Stephen Rumph
- Published in print:
- 2004
- Published Online:
- May 2012
- ISBN:
- 9780520238558
- eISBN:
- 9780520930124
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520238558.001.0001
- Subject:
- Music, History, Western
This book is an analysis of Beethoven's late style, demonstrating how deeply political events shaped the composer's music, from his early enthusiasm for the French Revolution to his later ...
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This book is an analysis of Beethoven's late style, demonstrating how deeply political events shaped the composer's music, from his early enthusiasm for the French Revolution to his later entrenchment during the Napoleonic era. It challenges accepted views by illustrating the influence of German Romantic political thought in the formation of the artist's mature style. The author argues that Beethoven's political views were not quite as liberal as many have assumed. While scholars agree that the works of the Napoleonic era such as the Eroica Symphony or Fidelio embody enlightened, revolutionary ideals of progress, freedom, and humanism, Beethoven's later works have attracted less political commentary. The author contends that the later works show clear affinities with a native German ideology that exalted history, religion, and the organic totality of state and society. He claims that as the Napoleonic Wars plunged Europe into political and economic turmoil, Beethoven's growing antipathy to the French mirrored the experience of his Romantic contemporaries. The book maintains that Beethoven's turn inward is no pessimistic retreat but a positive affirmation of new conservative ideals.Less
This book is an analysis of Beethoven's late style, demonstrating how deeply political events shaped the composer's music, from his early enthusiasm for the French Revolution to his later entrenchment during the Napoleonic era. It challenges accepted views by illustrating the influence of German Romantic political thought in the formation of the artist's mature style. The author argues that Beethoven's political views were not quite as liberal as many have assumed. While scholars agree that the works of the Napoleonic era such as the Eroica Symphony or Fidelio embody enlightened, revolutionary ideals of progress, freedom, and humanism, Beethoven's later works have attracted less political commentary. The author contends that the later works show clear affinities with a native German ideology that exalted history, religion, and the organic totality of state and society. He claims that as the Napoleonic Wars plunged Europe into political and economic turmoil, Beethoven's growing antipathy to the French mirrored the experience of his Romantic contemporaries. The book maintains that Beethoven's turn inward is no pessimistic retreat but a positive affirmation of new conservative ideals.
Daniel K L Chua
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780199769322
- eISBN:
- 9780190657253
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199769322.003.0002
- Subject:
- Music, Philosophy of Music, Theory, Analysis, Composition
This ‘movement’ considers how Beethoven’s music articulates the freedom of the heroic subject and its inherent contradictions, particularly through the logic of the ‘blank’ or ‘zero’ sign and the ...
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This ‘movement’ considers how Beethoven’s music articulates the freedom of the heroic subject and its inherent contradictions, particularly through the logic of the ‘blank’ or ‘zero’ sign and the formal concept of the ‘eternal moment’ (or what Adorno terms the Augenblick in Beethoven’s symphonic processes). It explores these notions through the analyses of Beethoven’s Choral Fantasy and Eroica Symphpony.Less
This ‘movement’ considers how Beethoven’s music articulates the freedom of the heroic subject and its inherent contradictions, particularly through the logic of the ‘blank’ or ‘zero’ sign and the formal concept of the ‘eternal moment’ (or what Adorno terms the Augenblick in Beethoven’s symphonic processes). It explores these notions through the analyses of Beethoven’s Choral Fantasy and Eroica Symphpony.
Katherine Kolb
- Published in print:
- 2015
- Published Online:
- March 2015
- ISBN:
- 9780199391950
- eISBN:
- 9780199391981
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199391950.003.0022
- Subject:
- Music, Opera, History, Western
Berlioz’s first official article for the Journal des débats follows the order of the program in reviewing the first Conservatoire Orchestra concert of the season, thus conveying the typically varied ...
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Berlioz’s first official article for the Journal des débats follows the order of the program in reviewing the first Conservatoire Orchestra concert of the season, thus conveying the typically varied and uneven nature of these programs. This one features the “Credo” from Beethoven’s Missa solemnis (sparking a tirade against rapid fugues on “Amen”) a violin solo by Mayseder, and a sacred choral piece (“Laus spirituali”), besides the three works Berlioz considers the heart of the concert: a lyric scene for voice and orchestra by the still largely unknown Schubert, Beethoven’s “Eroica” symphony, and the overture to Mozart’s Magic Flute. The article begins with a retrospective of the founding of the great Conservatoire orchestra, of musical conditions in Paris before its existence, and of the early obstacles to appreciation of Beethoven in France.Less
Berlioz’s first official article for the Journal des débats follows the order of the program in reviewing the first Conservatoire Orchestra concert of the season, thus conveying the typically varied and uneven nature of these programs. This one features the “Credo” from Beethoven’s Missa solemnis (sparking a tirade against rapid fugues on “Amen”) a violin solo by Mayseder, and a sacred choral piece (“Laus spirituali”), besides the three works Berlioz considers the heart of the concert: a lyric scene for voice and orchestra by the still largely unknown Schubert, Beethoven’s “Eroica” symphony, and the overture to Mozart’s Magic Flute. The article begins with a retrospective of the founding of the great Conservatoire orchestra, of musical conditions in Paris before its existence, and of the early obstacles to appreciation of Beethoven in France.
