DOCSLIB.ORG

Season 2019-2020

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Season 2019-2020 23 Season 2019-2020 Thursday, March 19, at 7:30 The Philadelphia Orchestra Saturday, March 21, at 8:00 Sunday, March 22, at 2:00 Yannick Nézet-Séguin Conductor Beethoven Symphony No. 2 in D major, Op. 36 I. Adagio molto—Allegro con brio II. Larghetto III. Scherzo (Allegro) and Trio IV. Allegro molto Intermission Hunt Climb World premiere—Philadelphia Orchestra commission Beethoven Symphony No. 3 in E-flat major, Op. 55 (“Eroica”) I. Allegro con brio II. Marcia funebre: Adagio assai III. Scherzo (Allegro vivace) and Trio IV. Finale: Allegro molto—Andante—Presto This program runs approximately 2 hours. LiveNote® 2.0, the Orchestra’s interactive concert guide for mobile devices, will be enabled for these performances. These concerts are sponsored by Carole Haas Gravagno. The March 19 concert is also sponsored by Sandra and David Marshall and the Hassel Foundation. The March 22 concert is also sponsored by Dr. and Mrs. Joseph B. Townsend. These concerts are part of The Philadelphia Orchestra’s BeethovenNOW celebration. 24 Please join us following the March 19 and 21 concerts for a free Organ Postlude featuring Peter Richard Conte, and following the March 22 concert for a free Chamber Postlude featuring members of The Philadelphia Orchestra. March 19 and 21 Beethoven/arr. Rubinstein and Conte Turkish March, from The Ruins of Athens, Op. 113 Beethoven from Five Pieces for Mechanical Clock, WoO 33: IV. Allegro non più molto Wesley Choral Song and Fugue Beethoven/transcr. Schreiner from Piano Sonata No. 8 in C minor, Op. 13 (“Pathétique”): II. Adagio cantabile Beethoven Prelude No. 2, from Two Preludes through All Twelve Major Keys, Op. 39 Schubert/transcr. Best Marche militaire No. 1 in D major, D. 733 March 22 Beethoven Sextet in E-flat major, Op. 81b, for two violins, viola, cello, and two horns I. Allegro con brio II. Adagio III. Rondo: Allegro Juliette Kang Violin Yayoi Numazawa Violin David Nicastro Viola Priscilla Lee Cello Jennifer Montone Horn Jeffrey Lang Horn Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. 25 ® Getting Started with LiveNote 2.0 » Please silence your phone ringer. » Make sure you are connected to the internet via a Wi-Fi or cellular connection. » Download the Philadelphia Orchestra app from the Apple App Store or Google Play Store. » Once downloaded open the Philadelphia Orchestra app. » Tap “OPEN” on the Philadelphia Orchestra concert you are attending. » Tap the “LIVE” red circle. The app will now automatically advance slides as the live concert progresses. Helpful Hints » You can follow different tracks of content in LiveNote. While you are in a LiveNote content slide you can change tracks by selecting the tabs in the upper left corner. Each track groups content by a theme. For example, “The Story” track provides historical information about the piece and composer. “The Roadmap” track gives the listener more in-depth information about the orchestration and music theory behind the piece. *Note: Some pieces only contain one track. » Tap in the middle of the screen to display player controls such as Glossary, Brightness, Text Size, and Share. » Tap a highlighted word in yellow or select the “Glossary” in the player controls to take you to an in-depth glossary of musical terms. » If during the concert the content slides are not advancing, or you have browsed to other slides, you can tap the “LIVE” button in the bottom right corner to get to the current live slide. LiveNote is funded by the John S. and James L. Knight Foundation, the National Endowment for the Arts, and the William Penn Foundation. 26 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra community centers, the Mann Through concerts, tours, is one of the world’s Center to Penn’s Landing, residencies, and recordings, preeminent orchestras. classrooms to hospitals, and the Orchestra is a global It strives to share the over the airwaves and online. ambassador. It performs transformative power of The Orchestra continues annually at Carnegie Hall, music with the widest to discover new and the Saratoga Performing possible audience, and to inventive ways to nurture its Arts Center, and the Bravo! create joy, connection, and relationship with loyal patrons. Vail Music Festival. The excitement through music The Philadelphia Orchestra Orchestra also has a rich in the Philadelphia region, continues the tradition of history of touring, having across the country, and educational and community first performed outside around the world. Through engagement for listeners Philadelphia in the earliest innovative programming, of all ages. It launched its days of its founding. It was robust educational initiatives, HEAR initiative in 2016 to the first American orchestra and an ongoing commitment become a major force for to perform in the People’s to the communities that it good in