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Journal articles on the topic 'Beethoven's music'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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1

Yudkin, Jeremy. "Beethoven's Mozart Quartet." Journal of the American Musicological Society 45, no. 1 (1992): 30–74. http://dx.doi.org/10.2307/831489.

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The literary critic Harold Bloom coined the term "anxiety of influence" to cover stages in the emancipation of poets from their powerful forebears. Much has been written on the shadow cast by Beethoven over later nineteenth-century composers, but Beethoven too had to come to terms with powerful influences. It has long been recognized that the slow movement of Beethoven's String Quartet, op. 18, no. 5, is modeled on that of Mozart's String Quartet in A major, K. 464. Here it is shown that in fact, the imitation involves not only the slow movement but all four of the movements. This provides an opportunity to examine in detail Beethoven's technique of reinterpreting his model. Indeed an examination of Beethoven's "anxiety" at different stages of his career may lead us to a closer understanding of his creative development. Toward the end of his life Beethoven imitated one of the movements from K. 464 again. Here may be seen the final stage in the confrontation of his anxiety.

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Chua, Daniel K. L. "Beethoven's Other Humanism." Journal of the American Musicological Society 62, no. 3 (2009): 571–645. http://dx.doi.org/10.1525/jams.2009.62.3.571.

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Beethoven's Promethean image has been reenforced in recent scholarship by the idea of the “heroic.” Although the escalation of the concept has been recognized as an act of selective hearing based on a handful of “heroic” works, Beethoven's Promethean identity is likely to remain because it embodies the ethical values of a particularly virulent strain of humanism; Beethoven is still employed today to mark the epochal events of human history—from the fall of the Berlin Wall to the atrocities of 9/11. However, the humanism this hero champions has been accused as a cause of the very inhumanity the music is suppose to erase. To offer an alternative is not difficult—there are many works by the composer that do not conform to the Promethean image; but the alternative would be meaningless if it were merely a matter of registering other topics or narratives without grounding the difference in a set of values that challenge the ethical force of the hero. This article sketches the possibility of such an alternative through the ethics of philosophers such as Emmanuel Lévinas and Theodor W. Adorno. It explores an-Other humanism in Beethoven both in the sense of an other Beethoven and a humanism founded on the Other.

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3

Knittel, K. M. "Wagner, Deafness, and the Reception of Beethoven's Late Style." Journal of the American Musicological Society 51, no. 1 (1998): 49–82. http://dx.doi.org/10.2307/831897.

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The belief that Beethoven's "late" or "third-period" works represent the pinnacle of his achievement is at odds with the earliest critical views of these pieces. In the decades just following the composer's death, critics could not separate the perceived musical problems of the late style from Beethoven's physical ailments. While the common explanation for the elevation of these last pieces to their current position of privilege has been a musical one-the works were written before their time, demanding considerable study before they were fully understood and appreciated-I propose that it was a new understanding of Beethoven's biography that led to their veneration. Richard Wagner, in his 1870 Beethoven essay, radically reinterpreted the influence of deafness, claiming that it was in fact the source of Beethoven's creativity and genius. This paper explores Wagner's romanticization of Beethoven's deafness and speculates as to why such a paradoxical position may have appealed not just to Wagner, but to the critics who followed him.

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4

van der Zanden, Jos. "Reassessing Ferdinand Ries in Vienna: Ramifications for Beethoven Biography." Nineteenth-Century Music Review 17, no. 2 (September 30, 2019): 225–44. http://dx.doi.org/10.1017/s1479409819000247.

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Ferdinand Ries was one of Beethoven's most important piano pupils. In 1838 he published a book, together with Franz Wegeler, which contained a wealth of information on the composer. It comprised such topics as Beethoven's loss of hearing, his dealings with publishers, his working methods, and the genesis of some of his compositions. Today, Ries's book is still regarded as a crucial source for Beethoven scholarship.

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Noorduin, Marten. "Is There Any Scope for Another Edition of Beethoven's Piano Sonatas?" Nineteenth-Century Music Review 17, no. 2 (June 4, 2019): 329–40. http://dx.doi.org/10.1017/s1479409819000053.

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Beethoven's piano sonatas have appeared in innumerable editions – most of them in more than one hundred, as the collection in the library of the Beethoven-Haus in Bonn reveals. The sources for these works have also never been as readily available as they are now, as most first editions can be viewed on the Beethoven-Haus website, which also hosts scans of many important manuscript sources, as well as links to images of source materials on the websites of other archives. Thus, the question must be asked: Is there any scope for another edition of Beethoven's Piano Sonatas?

