow, and since 1987 has been Avis H. Blewett Distinguished Professor of Music at Washington University, St. Louis. He has written books on Skryabin and Berlioz, and is a regular pre-concert speaker for the Boston and St. Louis Symphony Orchestras.

This book analyzes the lifelong impact of Beethoven's music on Wagner and its importance for his conception of music drama. Kropfinger charts and scrutinizes Wagner's early responses to the composer and considers his experience as a conductor of Beethoven's music. A discussion of the Romantic "Beethoven image" leads to a careful study of Wagner's aesthetic writings, including his "programmatic explanations," the text "Concerning Franz Liszt's symphonic poems," and his Beethoven centenary essay. The penultimate chapter addresses Wagner's theory and practice of music drama, which he came to regard as the preordained successor to the Beethoven symphony. By analyzing special terms--such as "Leitmotiv"--Wagner's structural view of musical drama comes to the fore; it is a view that deepens not only our understanding of musical drama as a "hybrid" genre of art but also of purely musical structure and forms that Wagner sought to outdo.

Berlioz, the enfant terrible of music if ever there was one, was always a favorite of the late Norman Del Mar. In this volume (seen through the press by his son Jonathan) Norman Del Mar brings all his wide experience to the explanations and elucidation of the more difficult points of conducting these works. The most imaginative orchestrator ever is treated with wisdom and perception and many doubtful technical points are clarified in this invaluable handbook. Anyone wanting to know more about Berlioz's works, be they student or music-loving listener, will find their enjoyment enhanced after reading this indispensable study. The three extraordinary symphonies are considered in detail, followed by six overtures, and other important works. The volume culminates in chapters on the Grande Messe des morts and Te Deum which give true insight into these major choral pieces. Del Mar's writing style is easily approachable and carries the reader along in eager anticipation as understanding is assimilated from his own infectious enthusiasm.

In world renowned conductor and composer Gunther Schuller's highly provocative critique of modern conducting, he castigates many of this century's most venerates conductors for using the podium to indulge their own interpretive idiosyncrasies, rather than devote themselves to reproducing the composer's stated intentions. 937 music examples. 35 tables.

This major new study of Beethoven and his music is written as a single, continuous narrative, using a strictly chronological approach that enables each work to be seen against the musical and biographical background from which it emerged. The result is a much closer integration of life and works than is often achieved. The approach works particularly well for Beethoven for two reasons. Firstly, composition was his central preoccupation for most of his life: 'I live entirely in my music', he once wrote. Secondly, recent study of his large numbers of musical sketches has enabled a much clearer picture of his everyday compositional activity than was previously possible, leading to many new insights into the interaction between his life and music. The volume concentrates on Beethoven's artistic achievements both by examining the origins of his works and by commentary on some of their most striking and original features. Statements in earlier biographies have been treated with caution, and have been accepted only where they are supported by sound evidence. Everything-even down to the translations of individual German words-has been reassessed as far as is feasible, in an effort to avoide recycling old errors. Many well-known but fictitious anecdotes have thereby been eliminated, while conversely numerous details discovered in recent years have been incorporated into a general Beethoven biography for the first time-notably information derived from sketch studies and from a new edition for correspondence. This volume reaches many fresh conclusions that should be of interest to both specialists and the general musical public. -