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Journal articles on the topic 'Symphonies de Beethoven'

Author: Grafiati

Published: 15 February 2025

Last updated: 31 July 2025

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1

Zhang, Xiaochen. "The Symphony of Bass in the Grand Narrative: On the Position and Function of Trombone in Beethoven's Symphonies." Journal of Education, Humanities and Social Sciences 42 (December 9, 2024): 263–70. https://doi.org/10.54097/d3mgyh44.

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Trombone is an important brass instrument and plays an important role in modern symphony orchestra. Trombone is different from other brass instruments. In the history of the development of western Musical Instruments, the shape and playing mode of trombone have hardly changed. However, the position of the trombone in Beethoven's previous symphonies was radically different. Beethoven is recognized as the first composer to bring the trombone from sacred to secular music. This article will list three symphonies composed by Beethoven that include the trombone. Through the research of the creation

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2

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 re

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3

Martin-Castro, Almudena, and Iñaki Ucar. "Conductors’ tempo choices shed light over Beethoven’s metronome." PLOS ONE 15, no. 12 (2020): e0243616. http://dx.doi.org/10.1371/journal.pone.0243616.

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During most part of Western classical music history, tempo, the speed of music, was not specified, for it was considered obvious from musical context. Only in 1815, Maelzel patented the metronome. Beethoven immediately embraced it, so much as to add tempo marks to his already published eight symphonies. However, these marks are still under dispute, as many musicians consider them too quick to be played and even unmusical, whereas others claim them as Bethoven’s supposedly written will. In this work, we develop a methodology to extract and analyze the performed tempi from 36 complete symphonic

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4

Romashchuk, I. M. "BEETHOVEN IN THE MIRROR OF CENTURIES." Arts education and science 1, no. 4 (2020): 189–94. http://dx.doi.org/10.36871/hon.202004023.

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The article is devoted to a significant date — the 250th anniversary of the birth of the great German composer Ludwig van Beethoven. The author examines some issues of the influence of Beethoven's work on Russian artists in various fields of art. Especially stands out the name of one of the leading representatives of the Soviet musical avant-garde of the XXth century, composer Gavriil Popov, who created "Heroic" and "Pastoral" symphonies, following in the steps of the outstanding German master and entering into a "dialogue at a distance" with him. Furthermore, the indirect parallels between Po

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Nagina, Dana A. "The genre of concert symphony in the works of Haydn and Mozart." Contemporary Musicology, no. 3 (2019): 2–23. http://dx.doi.org/10.56620/2587-9731-2019-3-002-023.

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The article focuses on the concert symphony (fr. symphonie concertante, it. sinfonia concertata) – a classical music form which remains little studied in Russian musicology – as is exemplified in the works of Joseph Haydn and Wolfgang Amadeus Mozart. The study raises three questions crucial for the history and theory of the genre. First, the article analyses the development of ideas about concertante as well as relevant terminology. Reference books and scientific works of the 18th-early 21st centuries provide different points of view on the genre. Some highlight its symphonic nature, while oth

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La Rue, Jan. "Harmonic Rhythm in the Beethoven Symphonies." Journal of Musicology 18, no. 2 (2001): 221–48. http://dx.doi.org/10.1525/jm.2001.18.2.221.

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7

Simonton, Dean Keith. "Drawing Inferences from Symphonic Programs: Musical Attributes versus Listener Attributions." Music Perception 12, no. 3 (1995): 307–22. http://dx.doi.org/10.2307/40286186.

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In classical music listening, program announcements both on radio and in concerts will usually introduce the performance of a symphony with the same minimal articles of information, such as the composer, the order of composition, the key, and the name, if any. But how much can a listener infer about the musical attributes of the work from these basic facts? Examination of 99 symphonies by 13 symphonists between Beethoven and Shostakovich showed that such rudimentary programmatic data can predict several subjective and objective features, including aesthetic significance, listener accessibility

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Chao, Wu. "LI DELUN’S ROLE IN THE PRESERVATION OF CHINESE ORCHESTRAS." Arts education and science 2, no. 39 (2024): 77–85. http://dx.doi.org/10.36871/hon.202402077.