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COOK, NICHOLAS. "The Other Beethoven: Heroism, the Canon, and the Works of 1813––14." 19th-Century Music 27, no. 1 (2003): 3–24. http://dx.doi.org/10.1525/ncm.2003.27.1.3.

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Abstract . Among Beethoven's works are a number that were highly successful in their own time but that became an embarrassment to later critics. In this article I explore the critical strategies used to explain away the success of two such works, Wellingtons Sieg and Der glorreiche Augenblick——works marginalized by the ““Beethoven Hero”” paradigm that came to regulate critical interpretation of the composer's music as well as underwriting the Beethovenian canon. I also explore ways in which such noncanonic works might be reexperienced, reading Wellingtons Sieg in terms of an aesthetic of hyper-representation and Der glorreiche Augenblick in terms of the enactment of community: such approaches, I argue, give access to aspects of Beethoven's music that the ““Beethoven Hero”” paradigm suppressed.

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Head, Matthew. "Beethoven Heroine: A Female Allegory of Music and Authorship in Egmont." 19th-Century Music 30, no. 2 (2006): 097–132. http://dx.doi.org/10.1525/ncm.2006.30.2.097.

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Almost a decade ago, Sanna Pederson observed that the heroic in the posthumous reception of Beet-hoven's life and music functions as a sign of the composer's unassailable masculinity. What Pederson did not explore, however, is how the construction of the heroic in Beethoven's works courts androgyny and so exhibits flexibility in precisely the realm of sex/gender that ossified after his death. In Beethoven's dramatic music, cross-dressed heroines move center stage, and their music courts a mixture of masculine and feminine signs that is not simply descriptive of their transvestism. Admittedly, female heroism in Beethoven's dramatic music is associated with conjugal fidelity (Leonore in Fidelio) and with the nationalist defense of Prussia against French invasion (Leonore Prohaska in Beethoven's incidental music of that name), but it also functioned as an allegory of the semiautonomous male artist and of transcendent authorship. Precisely because women were subject to severe constraints on their public actions, heroines who broke through those constraints were emblems of freedom. At the boundary of the real and the symbolic, women who transgressed sexual and gendered norms could serve as epitomes of transcendence in the aesthetic sphere. A case study of Beethoven's incidental music to Goethe's Egmont traces a metonymic chain linking the lead female character Klrchen to music, heroic overcoming, and authorship. Much of the music Beethoven composed for the play was for, or associated with, Klrchen, who comes to embody music and its production. Through music, Egmont is lulled to sleep in the concluding dungeon scene. And in this sleep, Klrchen appears to him as "Liberty," hovering on a cloud above the stage to a shimmering A-major-seventh chord. Communicating to the dozing hero through wordless musical pictorialism, she offers a glimpse of what in contemporary idealist aesthetics was music's otherworldly source.

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VAN DER ZANDEN, JOS. "THE SHAKESPEARE CONNECTION: BEETHOVEN'S STRING QUARTET OP. 18 NO. 1 AND THE VIENNA HAUSTHEATER." Eighteenth Century Music 18, no. 1 (February 5, 2021): 151–70. http://dx.doi.org/10.1017/s1478570620000469.

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ABSTRACTThe ‘Amenda anecdote’ from 1856 associates the second movement of Beethoven's String Quartet Op. 18 No. 1 (Adagio affettuoso ed appassionato) with the vault scene of Shakespeare's Romeo and Juliet. Sketchbook jottings by Beethoven from 1799, in French, confirm that such a link really existed. The question of what incited him to represent in his music elements of Shakepeare has not been settled to any satisfaction. It seems unlikely that Beethoven read a French version of the play. Nor can a public theatrical or operatic staging have been the stimulus, for the original vault scene was not allowed to be performed by the authorities. This study approaches the Shakespeare connection from the perspective of a cultural practice that has received limited attention in the literature, that of Viennese Haustheater. A performance of the vault scene in this context, it is argued, informed Beethoven's quartet movement. The most crucial piece of evidence are the memoirs of Caroline Pichler, which mention a tableau given at her parents’ house at the end of eighteenth century. One of the claims of the study is that Beethoven's Shakespeare connection was a one-time digression from normal practice, and that it is thus hazardous to draw this particular event into a wider hermeneutic debate.