every community that Republic of China in 1973, serves, the ensemble is on a it serves. HEAR is a portfolio launching a now-five-decade path to create an expansive of integrated initiatives commitment of people-to- future for classical music, that promotes Health, people exchange. and to further the place champions music Education, The Orchestra also makes of the arts in an open and enables broad Access to live recordings available on democratic society. Orchestra performances, and popular digital music services Yannick Nézet-Séguin is now maximizes impact through and as part of the Orchestra in his eighth season as the Research. The Orchestra’s on Demand section of its eighth music director of The award-winning education and website. Under Yannick’s Philadelphia Orchestra. His community initiatives engage leadership, the Orchestra connection to the ensemble’s over 50,000 students, returned to recording, with musicians has been praised families, and community seven celebrated CDs on by both concertgoers and members through programs the prestigious Deutsche critics, and he is embraced such as PlayINs, side-by- Grammophon label. The by the musicians of the sides, PopUP concerts, Free Orchestra also reaches Orchestra, audiences, and Neighborhood Concerts, thousands of radio listeners the community. School Concerts, sensory- with weekly broadcasts on Your Philadelphia Orchestra friendly concerts, the School WRTI-FM and SiriusXM. For takes great pride in its Partnership Program and more information, please visit hometown, performing for the School Ensemble Program, www.philorch.org. people of Philadelphia year- and All City Orchestra round, from Verizon Hall to Fellowships. 8 Music Director Music Director Yannick Nézet-Séguin will lead The Philadelphia Orchestra through at least the 2025–26 season, an extraordinary and significant long-term commitment. Jessica Griffin Additionally, he became the third music director of New York’s Metropolitan Opera in August 2018. Yannick, who holds the Walter and Leonore Annenberg Chair, is an inspired leader of The Philadelphia Orchestra. His intensely collaborative style, deeply rooted musical curiosity, and boundless enthusiasm, paired with a fresh approach to programming, have been heralded by critics and audiences alike. The New York Times has called him “phenomenal,” adding that under his baton, “the ensemble, famous for its glowing strings and homogenous richness, has never sounded better.” Yannick has established himself as a musical leader of the highest caliber and one of the most thrilling talents of his generation. He has been artistic director and principal conductor of Montreal’s Orchestre Métropolitain since 2000, and in summer 2017 he became an honorary member of the Chamber Orchestra of Europe. He was music director of the Rotterdam Philharmonic from 2008 to 2018 (he is now honorary conductor) and was principal guest conductor of the London Philharmonic from 2008 to 2014. He has made wildly successful appearances with the world’s most revered ensembles and has conducted critically acclaimed performances at many of the leading opera houses. Yannick signed an exclusive recording contract with Deutsche Grammophon (DG) in 2018. Under his leadership The Philadelphia Orchestra returned to recording with seven CDs on that label. His upcoming recordings will include projects with The Philadelphia Orchestra, the Metropolitan Opera, the Chamber Orchestra of Europe, and the Orchestre Métropolitain, with which he will also continue to record for ATMA Classique. Additionally, he has recorded with the Rotterdam Philharmonic on DG, EMI Classics, and BIS Records, and the London Philharmonic for the LPO label. A native of Montreal, Yannick studied piano, conducting, composition, and chamber music at Montreal’s Conservatory of Music and continued his studies with renowned conductor Carlo Maria Giulini; he also studied choral conducting with Joseph Flummerfelt at Westminster Choir College. Among Yannick’s honors are an appointment as Companion of the Order of Canada; an Officer of the Order of Montreal; Musical America’s 2016 Artist of the Year; the Prix Denise-Pelletier; and honorary doctorates from the University of Quebec in Montreal, the Curtis Institute of Music, Westminster Choir College of Rider University, McGill University, the University of Montreal, and the University of Pennsylvania. To read Yannick’s full bio, please visit philorch.org/conductor. 27 Framing the Program The Philadelphia Orchestra’s BeethovenNOW celebration Parallel Events of the composer’s 250th anniversary
Load more

Recommended publications
  • MSM WIND ENSEMBLE Eugene Migliaro Corporon, Conductor Joseph Mohan (DMA ’21), Piano
