What Shall We Make of Beethoven?
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Elaine Fitz Gibbon
Elaine Fitz Gibbon »Beethoven und Goethe blieben die Embleme des kunstliebenden Deutschlands, für jede politische Richtung unantastbar und ebenso als Chiffren manipulierbar« (Klüppelholz 2001, 25-26). “Beethoven and Goethe remained the emblems of art-loving Germany: untouchable for every political persuasion, and likewise, as ciphers, just as easily manipulated.”1 The year 2020 brought with it much more than collective attempts to process what we thought were the uniquely tumultuous 2010s. In addition to causing the deaths of over two million people worldwide, the Covid-19 pandemic has further exposed the extraordinary inequities of U.S.-American society, forcing a long- overdue reckoning with the entrenched racism that suffuses every aspect of American life. Within the realm of classical music, institutions have begun conversations about the ways in which BIPOC, and in particular Black Americans, have been systematically excluded as performers, audience members, administrators and composers: a stark contrast with the manner in which 2020 was anticipated by those same institutions before the pandemic began. Prior to the outbreak of the novel coronavirus, they looked to 2020 with eager anticipation, provoking a flurry of activity around a singular individual: Ludwig van Beethoven. For on December 16th of that year, Beethoven turned 250. The banners went up early. In 2019 on Instagram, Beethoven accounts like @bthvn_2020, the “official account of the Beethoven Anniversary Year,” sprang up. The Twitter hashtags #beethoven2020 and #beethoven250 were (more or less) trending. Prior to the spread of the virus, passengers flying in and out of Chicago’s O’Hare airport found themselves confronted with a huge banner that featured an iconic image of Beethoven’s brooding face, an advertisement for the Chicago Symphony Orchestra’s upcoming complete cycle Current Musicology 107 (Fall 2020) ©2020 Fitz Gibbon. -
5 Music Cruises 2019 E.Pub
“The music is not in the notes, but in the silence between.” Wolfgang Amadeus Mozart RHINE 2019 DUDOK QUARTET Aer compleng their studies with disncon at the Dutch String Quartet Academy in 20 3, the Quartet started to have success at internaonal compeons and to be recognized as one of the most promising young European string quartets of the year. In 20 4, they were awarded the Kersjes ,rize for their e-ceponal talent in the Dutch chamber music scene. .he Quartet was also laureate and winner of two special prizes during the 7th Internaonal String Quartet 0ompeon 20 3 1 2ordeau- and won st place at both the st Internaonal String Quartet 0ompeon 20 in 3adom 4,oland5 and the 27th 0harles 6ennen Internaonal 0hamber Music 0ompe7 on 20 2. In 20 2, they received 2nd place at the 8th 9oseph 9oachim Internaonal 0hamber Music 0ompeon in Weimar 4:ermany5. .he members of the quartet ;rst met in the Dutch street sym7 phony orchestra “3iccio=”. From 2009 unl 20 , they stu7 died with the Alban 2erg Quartet at the School of Music in 0ologne, then to study with Marc Danel at the Dutch String Quartet Academy. During the same period, the quartet was coached intensively by Eberhard Feltz, ,eter 0ropper 4Aindsay Quartet5, Auc7Marie Aguera 4Quatuor BsaCe5 and Stefan Metz. Many well7Dnown contemporary classical composers such as Kaija Saariaho, MarD7Anthony .urnage, 0alliope .sou7 paDi and Ma- Knigge also worDed with the quartet. In 20 4, the Quartet signed on for several recordings with 3esonus 0lassics, the worldEs ;rst solely digital classical music label. -
Beethoven, Bonn and Its Citizens
Beethoven, Bonn and its citizens by Manfred van Rey The beginnings in Bonn If 'musically minded circles' had not formed a citizens' initiative early on to honour the city's most famous son, Bonn would not be proudly and joyfully preparing to celebrate his 250th birthday today. It was in Bonn's Church of St Remigius that Ludwig van Beethoven was baptized on 17 December 1770; it was here that he spent his childhood and youth, received his musical training and published his very first composition at the age of 12. Then the new Archbishop of Cologne, Elector Max Franz from the house of Habsburg, made him a salaried organist in his renowned court chapel in 1784, before dispatching him to Vienna for further studies in 1792. Two years later Bonn, the residential capital of the electoral domain of Cologne, was occupied by French troops. The musical life of its court came to an end, and its court chapel was disbanded. If the Bonn music publisher Nikolaus Simrock (formerly Beethoven’s colleague in the court chapel) had not issued several original editions and a great many reprints of Beethoven's works, and if Beethoven's friend Ferdinand Ries and his father Franz Anton had not performed concerts of his music in Bonn and Cologne, little would have been heard about Beethoven in Bonn even during his lifetime. The first person to familiarise Bonn audiences with Beethoven's music at a high artistic level was Heinrich Karl Breidenstein, the academic music director of Bonn's newly founded Friedrich Wilhelm University. To celebrate the anniversary of his baptism on 17 December 1826, he offered the Bonn première of the Fourth Symphony in his first concert, devoted entirely to Beethoven. -