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Smirnova, Natalia M. "And Once Again the Invisible Battle… Review of the book by A.I. Demchenko “Appassionata”." ICONI, no. 3 (2021): 182–90. http://dx.doi.org/10.33779/2658-4824.2021.3.182-190.

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Alexander I. Demchenko is well known to the musicological community and art lovers as the author of numerous books on various aspects of artistic creativity. His new monograph (Appassionata, Essays on Beethoven’s Music, Commemorating the 250th Anniversary of his Birth. Monograph. Moscow, 2021. 164 p.), addressed both to specialists and a broad circle of connoisseurs of the art of music, is focused entirely on analysis of the content-semantic essence of the artistic heritage of the great composer, to which all the cited facts of his life and consideration of the means of musical expression are subordinated. The core of the presentation is embodied in the works of Beethoven the basic essence of human existence (life activities, lyrical feelings, repose) and what determines the leading constants of Beethoven's attitude to the world (heroic moods, drama, epos).

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Mathew, Nicholas. "Beethoven's Political Music, the Handelian Sublime, and the Aesthetics of Prostration." 19th-Century Music 33, no. 2 (2009): 110–50. http://dx.doi.org/10.1525/ncm.2009.33.2.110.

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Abstract This article argues for a number of hitherto unrecognized continuities——stylistic, aesthetic, and ideological——between Beethoven's marginalized ““political music”” from the period of the Congress of Vienna and his canonical symphonic works. It rereads his œœuvre against the background of the popularity and ubiquity of the ““Handelian sublime”” in early-nineteenth-century Viennese public life——that is, the aesthetics and social practice of grand choral singing, associated primarily with some of Handel's oratorios, but also with the late choral works of Haydn. Presenting new archival research into Vienna's politicized choral culture, the article argues that contemporary theorizing about the power of the musical sublime became the theoretical wing of music's changing social status, as it was mobilized by the state during the Napoleonic Wars more than ever before. These new, Handelian contexts for Beethoven's music lead to three conclusions. First, the choral aesthetic background to Beethoven's symphonies has been largely overlooked. With reference to original performance contexts as well as the topical character of Beethoven's symphonies, the article argues that the symphonies are often best understood as orchestral transmutations of the grand Handelian chorus. Against this background, the appearance of an actual chorus in the Ninth might be reconceived as a moment when the genre's aesthetic debt is most apparent, rather than a shocking generic transgression. Second, the distinction, commonly elaborated by Beethoven scholars, between the mere bombast of Beethoven's political compositions and the ““authentic,”” Kantian sublime of human freedom supposedly articulated in his symphonies cannot easily be sustained. Third, the cultural entanglement of choral and symphonic music in Beethoven's Vienna reveals something not only of the political origins but also of the continuing political potency of Beethoven's symphonies. With reference to Althusserian theories of power and subjectivity, the article speculates that the compelling sense of listener subjectivity created by Beethoven's most vaunted symphonic compositions (noted by Scott Burnham) comes about in part through the music's and the listener's transformation of external, choral reflections of political power into internal, symphonic ones——a transformation that leaves its mark on the topical character of the symphonies, which, especially in their most intense moments of subjective engagement, are replete with official topics and gestures: marches, hymns, and fugues. This might explain why the music has so often been heard as simultaneously browbeating and uplifting, authoritarian and liberating.

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JONES, RHYS. "BEETHOVEN AND THE SOUND OF REVOLUTION IN VIENNA, 1792–1814." Historical Journal 57, no. 4 (November 12, 2014): 947–71. http://dx.doi.org/10.1017/s0018246x14000405.

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ABSTRACTBeethoven the revolutionary is fading from history. Ossified by the Romantic tradition and, under the pressure of recent revision, reconsidered as conservative and prone to power worship, Beethoven's music has been drained of its radical essence. Yet his compositions also evoked the sonic impact of revolution – its aesthetic of natural violence and terrifying sublime – and so created an aural image of revolutionary action. Through stylistic appropriations of Luigi Cherubini and others, Beethoven imported the rhetorical tropes of French revolutionary composition to the more culturally conservative environment of Vienna. But where the music of revolutionary Paris accompanied concerted political action, the Viennese music that echoed its exhortative rhetoric played to audiences that remained politically mute. This inertia was the result of both a Viennese mode of listening that encouraged a solely internalized indulgence in revolution, and a Beethovenian musical rhetoric that both goaded and satisfied latent political radicalism. Far from rallying the public to the figurative barricades, then, the radical content of Beethoven's music actually helped satiate – and thereby stymie – the outward expression of rebellion in Vienna. This article is a bid to reaffirm the revolutionary in Beethoven.