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Li Delun, an outstanding Chinese conductor, has made a huge contribution to the development and popularisation of Chinese symphonic music in Russia, Europe and the USA. Having received an excellent education at the Moscow Conservatory in the class of opera and symphony conducting, Li Delun has rightfully earned a place in the cohort of outstanding musicians of our time. In early 1956, Li Delun was commissioned by the Chinese political leadership to establish and lead the Central Orchestra. He formed the repertoire of the symphony orchestra, combining Western classics (symphonies by W. A. Mozar

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9

Phillippo, Simon. "Symphonic Momentum and Post-tonal Dramas: Simpson's First Symphony." Tempo, no. 209 (July 1999): 2–6. http://dx.doi.org/10.1017/s0040298200014613.

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Robert Simpson died on 21 November 1997, leaving behind him an impressive body of works. At its core are 11 symphonies and 15 string quartets; also three concertos, two string quintets, sonatas, some choral music, even some much admired pieces for brass band. While a thoroughly individual, music-as-process modernism imbues all he wrote, the prevailing image of Simpson is that of the conservative classicist, clinging to the apparent certainties of antiquated forms and diatonic tonality – a view that begins to some extent with the composer himself. He is widely known for his influential writings

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10

Willner, Channan. "Beethoven Symphonies on Period Instruments: A New Tradition?" Musical Times 131, no. 1764 (1990): 88. http://dx.doi.org/10.2307/966398.

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11

Bandy, Dorian. "Beethoven's Rhetoric of Embellishment." 19th-Century Music 46, no. 2 (2022): 125–62. http://dx.doi.org/10.1525/ncm.2022.46.2.125.

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This article examines the communicative and interpretive significance of melodic embellishment in Beethoven's oeuvre, with a particular focus on multi-movement instrumental works from the period 1795–1824. Embellishment has received comparatively little attention in Beethoven studies; yet it formed a crucial part of his musicianship as both a performer and a composer. The article begins with a broad overview of Beethoven's embellishment practices, drawing examples primarily from his early piano trios and piano sonatas. It then goes on to examine a series of issues in more detail: first, the ro

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12

Stefaniak, Alexander. "Robert Schumann, Serious Virtuosity, and the Rhetoric of the Sublime." Journal of Musicology 33, no. 4 (2016): 433–82. http://dx.doi.org/10.1525/jm.2016.33.4.433.

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In several essays from the first half of the nineteenth century, Robert Schumann and other music critics used the rhetoric of the sublime when describing select, unconventionally intense virtuosic showpieces and performances, evoking this category’s associations with overpowering, even fearsome experiences and heroic human qualities. These writings formed one strand of a larger discourse in which musicians and critics attempted to describe and identify instances of virtuosity that supposedly rejected superficiality and aimed at serious aesthetic values: in the nineteenth-century imagination, t

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Bogunović Hočevar, Katarina. "Beethoven’s Symphonies in the Musical Life of Nineteenth-Century Laibach." Studia Musicologica 61, no. 1-2 (2021): 7–31. http://dx.doi.org/10.1556/6.2020.00002.

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Nineteenth-century concert life in Laibach (Ljubljana), capital of the Habsburg Carniola, was shaped and led by the local Philharmonic Society. Until the establishment of the Musical Society in 1872, it was the only musical institution in Carniola. Even after the establishment of the Musical Society, the Philharmonics remained the principal and representative leader of concert life. In the mid-nineteenth century, the main European centers had their own operatic and concert civil orchestras, however, Laibach did not have a concert symphony orchestra. In order to lead and perform regular symphon

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14

Clark, Anna F., Sarah P. Maxwell, and Aikaterini Anestaki. "Bach, Beethoven, and benefactors: Facebook engagement between symphonies and their stakeholders." International Journal of Nonprofit and Voluntary Sector Marketing 21, no. 2 (2015): 96–108. http://dx.doi.org/10.1002/nvsm.1545.