    MSM WIND ENSEMBLE Eugene Migliaro Corporon, Conductor Joseph Mohan (DMA ’21), piano FRIDAY, JANUARY 18, 2019 | 7:30 PM NEIDORFF-KARPATI HALL FRIDAY, JANUARY 18, 2019 | 7:30 PM NEIDORFF-KARPATI HALL MSM WIND ENSEMBLE Eugene Migliaro Corporon, Conductor Joseph Mohan (DMA ’21), piano PROGRAM JOHN WILLIAMS For New York (b. 1932) (Trans. for band by Paul Lavender) FRANK TICHELI Acadiana (b. 1958) At the Dancehall Meditations on a Cajun Ballad To Lafayette IGOR ST R AVINSKY Concerto for Piano and Wind Instruments (1882–1971) Lento; Allegro Largo Allegro Joseph Mohan (DMA ’21), piano Intermission VITTORIO Symphony No. 3 for Band GIANNINI Allegro energico (1903–1966) Adagio Allegretto Allegro con brio CENTENNIAL NOTE Vittorio Giannini (1903–1966) was an Italian-American composer calls upon the band’s martial associations, with an who joined the Manhattan School of Music faculty in 1944, where he exuberant march somewhat reminiscent of similar taught theory and composition until 1965. Among his students were efforts by Sir William Walton. Along with the sunny John Corigliano, Nicolas Flagello, Ludmila Ulehla, Adolphus Hailstork, disposition and apparent straightforwardness of works Ursula Mamlok, Fredrick Kaufman, David Amram, and John Lewis. like the Second and Third Symphonies, the immediacy MSM founder Janet Daniels Schenck wrote in her memoir, Adventure and durability of their appeal is the result of considerable in Music (1960), that Giannini’s “great ability both as a composer and as subtlety in motivic and harmonic relationships and even a teacher cannot be overestimated. In addition to this, his remarkable in voice leading. personality has made him beloved by all.” In addition to his Symphony No.
    [Show full text]
  • A Master of Music Recital in Clarinet
    University of Northern Iowa UNI ScholarWorks Dissertations and Theses @ UNI Student Work 2019 A master of music recital in clarinet Lucas Randall University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©2019 Lucas Randall Follow this and additional works at: https://scholarworks.uni.edu/etd Part of the Music Performance Commons Recommended Citation Randall, Lucas, "A master of music recital in clarinet" (2019). Dissertations and Theses @ UNI. 1005. https://scholarworks.uni.edu/etd/1005 This Open Access Thesis is brought to you for free and open access by the Student Work at UNI ScholarWorks. It has been accepted for inclusion in Dissertations and Theses @ UNI by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. A MASTER OF MUSIC RECITAL IN CLARINET An Abstract of a Recital Submitted in Partial Fulfillment of the Requirements for the Degree Master of Music Lucas Randall University of Northern Iowa December, 2019 This Recital Abstract by: Lucas Randall Entitled: A Master of Music Recital in Clarinet has been approved as meeting the recital abstract requirement for the Degree of Master of Music. ____________ ________________________________________________ Date Dr. Amanda McCandless, Chair, Recital Committee ____________ ________________________________________________ Date Dr. Stephen Galyen, Recital Committee Member ____________ ________________________________________________ Date Dr. Ann Bradfield, Recital Committee Member ____________ ________________________________________________ Date Dr. Jennifer Waldron, Dean, Graduate College This Recital Performance by: Lucas Randall Entitled: A Master of Music Recital in Clarinet Date of Recital: November 22, 2019 has been approved as meeting the recital requirement for the Degree of Master of Music.
    [Show full text]
  • The University of Chicago Objects of Veneration
    THE UNIVERSITY OF CHICAGO OBJECTS OF VENERATION: MUSIC AND MATERIALITY IN THE COMPOSER-CULTS OF GERMANY AND AUSTRIA, 1870-1930 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY ABIGAIL FINE CHICAGO, ILLINOIS AUGUST 2017 © Copyright Abigail Fine 2017 All rights reserved ii TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES.................................................................. v LIST OF FIGURES.......................................................................................... vi LIST OF TABLES............................................................................................ ix ACKNOWLEDGEMENTS............................................................................. x ABSTRACT....................................................................................................... xiii INTRODUCTION........................................................................................................ 1 CHAPTER 1: Beethoven’s Death and the Physiognomy of Late Style Introduction..................................................................................................... 41 Part I: Material Reception Beethoven’s (Death) Mask............................................................................. 50 The Cult of the Face........................................................................................ 67 Part II: Musical Reception Musical Physiognomies...............................................................................