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12

Tusa, Michael C. "Reading a Relationship: Solo-Tutti Interaction and Dramatic Trajectory in Beethoven's Second Piano Concerto." Journal of Musicology 29, no. 1 (January 1, 2012): 44–84. http://dx.doi.org/10.1525/jm.2012.29.1.44.

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The evolving relationship between the solo and the tutti over the course of Beethoven's Piano Concerto No. 2 in B♭♭ major, op. 19, contributes to its individuality as a piece of music and provides clues for understanding its significance for Beethoven's early career. A structural analysis of solo-tutti interaction reveals a double trajectory spanning the concerto, one leading from relative opposition between the protagonists to proximity or agreement, and the other from the leadership of the tutti to that of the soloist. The extant sources of the protracted genesis of the concerto provide evidence for how Beethoven may have contemplated alternative enactments of the solo-tutti relationship in the first movement and suggest reasons behind his decision to replace the early (if not in fact original) conclusion to the concerto, the Rondo in B♭♭ major WoO 6, with the definitive finale of op. 19. The essay concludes with some thoughts on the implications of the solo-tutti relationship in op. 19 for the ways that the young Beethoven positioned himself within Viennese society and its musical heritage.

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13

Whiting, Steven M. "Beethoven Translating Shakespeare: Dramatic Models for the Slow Movement of the String Quartet Op. 18, No. 1." Journal of the American Musicological Society 71, no. 3 (2018): 795–838. http://dx.doi.org/10.1525/jams.2018.71.3.795.

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According to a footnote in a treatise on music aesthetics of 1856, Beethoven claimed to have had in mind the scene in the burial vault in Romeo and Juliet when he composed the Adagio of op. 18, no. 1. The Shakespeare connection has persisted because, as scholars since Nottebohm have noticed, it is supported by four (French-language) inscriptions in Beethoven's sketches. We ought to ask, however, Which version of the vault scene—that is, which Romeo and Juliet? As a consequence of eighteenth-century practices of theatrical adaptation, the play was available in various forms. Among contemporary French sources, Steibelt's opera (1793) may be ruled out as a model. Jean-François Ducis's adaptation (1772) shows striking concordances with the sketchbook inscriptions, but we have no direct evidence that Beethoven knew it. He arguably knew three different stage versions—all unlikely models: Weiße's bourgeois tragedy (1767) rejected Shakespeare's ending; Gotter and Benda's singspiel rendition (1776) ended happily; and Zingarelli's tragedia per musica (1796) had the title characters sing a final duet in E-flat major, despite the tragic circumstances. Among the available translations, Beethoven acquired Eschenburg's Romeo und Julia (1779 or earlier), but probably not before composing his quartet. However, the appearance in Berlin of A. W. Schlegel's translation of the vault scene coincided with Beethoven's arrival there in May 1796. This masterful poetical translation may have planted the idea realized in the Adagio of op. 18, no. 1. We know (from a letter of 1810) how highly Beethoven regarded Schlegel's translation, Schindler's assertions to the contrary notwithstanding.

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Bonds, Mark Evan. "Irony and Incomprehensibility: Beethoven's “Serioso” String Quartet in F Minor, Op. 95, and the Path to the Late Style." Journal of the American Musicological Society 70, no. 2 (2017): 285–356. http://dx.doi.org/10.1525/jams.2017.70.2.285.

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Beethoven acknowledged the radical nature of his “Quartetto serioso” (1810) when he noted that it had been written for “a small circle of connoisseurs” and was “never to be performed in public.” The coda to the quartet's finale, with its sudden reversal of tone, has proven especially problematic, eliciting responses that include incomprehension (Marx) and outright dismissal (d'Indy). More recent accounts have pointed to irony as a strategy of negation, but Beethoven's contemporaries were inclined to embrace it as a constructive, liberating device. The Schlegel brothers, among others, championed it as the primary instrument of an epistemological framework that promoted the accommodation of multiple perspectives. The antifoundationalist nature of irony encourages a mode of understanding that precludes the possibility of any one “correct” perspective. Beethoven's use of “serioso” here and elsewhere, moreover, evokes a sense of the word that conveys pathos bordering on bathos. The “Quartetto serioso” is Beethoven's most extreme essay in irony, a device that would permeate his later works in more subtle but no less far-reaching ways. Opus 95 also reflects the growing prestige of artistic incomprehensibility, part of a broader shift from an aesthetics based on the principles of rhetoric, in which the artist bears the burden of intelligibility, to an aesthetics based on the principles of hermeneutics, in which the audience assumes responsibility for comprehending a given text. Beethoven's “late” works, often regarded as products of self-critique or turning inward, can thus be heard as part of a wider effort to engage audiences as active participants in a community dedicated to a dialectic of critique.