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15

Robinson, Paul. "Is Aida an orientalist opera?" Cambridge Opera Journal 5, no. 2 (1993): 133–40. http://dx.doi.org/10.1017/s0954586700003955.

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Among the more remarkable events of recent intellectual history is that Edward Said, famous avant-garde literary critic, passionate advocate for the Palestinian cause, has begun to write about music. Moreover, not just about any kind of music, but about classical music in the élite (and canonical) European tradition – the symphonies of Beethoven, the operas of Wagner, the chamber music of Schubert and Brahms. Several years ago Said took over the music column in The Nation magazine, and more recently he has published a book, Musical Elaborations, based on a series of invited lectures at the Uni

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16

Leistra-Jones, Karen. "Hans von Bülow and the Confessionalization of Kunstreligion." Journal of Musicology 35, no. 1 (2018): 42–75. http://dx.doi.org/10.1525/jm.2018.35.1.42.

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Hans von Bülow often used pointedly religious rhetoric in his statements about music: “I believe in Bach the Father, Beethoven the Son, and in Brahms the Holy Ghost of music,” he famously proclaimed. Elsewhere, he called Bach’s Well-Tempered Clavier the “Old Testament” and Beethoven’s sonatas the “New Testament” of piano music. Beginning in the 1870s, these types of pronouncements became a central aspect of Bülow’s public image. This occurred as he began to position himself as a Beethoven specialist, with his celebrated edition of Beethoven’s piano sonatas (1871) and his new practice of perfor

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Schmidt-Beste, Thomas. "Preventive and Cautionary Dynamics in the Symphonies of Mendelssohn and his Time." Journal of Musicology 31, no. 1 (2014): 43–90. http://dx.doi.org/10.1525/jm.2014.31.1.43.

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From the late eighteenth century onward, composers began to use dynamic signs as an independent layer of expressive meaning, deployed either to reinforce the dynamic tendencies inherent in the music (through melodic or harmonic trajectory, phrasing, texture, etc.) or to counteract them. The study of this phenomenon thus far has been limited to individual observations regarding particular events, such as “surprise dynamics” (for example sudden peaks in volume or a subito piano following a crescendo), with no attempt to reach a systematic understanding. This article elucidates a little-noticed d

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18

Notley, Margaret. "Volksconcerte in Vienna and Late Nineteenth-Century Ideology of the Symphony." Journal of the American Musicological Society 50, no. 2-3 (1997): 421–53. http://dx.doi.org/10.2307/831840.

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Late nineteenth-century journalistic criticism in Vienna offers many precedents for Paul Bekker's interpretation of the symphony. Beethoven's symphonies provided the model for an aesthetics of the genre-couched in metaphors connecting it to "the people"-that motivated the reception of works by Brahms and Bruckner. Activists who wished to inaugurate symphonic Volksconcerte in the city took the figurative utopian function of the genre literally. Though their efforts were confounded not only by institutionalized elitism but also by the preferences of the Viennese Volk for other kinds of music, th

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Morabito, Fabio. "Endless Self: Haydn, Cherubini, and the Sound of the Canon." 19th-Century Music 46, no. 2 (2022): 91–124. http://dx.doi.org/10.1525/ncm.2022.46.2.91.

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This article takes as its starting point the little-noted attempt of the composer Luigi Cherubini to become the new Esterházy Kapellmeister following Joseph Haydn's death. I use the episode as a prompt for a broad reconsideration of Haydn's reputation in the 1790s–1800s, and of what it meant to follow in such footsteps. Rather than just a matter of capitalizing on the celebrity of a widely respected composer, I discuss Haydn's image and legacy as entailing a god-like aura of immortality, which he shared with personalities such as Washington, Nelson, or Peter the Great of Russia, all hailed for

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Eichhorn, Andreas. "„Hauptthema” im ersten Satz von Beethovens Neunter Symphonie." Die Musikforschung 49, no. 1 (2021): 2–19. http://dx.doi.org/10.52412/mf.1996.h1.1013.