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............................................................................... -
The Beliefs and Reality Behind Beethoven's Behavior
Augustana College Augustana Digital Commons Festschrift: Beethoven's Symphony No. 3, Op. 55 Festschriften 2017 Benefactors, Bonds, and Beholders: The Beliefs and Reality Behind Beethoven’s Behavior Olivia M. Weismann Augustana College, Rock Island Illinois Abigail L. Smith Augustana College, Rock Island Illinois Moira R. Dunn Augustana College, Rock Island Illinois Kathryn E. Krajewski Augustana College, Rock Island Illinois Follow this and additional works at: http://digitalcommons.augustana.edu/muscbeethoven Part of the Musicology Commons Augustana Digital Commons Citation Weismann, Olivia M.; Smith, Abigail L.; Dunn, Moira R.; and Krajewski, Kathryn E.. "Benefactors, Bonds, and Beholders: The Beliefs and Reality Behind Beethoven’s Behavior" (2017). Festschrift: Beethoven's Symphony No. 3, Op. 55. http://digitalcommons.augustana.edu/muscbeethoven/4 This Student Paper is brought to you for free and open access by the Festschriften at Augustana Digital Commons. It has been accepted for inclusion in Festschrift: Beethoven's Symphony No. 3, Op. 55 by an authorized administrator of Augustana Digital Commons. For more information, please contact [email protected]. Benefactors, Bonds, and Beholders: The Beliefs and Reality Behind Beethoven’s Behavior Moira Dunn Kathryn Krajewski Abigail Smith Olivia Weismann Augustana College MUSC 313—Styles and Literature of Music II February 10, 2017 1 Abstract: This paper will explore the relationships which Beethoven had during the years he composed and premiered his Eroica Symphony. Some of the individuals who will be discussed in this paper include Prince Lobkowitz, Ferdinand Ries, and Franz Wegeler. After learning about the nature of these relationships, the reader should begin to realize that Beethoven’s notoriously irrational or ill-tempered behavior was only one facet of his life. -
Kurz Beethoven B&H E.Qxd
“I give preference to your house above all others” Room 6 (1st floor) Showcase 2: Beethoven considered his Variations for Piano the Fifth Symphony op. 67 to the Mass in C major op. 86 and On display here as an introduction to the exhibition is a man- in F major op. 34 and E flat major op. 35 to be of greater two songs without opus numbers, is confirmed in writing. As Beethoven and the Leipzig Music Publishing uscript of the six Partitas for piano by Johann Sebastian Bach importance than his earlier variation cycles, because they late as 1855 the publishers asked the composer and pianist House Breitkopf & Härtel BWV 825-830, which Beethoven’s most important benefactor were composed in “a new way” based on themes of his own. Ignaz Moscheles, who had been well acquainted with during the first years in Vienna transcribed personally as a He noted this on the title page of the original manuscript of Beethoven, and the cantor of St. Thomas church, Moritz Special Exhibition at the Beethoven House, Bonn student. Count Karl von Lichnowsky copied them from Opus 35, which today is known as the “Eroica Variations”, Hauptmann, to verify the authenticity of Beethoven’s signature since Beethoven later used the theme again for the last move- and even had their verification certified by the commercial 24th May to 18th August 2007 Bach’s later biographer Johann Nikolaus Forkel. It can be assumed that Beethoven knew this manuscript and used it for ment of his Third Symphony. In the letter written in court in Leipzig. -
EPTA Conference Germany 2020 Beethoven As
EPTA Conference Germany 2020 Beethoven as student and teacher Nils Franke Dean of Higher Education, University Centre Colchester, UK [email protected] 1. Beethoven as keyboard student Until just after the beginning of the 21st century, musicological studies of Beethoven as a student have focused predominantly on two elements: the first is the likely influence that Beethoven’s father Johann, himself a professional musician, may have had on his son’s artistic development. The second component was concerned with Christian Gottlob Neefe’s teaching of the young Beethoven, for which on very few surviving sources remain. The significance of young Beethoven’s parental home tended to focus on his father’s occupation as a professional singer, and, given the practices at the time, private music tutor. In contrast, Neefe’s output as a court musician was more tangible in its relevance to Beethoven’s subsequent achievements by ranging from conducting to playing the organ and composition. What was shared by both scenarios was a lack of academically credible sources that offered sufficient information for a more detailed picture of Beethoven’s initial studies to emerge. This changed in 2006 when the diaries of Gottfried Fischer (1780-1864) became available in an annotated scholarly edition, a master baker in Bonn whose family owned the house in which Beethoven’s parents rented an apartment. Fischer compiled his diaries between 1837 and 1857, but drew heavily on observations written down by his sister Cäcilie (1762-1845), who was eighteen years his senior and would thus have been in a position to witness some of the musical activities that formed part of the lives of the Beethoven family in the late 1770s and early 1780s. -