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Cooper, Barry. "Beethoven's 'Tenth'." Musical Times 130, no. 1752 (February 1989): 61. http://dx.doi.org/10.2307/966342.

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McCallum, Peter, William Kinderman, and William Drabkin. "Beethoven's Compositional Process, North American Beethoven Studies: Vol. 1." Music Analysis 13, no. 1 (March 1994): 116. http://dx.doi.org/10.2307/854283.

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BURSTEIN, L. POUNDIE. "Recomposition and Retransition in Beethoven's String Quintet, op. 4." Journal of Musicology 23, no. 1 (January 1, 2006): 62–96. http://dx.doi.org/10.1525/jm.2006.23.1.62.

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ABSTRACT In revising his Wind Octet, op. 103, into his String Quintet, op. 4, Beethoven substantially altered the retransition to the main thematic return in each of the movements. The various retransitions of op. 4 are refashioned so as to become points of structural focus as well as of poetic expression. Throughout his career, Beethoven would continue to revisit strategies seen in op. 4's revised retransitions, including not only their specific aspects (such as the use of E♭♭/E♮♮ conflicts as a means of problematizing a return to the main key) but also more generally through his highlighting of the contrast between control and disruption at these critical formal junctures. Accordingly, the revised re-transitions of op. 4 suggest a new stage in the development not only of Beethoven's compositional technique but also of his artistic outlook.

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Tellenbach, Marie-Elisabeth. "Bedeutung des Adler-Gleichnisses in Beethovens Brief an Therese Gräfin Brunswick." Die Musikforschung 52, no. 4 (September 22, 2021): 454–61. http://dx.doi.org/10.52412/mf.1999.h4.910.

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On November 23, 1810, Beethoven wrote to Therese Brunswick requesting a copy of a drawing showing an eagle looking into the sun: "So it was, I cannot forget." The widow Josephine had once exchanged love letters with Beethoven but was now married to Baron Stackelberg and unwilling to grant Beethoven's request. - Petrarch used the parable when referring to himself, the eagle, and Laura, the sun. J.M.R. Lenz used the "Petrarch" parable for his relationship to Cornelia Goethe. Laura as a pseudonym for Josephine and as the name for her daughter, born in 1811, is indicative of the hidden meaning behind the requested drawing.

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Solomon, Maynard. "Economic Circumstances of the Beethoven Household in Bonn." Journal of the American Musicological Society 50, no. 2-3 (1997): 331–51. http://dx.doi.org/10.2307/831837.

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A review of contemporary documents suggests that, contrary to wide-spread assertions in the earlier biographical literature, Beethoven did not spend his entire childhood and youth in highly straitened circumstances, let alone in what Alexander Wheelock Thayer and others called "great poverty." His grandfather, as court Kapellmeister and wine dealer, had a substantial income. And Beethoven's father, Johann, earned amounts from his activities as a court musician and teacher normally sufficient to support a family in a modest way. Upon the Kapellmeister's death, on 24 December 1773, Johann became sole heir to a sizable estate, consisting of a legacy in cash, household possessions, accounts receivable, and outstanding loans, advances, and mortgages. In the course of time the inheritance was largely but not entirely dissipated, and, despite the addition of income from Beethoven's own activities as court musician, composer, and virtuoso keyboard performer, the family lived in precarious but not debt-ridden circumstances.

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20

Knittel, Kristin M., and Barry Cooper. "The Beethoven Compendium: A Guide to Beethoven's Life and Music." Notes 49, no. 3 (March 1993): 1000. http://dx.doi.org/10.2307/898947.

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Miller, Samuel D., and David B. Greene. "Temporal Processes in Beethoven's Music." Journal of Aesthetic Education 19, no. 3 (1985): 118. http://dx.doi.org/10.2307/3332651.

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Williams, Nicholas, William Kinderman, and Carl Dahlhaus. "Beethoven's Compositional Process." Musical Times 133, no. 1797 (November 1992): 573. http://dx.doi.org/10.2307/1002583.