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Der expositionelle Gehalt des Hauptthemenkomplexes der Neunten Symphonie Beethovens erschöpft sich nicht allein im thematisch-motivischen Material. Exponiert werden zugleich auch bestimmte Texturmodelle, die sich satzübergreifend ausbreiten und zur Werkeinheit beitragen. Als traditionelle Substanz ist dem Hauptthemenkomplex der dorische Ton eingeschrieben. Indem Beethoven an dem einzelnen Strukturelementen entlangkomponiert, wird das Dorische zu einem strukturellen Gerüst, das die äußerlich heterogene Syntax verklammert.

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DAVIES, J. Q. "Dancing the Symphonic: Beethoven-Bochsa's Symphonie Pastorale, 1829." 19th-Century Music 27, no. 1 (2003): 25–47. http://dx.doi.org/10.1525/ncm.2003.27.1.25.

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Abstract . On 22 June 1829, the legendary French harpist, convicted forger and escaped felon, Robert Nicolas Charles Bochsa performed his most infamous musical offense: a rendition of Beethoven's Pastoral Symphony with stage action. Since Grove, this surprisingly early reworking of the Sixth as a ballet-pantomime has not gone down well in the literature. As the twentieth century unfurled, the moment steadily receded into obscurity, losing all cultural and contextual meaning to the point where it is now remembered (if at all) as a lesson in the rogue potential of performance——a pockmark on the

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Horváth, Pál. "Untying the “Musical Sphinx:” Beethoven’s Symphony No. 9 in Nineteenth-Century Pest-Buda." Studia Musicologica 61, no. 1-2 (2021): 33–50. http://dx.doi.org/10.1556/6.2020.00003.

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It is well known that Beethoven’s Ninth was followed by a temporary crisis in the genre of the symphony: the next generation found it difficult to get away from the shadow of this monumental piece. The Ninth was first performed in Hungary in 1865, more than 40 years after the world-premiere. We should add, however, that during the first half of the nineteenth century, no professional symphonic orchestra and choir existed in Pest-Buda that would have coped with the task. Although the Hungarian public was able to hear some of Beethoven’s symphonies already by the 1830s – mainly thanks to the Mus

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Eggebrecht, Hans Heinrich. "Spätwerk Beethovens." Anuario Musical, no. 52 (January 24, 2019): 143. http://dx.doi.org/10.3989/anuariomusical.1997.i52.292.

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Das Spätwerk Beethovens ist gekennzeichnet durch das gesteigerte Hervortreten jenes Charakteristikum des Menschen und Komponisten, das als Beethovens ethische Mitte bezeichnet werden kann. In den Maße, wie Beethoven in den späten Klaviersonaten, der Neunten Symphonie, der Missa solemnis und den letzten Streichquartetten verschiedene Gattungstraditionen erfüllt, tritt die ethische Botschaft seiner Musik zwar altersbedingt bloßgelegt, jedoch jeweils andersartig in Erscheinung, weshalb von einem einheitlichen Sp Das Spätstil des Spätwerks nicht gesprochen werden kann. Die Botschaften, die der Auf

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Will, Richard. "Time, Morality, and Humanity in Beethoven's Pastoral Symphony." Journal of the American Musicological Society 50, no. 2-3 (1997): 271–329. http://dx.doi.org/10.2307/831836.