    [Show full text]
  • THE INCIDENTAL MUSIC of BEETHOVEN THESIS Presented To
    Z 2 THE INCIDENTAL MUSIC OF BEETHOVEN THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Theodore J. Albrecht, B. M. E. Denton, Texas May, 1969 TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS. .................. iv Chapter I. INTRODUCTION............... ............. II. EGMONT.................... ......... 0 0 05 Historical Background Egmont: Synopsis Egmont: the Music III. KONIG STEPHAN, DIE RUINEN VON ATHEN, DIE WEIHE DES HAUSES................. .......... 39 Historical Background K*niq Stephan: Synopsis K'nig Stephan: the Music Die Ruinen von Athen: Synopsis Die Ruinen von Athen: the Music Die Weihe des Hauses: the Play and the Music IV. THE LATER PLAYS......................-.-...121 Tarpe.ja: Historical Background Tarpeja: the Music Die gute Nachricht: Historical Background Die gute Nachricht: the Music Leonore Prohaska: Historical Background Leonore Prohaska: the Music Die Ehrenpforten: Historical Background Die Ehrenpforten: the Music Wilhelm Tell: Historical Background Wilhelm Tell: the Music V. CONCLUSION,...................... .......... 143 BIBLIOGRAPHY.....................................-..145 iii LIST OF ILLUSTRATIONS Figure Page 1. Egmont, Overture, bars 28-32 . , . 17 2. Egmont, Overture, bars 82-85 . , . 17 3. Overture, bars 295-298 , . , . 18 4. Number 1, bars 1-6 . 19 5. Elgmpnt, Number 1, bars 16-18 . 19 Eqm 20 6. EEqgmont, gmont, Number 1, bars 30-37 . Egmont, 7. Number 1, bars 87-91 . 20 Egmont,Eqm 8. Number 2, bars 1-4 . 21 Egmon t, 9. Number 2, bars 9-12. 22 Egmont,, 10. Number 2, bars 27-29 . 22 23 11. Eqmont, Number 2, bar 32 . Egmont, 12. Number 2, bars 71-75 . 23 Egmont,, 13.
    [Show full text]
  • Chapter 16: Beethoven I. Life and Early Works A. Introduction 1
    Chapter 16: Beethoven I. Life and Early Works A. Introduction 1. Beethoven was compared to Mozart early in his life, and the older composer noted his potential in a famous quote to “keep your eyes on him.” 2. Beethoven did not arrive in Vienna to stay until he was twenty-two, when Count Waldstein told him to receive the spirit of Mozart from Haydn’s tutelage. B. Life and Works, Periods and Styles 1. Beethoven’s music is seen often as autobiographical. 2. The stages of his career correspond to changing styles in his music: early, middle, late. C. Early Beethoven 1. Beethoven gave his first public performance at age seven, playing pieces from Bach’s “Well-Tempered Clavier,” among others. 2. He published his first work at eleven. 3. He became court organist in Bonn at age ten. 4. His first important compositions date from 1790 and were shown to Haydn, who agreed to teach him in 1792. 5. The lessons with Haydn didn’t last long, because Haydn went to England. Beethoven then gained recognition as a pianist among aristocratic circles in Vienna. 6. His first success in Vienna as a composer was his second piano concerto and three trios. Thus his own instrument was the main one for his early publications. a. This is perhaps best demonstrated in his piano sonatas, which show signs of his own abilities of performer, improviser, and composer. b. The Pathetique sonata illustrates the experimentation inherent in Beethoven’s music, challenging expectations. 7. Until 1800 he was better known as a performer than a composer; however, this soon changed, particularly with his first symphony and septet, Op.
    [Show full text]
  • Letter to Educators 19
    18 Letter to Educators 19 On behalf of the Harrisburg Symphony Orchestra and the HSO Education Department, welcome to our first Young Person’s Concert of the 2018/19 season! We are excited that you will be joining us as Maestro Malina and the HSO guide you through some incredible symphonic music. Access to the arts and an understanding of the rich cultural history of classical music are essential to a 21st century education. This curriculum guide will help you prepare your students to better understand various aspects of classical music and the experience of a symphony concert. Inside, you will find biographical information, orchestral stage plots, listening guides, and activities which will engage students in fun and meaningful ways. While this information does not suggest your exact experience at the upcoming YPC, it will provide a foundation from which Maestro Malina and the HSO can take you deeper into the repertoire. As always, we aim to enhance your understanding of classical music and your ability to communicate that information to your students. Please let us know how we’re doing! If you have any questions about the YPC or the HSO’s education programs, please call, email or check our website for more details. As an audience member and an educator, you are the most important part of our musical and educational community. Thank you for sharing the HSO with your students! We look forward to welcoming you to the Forum on Friday, November 16! Sincerely, Mark Hunsberger Director of Education (717) 612-4965 [email protected] 1 Table of Contents 3 Program 4 Composer Information 5 A Guide to the Guide 6 Orchestra Seating Chart 7 Beethoven: Symphony No.