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Yudkin, Jeremy. "Beethoven's "Mozart" Quartet." Journal of the American Musicological Society 45, no. 1 (April 1992): 30–74. http://dx.doi.org/10.1525/jams.1992.45.1.03a00020.

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VAN DER MEER, JOHN HENRY. "Beethoven's Graf piano." Early Music 13, no. 2 (May 1985): 335. http://dx.doi.org/10.1093/earlyj/13.2.335.

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COOPER, BARRY. "BEETHOVEN'S TENTH SYMPHONY." Music and Letters 66, no. 4 (1985): 418—a—418. http://dx.doi.org/10.1093/ml/66.4.418-a.

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LEAVIS, RALPH. "BEETHOVEN'S KEY SCHEMES." Music and Letters 66, no. 4 (1985): 418—b—418. http://dx.doi.org/10.1093/ml/66.4.418-b.

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Cooper, Barry. "Beethoven's Tenth Symphony." Journal of the Royal Musical Association 117, no. 2 (1992): 324–29. http://dx.doi.org/10.1093/jrma/117.2.324.

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Winter, Robert S. "Beethoven's Tenth Symphony." Journal of the Royal Musical Association 117, no. 2 (1992): 329–30. http://dx.doi.org/10.1093/jrma/117.2.329.

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Rehding, Alexander. "Liszt's Musical Monuments." 19th-Century Music 26, no. 1 (2002): 52–72. http://dx.doi.org/10.1525/ncm.2002.26.1.52.

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The music topic of "apotheosis" is examined in the context of Liszt's artistic biography. While the effect of the final apotheosis is familiar as a standard procedure in his symphonic poems, a prominent critical strand suggests that the overwhelming effect of the apotheosis may merely conceal a fundamental vacuity. Nietzsche in particular develops an incisive critique of this kind of monumentality, which he links with a historiographic model of what he calls "monumental history." Nietzsche's historical model is probed against an episode from Liszt's career, in which the apotheosis topic first entered his orchestral music: the Cantata for the inauguration of the Bonn Beethoven monument (1845). In this cantata, Liszt chooses a quotation from Beethoven's "Archduke" Trio for the apotheosis. In this way, the cantata pits a musical kind of monumentality against the physical Beethoven movement, not dissimilar from attempts by Schumann and Jean Paul to theorize nineteenth-century monumentality. Moreover, with this "secular sanctus" Liszt forges an artistic link between the dead composer and himself. This episode, by means of which Liszt succeeded in consolidating his fame as Beethoven's rightful heir, turns out to be crucial for his subsequent career when he settled in Weimar as a self-consciously great composer (and wrote his symphonic poems). The events surrounding Liszt's engagement in the Beethoven monument are used as an exemplar of a notion of nineteenth-century musical monumentality that thrives on the interplay between the musical structure, the events amid which the performance took place, and the biographical background of the (genius-)composer.

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Knittel, K. ""Polemik im Concertsaal": Mahler, Beethoven, and the Viennese Critics." 19th-Century Music 29, no. 3 (2006): 289–321. http://dx.doi.org/10.1525/ncm.2006.29.3.289.

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"Polemic in the Concert Hall": the title of Richard Heuberger's article in the Neue freie Presse refers in no uncertain terms to the uproar surrounding Mahler's performances of Beethoven's Ninth Symphony in Vienna. The two performances, on 18 and 22 February 1900, used Mahler's own orchestral re-touchings of Beethoven's work, and Mahler's biographers have often identified these concerts as the first sustained attacks by the press, attacks that would, over time, only continue to increase in severity and frequency. When these concerts are placed into the context of reactions to Mahler's other Philharmonic concerts, however, this narrative of a "fall from grace" proves impossible to sustain. Not only was Mahler denounced for reorchestrating other works from his very first concert with the Vienna Philharmonic, but the language used to do so remained consistent throughout Mahler's tenure. Mahler, as a Jew, was not perceived as having the "right" to "improve" Beethoven--or any other composer for that matter. Although not overtly anti-Semitic, the language of the reviews resembles that found in Wagner's essay "Das Judentum in der Musik," where he outlines the Jewish composer's supposed handicaps: an emphasis on detail to the detriment of the whole, the prevalence of intellect over feeling, and an understanding of culture as merely "learnt" but never "mother tongue." An examination of the critical reactions points out these similarities while also suggesting that, particularly given Wagner's own suggestions (in 1873) for the reorchestration of Beethoven's symphony, the uproar had very little to do with what anyone heard.