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While Beethoven's Pastoral Symphony exhibits the underlying four-movement framework and other familiar hallmarks of eighteenth- and early nineteenth-century symphonies, in other respects it more closely resembles programmatic symphonies of the same period, particularly in the continuity between its concluding movements and the unusual structure of its storm. Its mixture of symphonic and programmatic practices serves to dramatize the effects of time on pastoral idylls and the role of morality therein. The work can be interpreted as a confrontation with these fundamentally human issues rather th

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Rosenblatt, Jay, arranger. "Freie Bearbeitungen, III, and: Freie Bearbeitungen, V, and: Freie Bearbeitungen, VIII, and: Transkriptionen, VIII, and: Transkriptionen, IX, and: Beethoven: Symphonies Nos. 1-5 (review)." Notes 58, no. 2 (2001): 425–30. http://dx.doi.org/10.1353/not.2001.0221.

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Shwan, Sebastian, and Stela Drăgulin. ""Significant Personalities as Turning Points in the Life and Music of Johannes Brahms "." Studia Universitatis Babeş-Bolyai Musica 67, no. 1 (2022): 57–70. http://dx.doi.org/10.24193/subbmusica.2022.1.05.

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"This paper aims to reveal the turning points in the life and work of German composer Johannes Brahms. These main events were influenced by certain figures of the epoch, whose encounters marked the artistic activity of Brahms. In explaining the reasons that lay behind the composition of a work, emotion is one of the most specific criteria. Personal experience becomes the indispensable condition of artistic creation and lays at the core of the creative impulse. The paper is structured according to the following four aspects: the first friends (together with Albert Dietrich and their mentor, Rob

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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

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Reimer, Erich. "Nationalbewußtsein und Musikgeschichtsschreibung in Deutschland 1800-1850." Die Musikforschung 46, no. 1 (2021): 17–31. http://dx.doi.org/10.52412/mf.1993.h1.1140.

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Im Zuge der deutschen Nationalbewegung setzten um 1800 Reflexionen über die historische Entwicklung der deutschen Musik ein. An einschlägigen Texten läßt sich zwischen 1800 und 1850 eine fortschreitende nationale Interpretation der Musikgeschichte nachweisen. Während es Johann Karl Friedrich Triest (1801) darum ging, unter Hinweis auf Bachs Kontrapunktik und Haydns Symphonik zur Entwicklung eines noch schwach ausgeprägten Nationalbewußtseins beizutragen, standen bei Amadeus Wendt (1831), der in Haydns, Mozarts und Beethovens Instrumentalmusik den Höhepunkt der deutschen Musik sah, nationales u

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Knapp, Raymond. "A Tale of Two Symphonies: Converging Narratives of Divine Reconciliation in Beethoven's Fifth and Sixth." Journal of the American Musicological Society 53, no. 2 (2000): 291–343. http://dx.doi.org/10.2307/832010.

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Owen Jander's recent observation that the concluding birdcalls in the second movement of Beethoven's Pastoral Symphony reproduce the opening motive of his Fifth provides a starting point for considering the two symphonies together. Evidence derived from analysis, sketches, and compositional-biographical circumstances is used to establish and illuminate a process of modeling in which the Sixth Symphony adopts the procedural innovations of the Fifth while inverting their affective impact. Possible rationales for this modeling include Beethoven's preoccupation with transmutational variation and h

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Nonnenmann, Rainer. "Radierter Patriotismus." Die Musikforschung 76, no. 2 (2023): 130–49. http://dx.doi.org/10.52412/mf.2023.h2.3087.

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In his late novel Doktor Faustus (1947) – written in exile in the USA during the Second World War – Thomas Mann has the fictional “German composer” Adrian Leverkühn “take back” Beethoven’s Ninth Symphony with his last cantata “Dr. Fausti Weheklag”. The humanism of the “Ode to Joy” with its final exultation “Alle Menschen werden Brüder” had been discredited by dictatorship, terror, war and the Holocaust, and by patriotic and nationalistic appropriations by various political systems. In the course of Germany’s coming to terms with its past – the so-called “Vergangenheitsbewältigung” – from the m

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Grochulski, Michaela G. "Symphonie, Symphonie-Cantate / Symphoniecantate oder größerer, ausgearbeiteter Psalm?" Die Musikforschung 70, no. 3 (2021): 243–68. http://dx.doi.org/10.52412/mf.2017.h3.343.