    [Show full text]
  • Beethoven Deaf: the Beethoven Myth and Nineteenth-Century Constructions of Deafness
    BEETHOVEN DEAF: THE BEETHOVEN MYTH AND NINETEENTH-CENTURY CONSTRUCTIONS OF DEAFNESS By DEVIN MICHAEL PAUL BURKE Submitted in partial fulfillment of the requirements For the degree of Master of Arts Thesis Adviser: Dr. Francesca Brittan Department of Music CASE WESTERN RESERVE UNIVERSITY May, 2010 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of ______________________________________________________ candidate for the ________________________________degree *. (signed)_______________________________________________ (chair of the committee) ________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________ ________________________________________________ (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. Table of Contents LIST OF FIGURES ................................................................................................ 2 Abstract ................................................................................................................... 3 Introduction ............................................................................................................. 4 Chapter 1: The Heiligenstadt Testament, the Emerging Social Category of “Deafness,” and the Dual Nature of Disability ......................................... 20 Private and Public Deafness and the
    [Show full text]
  • Ludwig Van Beethoven Hdt What? Index
    LUDWIG VAN BEETHOVEN HDT WHAT? INDEX LUDWIG VAN BEETHOVEN LUDWIG VAN BEETHOVEN 1756 December 8, Wednesday: The Emperor’s son Maximilian Franz, the Archduke who in 1784 would become the patron of the young Ludwig van Beethoven, was born on the Emperor’s own birthday. Christoph Willibald Gluck’s dramma per musica Il rè pastore to words of Metastasio was being performed for the initial time, in the Burgtheater, Vienna, in celebration of the Emperor’s birthday. ONE COULD BE ELSEWHERE, AS ELSEWHERE DOES EXIST. ONE CANNOT BE ELSEWHEN SINCE ELSEWHEN DOES NOT. Ludwig van Beethoven “Stack of the Artist of Kouroo” Project HDT WHAT? INDEX LUDWIG VAN BEETHOVEN LUDWIG VAN BEETHOVEN 1770 December 16, Sunday: This is the day on which we presume that Ludwig van Beethoven was born.1 December 17, Monday: Ludwig van Beethoven was baptized at the Parish of St. Remigius in Bonn, Germany, the 2d and eldest surviving of 7 children born to Johann van Beethoven, tenor and music teacher, and Maria Magdalena Keverich (widow of M. Leym), daughter of the chief kitchen overseer for the Elector of Trier. Given the practices of the day, it is presumed that the infant had been born on the previous day. NEVER READ AHEAD! TO APPRECIATE DECEMBER 17TH, 1770 AT ALL ONE MUST APPRECIATE IT AS A TODAY (THE FOLLOWING DAY, TOMORROW, IS BUT A PORTION OF THE UNREALIZED FUTURE AND IFFY AT BEST). 1. Q: How come Austrians have the rep of being so smart? A: They’ve managed somehow to create the impression that Beethoven, born in Germany, was Austrian, while Hitler, born in Austria, was German! HDT WHAT? INDEX LUDWIG VAN BEETHOVEN LUDWIG VAN BEETHOVEN 1778 March 26, Thursday: In the Academy Room on the Sternengasse of Cologne, Ludwig van Beethoven appeared in concert for the initial time, with his father and another child-student of his father.
    [Show full text]
  • Season 2020|2021 2021 | Season 2020
    65th Concert Season Season 2020|2021 2021 | Season 2020 . A word from the Filharmonie Brno Managing Director Dear music lovers invite you to a social gathering over a glass Paľa. Leoš Svárovský is preparing for C. M. you! I am very happy that we enter the new of wine, from 6pm before the concerts at von Weber’s celebrated Bassoon Concerto season with the support of our exceptional You are holding in your hands our brand Besední dům (Filharmonie at Home series), with the virtuoso Guilhaume Santana and volunteers for the second time now, who new catalogue for the 2020/2021 sea- where you can learn plenty of interesting Roussel’s Le festin de l’araignée – with this help us with concerts and education – son: this time, it is not just the content that is facts about the programme and meet the concert, the former chief conductor of our thank you, everyone! new – the format is, too. We’ve aimed to evening’s artists in person. orchestra will celebrate an important anni- I am writing these words at a time when make the navigation easier, and to high- The new season is the work of the Filhar- versary in his life. Gerrit Prießnitz will focus we are all paralysed by the coronavirus light the unique characteristics of our sub- monie Brno chief conductor and artistic on the emotional topic of Hamlet in the pandemic and are not yet sure what the ul- scription concerts – each of them offers a director Dennis Russell Davies and the pro- works of Tchaikovsky and Walton.