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31

Mar, Jonathan Del. "More about Beethoven in Steiner's Shop: Publishers’ Corrections to the First Edition of the Quartet in F Minor, op. 95. A tribute to Alan Tyson." Nineteenth-Century Music Review 3, no. 2 (November 2006): 95–112. http://dx.doi.org/10.1017/s1479409800000616.

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Alan Tyson (1926–2000) was one of the most remarkable, influential and prolific Beethoven scholars of his generation. Yet his achievements ran wider than Beethoven, and even wider than music: he studied psychoanalysis, practised as a psychiatrist, and learnt German specifically in order to translate many of the writings of Siegmund Freud. Even before the claims of his musicological researches finally won over his medical career, he was the first to demonstrate the importance, and indeed authenticity, of many English editions of Beethoven. He published a huge amount of bibliographical material on Beethoven, both articles and books, particularly (in collaboration with Douglas Johnson and Robert Winter) a complete catalogue of Beethoven's sketchbooks. Not content with that, however, he turned his attention to Mozart, becoming the prime authority on the paper types and watermarks of Mozart's autograph manuscripts. Shortly before his death a Festschrift was dedicated to him, in which the complete bibliography of his publications occupies nine full pages.

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32

Cone, Edward T. "Beethoven's Orpheus--Or Jander's?" 19th-Century Music 8, no. 3 (1985): 283–86. http://dx.doi.org/10.2307/746519.

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33

Brindle, Reginald Smith. "Beethoven's Primitive Cell Structures." Musical Times 139, no. 1865 (1998): 18. http://dx.doi.org/10.2307/1003831.

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34

NOSCOW, R. "BEETHOVEN'S POPULAR KEYBOARD PUBLICATIONS." Music and Letters 78, no. 1 (February 1, 1997): 56–76. http://dx.doi.org/10.1093/ml/78.1.56.

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35

Bilson, M. "Beethoven's tied-note notation." Early Music 32, no. 3 (August 1, 2004): 489–91. http://dx.doi.org/10.1093/em/32.3.489.

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36

Cone, Edward T. "Beethoven's Orpheus--Or Jander's?" 19th-Century Music 8, no. 3 (April 1985): 283–86. http://dx.doi.org/10.1525/ncm.1985.8.3.02a00100.

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37

Cooper, Barry. "Beethoven's Portfolio of Bagatelles." Journal of the Royal Musical Association 112, no. 2 (1987): 208–28. http://dx.doi.org/10.1093/jrma/112.2.208.

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Beethoven published two sets of bagatelles during the 1820s – op. 119 (11 pieces) and op. 126 (six pieces) – but it is known that he considered publishing several other bagatelles as well at this time. Exactly which pieces these were, and why he did not publish them in the end, are matters which have never been thoroughly investigated; but an examination of these and related questions helps to throw new light on the two published sets as well as revealing interesting features about the unpublished bagatelles, none of which was printed until long after his death.

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Marston, Nicholas. "Beethoven's Ninth and Tenth." Journal of the Royal Musical Association 117, no. 1 (1992): 178. http://dx.doi.org/10.1093/jrma/117.1.178-b.

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39

Burstein, L. Poundie. "Abwesenheit and Anwesenheit in Beethoven's Op. 81a." Music Theory and Analysis (MTA) 8, no. 1 (April 30, 2021): 113–34. http://dx.doi.org/10.11116/mta.8.1.5.

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A sense of absence can be evoked in a piece of music through various means. For instance, the appearance of a musical event may be suggested through certain features while being noticeably obscured by others, or the arrival of an event that is strongly prepared ultimately may be conspicuously thwarted. Such strategies may be witnessed in the second movement of Beethoven's Sonata for Piano in E♭, Op. 81a. Significantly, Beethoven subtitled this movement "Abwesenheit"—that is, "Absence." This subtitle and also the layout of the movement arguably have programmatic implications possibly understandable as relating to landmark events that occurred in Vienna around the time of the sonata's composition.

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40

Kolisch, Rudolf. "Tempo and Character in Beethoven's Music." Musical Quarterly 77, no. 1 (1993): 90–131. http://dx.doi.org/10.1093/mq/77.1.90.

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41

Ferraguto, Mark. "Beethoven à la moujik:." Journal of the American Musicological Society 67, no. 1 (2014): 77–124. http://dx.doi.org/10.1525/jams.2014.67.1.77.