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Dies ist der Versuch, den "Lobgesang" nicht vom Finalcharakter her, sondern als Ganzes zu betrachten und sich vom Referenz-Werk "Neunte Symphonie" von Beethoven zu lösen. Ausgehend von einem Einblick in die Entwicklung von Mendelssohns Form- und Inhalts-Vorstellungen anhand einiger Briefzeugnisse wird der Inhalt des Werkes auf Basis eines Textvergleichs von Uraufführungs- und Druckversion in den Blick genommen und auf mögliche Konsequenzen für die Form hinterfragt. Die Auseinandersetzung mit dem Inhalt ermöglicht zudem Erkenntnisse zum Einfluss Julius Schubrings und Rückschlüsse auf Mendelssoh

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Avins, Styra. "Brahms, Beethoven, and a Reassessment of the Famous Footsteps." Nineteenth-Century Music Review 18, no. 2 (2021): 269–82. http://dx.doi.org/10.1017/s1479409820000270.

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To speak of Brahms and Beethoven in the same breath is almost a cliché: Brahms was intimately conscious of Beethoven's music from early youth. This article describes the details of his youthful involvement, the compositions he had in his repertoire as well as those other works which had a powerful effect on his development. By age 20, Brahms was frequently compared to Beethoven by people who met him or heard him play. My interest is in the way he was influenced by Beethoven and the manner in which he eventually found his own voice.The compositional history of his First Symphony provides the pr

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Cook, Nicholas. "Beethoven's Unfinished Piano Concerto: A Case of Double Vision?" Journal of the American Musicological Society 42, no. 2 (1989): 338–74. http://dx.doi.org/10.2307/831659.

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During 1814-15 Beethoven sketched the first movement of a piano concerto, writing out a considerable proportion of it in full score. Some of the curious stylistic features that have been ascribed to this movement are the consequence of a faulty reading of MS Artaria 184, in which open-score sketches have been bound in with the autograph score. One curious feature, however, remains: the symphonic nature of the materials. There is some reason to believe that, because of this, Beethoven considered deleting the tutti exposition, resulting in a symphonic work with obbligato piano. Such indecision a

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Walz, Matthias. "Kontrastierende Werkpaare in Beethovens Symphonien." Archiv für Musikwissenschaft 46, no. 4 (1989): 271. http://dx.doi.org/10.2307/930542.

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Kutluieva, Daria. "Piano quartets by F. Mendelssohn as a phenomenon of the Romantic era." Aspects of Historical Musicology 16, no. 16 (2019): 143–57. http://dx.doi.org/10.34064/khnum2-16.08.

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Background. Nowadays, the typology of the piano quartet is actively studied by the modern scientists. The genesis of this genre is becoming more contentious. As pointed out by L. Tsaregorodtseva (2005), and earlier I. Byaly (1989), a connection of concerts for clavier solo accompanied by a string ensembles and a string quartet form a foundation for a genre of the piano quartet. N. Samoilova (2011) sees the origin of this genre in ensembles with clavier, L. Tsaregorodtseva (2005) &#8210; in the historical and cultural situation of the last third of the 18th century, including the genre (str

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Berger, Karol. "Mahler and the Taking Back of the Ninth." Polski Rocznik Muzykologiczny 21, no. 1 (2023): 44–83. http://dx.doi.org/10.2478/prm-2023-0002.

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Abstract The last word of Mahler’s Fifth Symphony, composed in 1901–02 and premiered in 1904, is ironic, mocking even, certainly not pompously triumphant. What is mocked here is the whole tradition of victorious symphonic scenarios epitomized by Beethoven’s Ninth Symphony, the “per aspera ad astra” tradition that had symphonists propose stories of suffering triumphantly overcome. The Finale also puts into question Mahler’s own past. For the first time, the composer writes here a symphony that does not aim at a transcendence and sublimity, but accepts the comic immanence of the earthly existenc

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Petroudi, Georgia. "The Cypriotization of Beethoven or Beethoven’s Cypriotization: The Composer’s Traces Throughout the Foundation of the “Westernized” Cypriot Music Scene." Studia Musicologica 61, no. 1-2 (2021): 149–59. http://dx.doi.org/10.1556/6.2020.00011.