    [Show full text]
  • Ludwig Van Beethoven
    Tasmanian Symphony Orchestra Presents LUDWIG VAN BEETHOVEN Symphony No 5 in C Minor, Op 67 I Allegro con brio Teacher Resource Booklet Prepared by Sharee Bahr and Dianne O’Toole https://creativecommons.org/licenses/by-nc/3.0/au/ ©2019 Tasmanian Symphony Orchestra Pty Ltd Contents BACKGROUND INFORMATION ............................................................................................................................................ 1 ORCHESTRATION ....................................................................................................................................................................... 2 WHAT IS AN ORCHESTRA? ................................................................................................................................................ 2 ORCHESTRATION OF BEETHOVEN’S FIFTH SYMPHONY, 1st Movement .......................................................... 2 EXTENSION ACTIVITY .......................................................................................................................................................... 3 Strings ...................................................................................................................................................................................... 3 Woodwind .............................................................................................................................................................................. 3 Brass ........................................................................................................................................................................................
    [Show full text]
  • Simply Beethoven
    Simply Beethoven Simply Beethoven LEON PLANTINGA SIMPLY CHARLY NEW YORK Copyright © 2020 by Leon Plantinga Cover Illustration by José Ramos Cover Design by Scarlett Rugers All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. For permission requests, write to the publisher at the address below. [email protected] ISBN: 978-1-943657-64-3 Brought to you by http://simplycharly.com Contents Praise for Simply Beethoven vii Other Great Lives ix Series Editor's Foreword x Preface xi Introduction 1 1. The Beginning 5 2. Beethoven in Vienna: The First Years, 1792-1800 20 3. Into the New Century, 1800-05 38 4. Scaling the Heights, 1806-1809 58 5. Difficult Times, 1809-11 73 6. Distraction and Coping: 1812-15 91 7. 1816–1820: More Difficulties 109 8. Adversity and Triumph, 1821-24 124 9. Struggle and Culmination, 1825-1827 149 10. Beethoven’s Legacy 173 Sources 179 Suggested Reading 180 About the Author 182 A Word from the Publisher 183 Praise for Simply Beethoven “Simply Beethoven is a brief and eminently readable introduction to the life and works of the revered composer.Plantinga offers the lay- man reliable information based on his many years as a renowned scholar of the musical world of late-eighteenth and nineteenth- century Europe.
    [Show full text]
  • The Relationship Between Beethoven's Heiligenstadt Testament and His Nine Symphonies
    Western Michigan University ScholarWorks at WMU Honors Theses Lee Honors College 4-1980 The Relationship between Beethoven's Heiligenstadt Testament and His Nine Symphonies Thomas Mitchell Western Michigan University, [email protected] Follow this and additional works at: https://scholarworks.wmich.edu/honors_theses Part of the Music Commons Recommended Citation Mitchell, Thomas, "The Relationship between Beethoven's Heiligenstadt Testament and His Nine Symphonies" (1980). Honors Theses. 1639. https://scholarworks.wmich.edu/honors_theses/1639 This Honors Thesis-Open Access is brought to you for free and open access by the Lee Honors College at ScholarWorks at WMU. It has been accepted for inclusion in Honors Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. THE RELATIONSHIP BETWEEN BEETHOVEN'S HEILIGENSTADT TESTAMENT AND HIS NINE SYMPHONIES BY Thomas Mitchell The main consideration throughout all the paper will be. the correlation between Beethoven's symphonies and his Heiligenstadt Testament. Because the so-called "Battle" Symphony is not a true symphony at all (being written for a hugfc, mechanical contraption), it will not be dealt with at all. Many writers, among them Vincent D'Indy have attempted to divide Beethoven's compositional career into three periods. Such a division is not always necessary, but in this paper it will serve the reader to use the concept and keep the following divisions in mind. The First Period, sometimes called the Imitation Period, lasted until 1801 and includes the First and Second Symphonies. The Second Period, also referred to as the Transitional Period, spanned the years 1801 to 1815.
    [Show full text]