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Beethoven's treatments of the Russian folksongs in the “Razumovsky” String Quartets, Op. 59, nos. 1 and 2, have long elicited sharp criticism. A closer look at these treatments allows for a reappraisal of the quartets and the circumstances of their commission. Beethoven's setting of “Ah, Whether It's My Luck, Such Luck” (Opus 59, no. 1/fourth mvt.) juxtaposes folk and learned styles in ways that complicate the traditional relationship between “nature” and “artifice.” His quasi-fugal treatment of the famous “Slava” tune (Opus 59, no. 2/third mvt.) engages this relationship from the perspective of self-conscious critique. Both settings recall the “synthetic” approach to art championed by Herder; they also evince a cosmopolitan aesthetic with wider cultural and political implications. The settings seem especially designed to appeal to the quartets' dedicatee, Count Andrey Razumovsky, a European Russian whose intense interest in serious music has been understated. These conclusions are brought to bear on Opus 59, no. 3, the only quartet in the opus lacking a labeled thème russe. Rather than returning to the Lvov-Pratsch Collection (1790/1806) for material, Beethoven appears to have incorporated a Russian folksong from a German source in the Andante's main theme. The movement fulfills in an unexpected way his pledge to weave Russian melodies into all three quartets.

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Fine, Abigail. "Beethoven's Mask and the Physiognomy of Late Style." 19th-Century Music 43, no. 3 (2020): 143–69. http://dx.doi.org/10.1525/ncm.2020.43.3.143.

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This article shows how discourse on Beethoven's late works has been underpinned by material fascination with the composer's body, most apparent in the cult veneration of his dying face, which was commodified in the form of his mask. From 1890 to 1920 in Germany and Austria, Beethoven's mask became a ubiquitous item of decor for the music room, a devotional object linked with the face of Christ in the popular imagination. This mislabeled “death” mask was cast during Beethoven's lifetime, a stoic visage that put a face to the legend: that is, to the legendary 1868 account by Anselm Hüttenbrenner that recounted Beethoven's death as a heroic battle with the storm clouds. Two conflicting physiognomies—the stubborn Napoleonic commander and the suffering Christ-like redeemer—led to a critical divide that saw late works as either transcendent of, or marred by, suffering. When we unmask a prehistory of late style, we see how modern discourse on lateness still orbits around this tension between the spiritual and material, between transcendence and decay, and how this critical tradition crystallized around Theodor W. Adorno's stark resistance to the transcendent deathbed that was epitomized by the writings of Ludwig Nohl. Lateness, then, has a hidden backbone in a popular fascination with the artist's body. This same fascination led many to imagine Beethoven's final compositions as almost tangible traces of his person, hearing his late Adagios as “grave-songs,” as the composer's dying voice.

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Hatch, Christopher, and Michael Broyles. "Beethoven: The Emergence and Evolution of Beethoven's Heroic Style." Notes 47, no. 1 (September 1990): 53. http://dx.doi.org/10.2307/940536.

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Sheer, Miriam. "The Godard/Beethoven Connection: On the Use of Beethoven's Quartets in Godard's Films." Journal of Musicology 18, no. 1 (January 1, 2001): 170–88. http://dx.doi.org/10.1525/jm.2001.18.1.170.

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Brown, Clive. "The orchestra in Beethoven's Vienna." Early Music XVI, no. 1 (February 1988): 4–20. http://dx.doi.org/10.1093/earlyj/xvi.1.4.

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Winter, Robert. "Performing Beethoven's early piano concertos." Early Music XVI, no. 2 (May 1988): 214–30. http://dx.doi.org/10.1093/earlyj/xvi.2.214.

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Hayes, Robert. "Onslow and Beethoven's late quartets." Journal of Musicological Research 5, no. 4 (January 1985): 273–96. http://dx.doi.org/10.1080/01411898508574554.

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48

Cooper, B. "Beethoven's appoggiaturas: long or short?" Early Music 31, no. 2 (May 1, 2003): 165–79. http://dx.doi.org/10.1093/em/31.2.165.

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Marston, Nicholas. ": Beethoven's Diabelli Variations . William Kinderman." 19th-Century Music 12, no. 1 (July 1988): 80–89. http://dx.doi.org/10.1525/ncm.1988.12.1.02a00070.

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Volek, Tomislav, and Jaroslav Macek. "Beethoven's Rehearsals at the Lobkowitz's." Musical Times 127, no. 1716 (February 1986): 75. http://dx.doi.org/10.2307/964559.

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