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The focus of this paper is the reception of Ludwig van Beethoven’s works at the turn of the twentieth and twenty-first centuries, from the establishment of symphony orchestras and other cultural institutions. These works include symphonic and chamber music, performed in the framework of symphonic concerts as presented by the Cyprus Symphony Orchestra and chamber music as presented by chamber music festivals. This paper will shine a light onto the preserved concert programs of the orchestras, as well as other concerts that can be traced in newspapers and other printed magazines, in order to dem

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Hepokoski, James. "“Listen and Be Amazed!”: Odeon, Künneke, and the First Recordings of Complete Symphonies." Journal of the American Musicological Society 76, no. 1 (2023): 113–67. http://dx.doi.org/10.1525/jams.2023.76.1.113.

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Abstract Between 1911 and 1913, Odeon records, in Berlin, produced and made available for sale five complete, four-movement symphonies, the first complete symphonies ever recorded. They were Beethoven’s Fifth and Sixth Symphonies (August and November–December 1911), and then Haydn’s Symphony no. 94 (“Surprise”) and Mozart’s Symphonies nos. 40 and 39 (in that order, March and April 1913). Each was performed by members of the Odeon company’s orchestra, billed as the “Großes Odeon-Streich-Orchester.” While no conductor is identified on the labels, it was surely Eduard Künneke, Odeon’s house condu

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Stollberg, Arne. "Mit Beethoven auf "Weltentdeckungsfahrt"." Die Musikforschung 62, no. 2 (2021): 128–39. http://dx.doi.org/10.52412/mf.2009.h2.281.

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In Wagners Zürcher Reformschriften wird Beethoven mehrfach mit Christoph Columbus verglichen, da er sich weiter als jeder andere auf das "Meer" der absoluten Musik vorgewagt und schliesslich - im Finalsatz der Neunten Symphonie - gegen seinen Plan das Amerika der Kunst entdeckt habe: die erneute Verbindung von Wort und Ton als Voraussetzung für das zukünftige Musikdrama. Die kuriose Metaphorik, mit der Wagner seine Idee vom Fortgang der Musikgeschichte sprachlich gestaltet, lässt sich auf eine frühe Komposition beziehen, die vor diesem Hintergrund als das eigentliche Schlüsselwerk für die Argu

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Voss, Egon. "Prima e seconda prattica?" Die Musikforschung 58, no. 4 (2021): 353–60. http://dx.doi.org/10.52412/mf.2005.h4.639.

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Ludwig van Beethoven hat bis 1801-02 eine ganze Reihe von Werken für Blasinstrumente komponiert, gewiss auch, um die Instrumente und ihre Kombination zu erproben, vor allem aber wohl, weil es entsprechende Anlässe gab oder Modeerscheinungen wie die Trios für zwei Oboen und Englischhorn in den 1790er Jahren in Wien. Mit dem Septett op. 20 bricht die Reihe der Bläsermusik plötzlich ab, obwohl gerade dieses Werk sehr erfolgreich war und denkbar wäre, dass Beethoven statt der neun Symphonien neun Septette geschaffen hätte. Doch Beethoven war, wie es scheint, die Bläsermusik allzu sehr mit dem Adel

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Любимов, Данила Вадимович. "L. van Beethoven and F. V. Lopukhov: The Fourth Symphony () on the Ballet Stage." Научный вестник Московской консерватории, no. 4(47) (December 30, 2021): 128–55. http://dx.doi.org/10.26176/mosconsv.2021.47.4.07.

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Статья приурочена к 135-летнему юбилею со дня рождения русского танцовщика, хореографа, педагога Федора Васильевича Лопухова (1886-1973). В работе представлен круг вопросов, связанных с разработкой танцсимфонии - нового музыкально-пластического жанра балетного театра XX века. Лопухов сформулировал теоретические положения танцсимфонии, выразившиеся в обращении к «чистому» жанру симфонии, свободной работе хореографов с музыкой сонатно-симфонического цикла, идее бессюжетного балета. Эти принципы найдут оригинальное воплощение в спектаклях последователей Лопухова, выдающихся танцовщиков-балетмейст

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Гаврилова, Н. А. "From Beethoven to Martinů: Approaching the Problem of the Spiritual and Style Traditions in European Music." Научный вестник Московской консерватории, no. 4(43) (December 24, 2020): 8–17. http://dx.doi.org/10.26176/mosconsv.2020.43.4.001.

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Классик чешской музыки ХХ века Богуслав Мартину создал свою стилевую концепцию в опоре на национальную и общеевропейскую традиции искусства; одной из отправных точек его творчества, содержащего прозрения в будущее, послужило наследие Людвига ван Бетховена, особенно его поздние произведения. Воздействие музыканта такого масштаба, как Бетховен, на творчество Богуслава Мартину в данной статье рассматривается в трех аспектах: героико-драматическая и лирико-жанровая концепции симфонизма как основа музыкальной драматургии; феномен позднего стиля; «звездное небо над нами и нравственный закон внутри н

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Proksch, Bryan. "Beethoven's Symphonies: An Artistic Vision by Lewis Lockwood." Notes 74, no. 1 (2017): 100–102. http://dx.doi.org/10.1353/not.2017.0079.

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Simonton, Dean Keith. "Numerical Odds and Evens in Beethoven's Nine Symphonies." Empirical Studies of the Arts 33, no. 1 (2015): 18–35. http://dx.doi.org/10.1177/0276237415569980.

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Kreuzer, Dominik. "Oliver Huck: Engelchöre. Gesang in Symphonien von Beethoven bis Schönberg." Die Musikforschung 77, no. 4 (2024): 440–42. https://doi.org/10.52412/mf.2024.h4.3587.

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Prevost, Maxime. "La Symphonie politique: Notes sur le Beethoven de Victor Hugo." Nineteenth Century French Studies 30, no. 1 (2001): 68–80. http://dx.doi.org/10.1353/ncf.2001.0054.

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Brown, Clive. "Historical performance, metronome marks and tempo in Beethoven's symphonies." Early Music XIX, no. 2 (1991): 247–60. http://dx.doi.org/10.1093/earlyj/xix.2.247.

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Hailey, Christopher, and Andreas Eichhorn. "Beethovens Neunte Symphonie: Die Geschichte ihrer Auffuhrung und Rezeption." Notes 51, no. 3 (1995): 937. http://dx.doi.org/10.2307/899310.

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Rovelli, Federica. "Revisionsprozesse in Beethovens Niederschriften der achten Symphonie op. 93." Editio 31, no. 1 (2017): 90–116. http://dx.doi.org/10.1515/editio-2017-0007.

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Kaddour, Fériel. "« Ce qui seul mérite le nom de style » : Adorno, Beethoven et les bassons de la Cinquième Symphonie." Revue de Synthèse 145, no. 3-4 (2024): 399–436. http://dx.doi.org/10.1163/19552343-14234059.

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Résumé À la fin de la Cinquième Symphonie de Beethoven, on entend un timbre étrange : un solo de bassons, fortissimo, dans le registre aigu, un effet si incongru qu’on croirait à une faute d’orchestration. Adorno voit là au contraire « ce qui seul mérite le nom de style ». C’est que ce défaut du timbre est révélateur d’un défaut de la dialectique formelle, point crucial qu’Adorno scrute tout au long de son essai sur Beethoven. Il s’agit donc de redéployer cette lecture immanente de la partition, et de replacer le motif « raté » des bassons à l’endroit problématique de la forme beethovénienne (

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