Appassionato 2
appassionato nachrichten aus dem beethoven-haus bonn n0 2 Mai 1999 auftakt Bericht auftakt geht. Das Konzertprogramm für die erste ersten Monaten diesen Jahres im Verein rückblick Saison in der neuen Dekade ist übrigens Beethoven-Haus begrüßen konnten. kurz und knapp Liebe Mitglieder, liebe Freunde inzwischen auch bereits erschienen. Die Der Überblick über die prominenten Akzent: des Beethoven-Hauses, Broschüre liegt an allen einschlägigen Besucher im Beethoven-Haus vermittelt Kammermusiksaal Stellen in Bonn aus und kann auf Wunsch einen Eindruck von der großen nationa- ausblick die zweite Ausgabe von appassionato auch zugeschickt werden. Schauen Sie len und internationalen Aufmerksamkeit, informiert Sie ausführlich über die große doch mal hinein! die dem Museum immer wieder zuteil Dauerleihgabe der Familie Wegeler, die Wie immer halten die Rubriken „Rück- wird. die Sammlung des Beethoven-Hauses blick“ und „Ausblick“ eine Übersicht Viel Vergnügen beim Lesen und einen immens bereichert. über die interessantesten Ereignisse der schönen Sommer – vielleicht mit den In der letzten Ausgabe haben wir Ihnen vergangenen und die wichtigsten Termi- Konzerten im Kammermusiksaal? – den Verlag des Beethoven-Hauses vorge- ne der kommenden Monate bereit. wünscht Ihnen stellt. Diesmal richten wir den Blick auf Unter „Kurz und Knapp” finden Sie dies- den Kammermusiksaal und seine „Zehn- mal eine Liste der neuen Mitglieder, die te” (Konzertsaison), die gerade zu Ende wir im vergangenen Jahr und in den Ihr appassionato-Team Bericht Die Sammlung Wegeler im Beethoven-Haus Am 150. Todestag Franz Gerhard Wegelers, dem 7. Mai schen Adels erwarb. Zurück in Die aus über 300 Objekten beste- 1998, übergab der Vorstand der Julius-Wegelerschen- Bonn, nahm er zunächst seine hende Sammlung enthält als Kern Familienstiftung, Koblenz, seine wertvolle Beethoven- Lehrtätigkeit an der Universität wie- vier eigenhändige Musikhandschrif- Sammlung dem Beethoven-Haus als Dauerleihgabe. -
SESSION EIGHT November 3, 2016 BEETHOVEN the MAN Last Years Do Not Go Gentle Into That Good Night, Old Age Should Burn and Rave
SESSION EIGHT November 3, 2016 BEETHOVEN THE MAN Last Years Do not go gentle into that good night, Old age should burn and rave at close of day; Rage, rage against the dying of the light. So wrote the Welsh poet, Dylan Thomas, in the 20th century’s most famous poem about the end of life. Rage is a word often used to describe Beethoven. Gentle is not a word used to describe him, and he did not go gently. Two weeks ago, in Session 6, we observed the great surge in Beethoven’s popularity in his early and mid-forties: more performances, more publishers vying for his works, and a soaring income from performances, sales, royalties, and annuities. This was soon followed by a major decline in the popularity of his music and in his income. BEETHOVEN IN 1823 This sympathetic but realistic portrait at age 53 suggests that the continuous pain and discomfort Beethoven suffered contributed to his decline in composing, along with worsening health and behavior. WORSENING BEHAVIOR Accompanying these declines was a marked decline in his health and behavior. In grief over the death of his brother Carl, Beethoven turned to anger, and a prolonged, expensive and ultimately futile attempt to gain legal control of his nephew, also named Karl after his Father, from the influence of what he considered an immoral and uncaring Mother. This vendetta against his sister-in-law was only one of many signs of Beethoven’s increasingly erratic behavior. Franz Grillparzer, Beethoven’s long- time friend who would eventually deliver the eulogy at Beethoven’s funeral, remained -
The Role of Music in European Integration Discourses on Intellectual Europe
The Role of Music in European Integration Discourses on Intellectual Europe ALLEA ALLEuropean A cademies Published on behalf of ALLEA Series Editor: Günter Stock, President of ALLEA Volume 2 The Role of Music in European Integration Conciliating Eurocentrism and Multiculturalism Edited by Albrecht Riethmüller ISBN 978-3-11-047752-8 e-ISBN (PDF) 978-3-11-047959-1 e-ISBN (EPUB) 978-3-11-047755-9 ISSN 2364-1398 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.dnb.de. © 2017 Walter de Gruyter GmbH, Berlin/Boston Cover: www.tagul.com Typesetting: Konvertus, Haarlem Printing: CPI books GmbH, Leck ♾ Printed on acid free paper Printed in Germany www.degruyter.com Foreword by the Series Editor There is a debate on the future of Europe that is currently in progress, and with it comes a perceived scepticism and lack of commitment towards the idea of European integration that increasingly manifests itself in politics, the media, culture and society. The question, however, remains as to what extent this report- ed scepticism truly reflects people’s opinions and feelings about Europe. We all consider it normal to cross borders within Europe, often while using the same money, as well as to take part in exchange programmes, invest in enterprises across Europe and appeal to European institutions if national regulations, for example, do not meet our expectations. -
Bonn-Tours 2021
Bonn Tours 2021 Guided Sightseeing and Walking Tours TOUR A 8 Anniversary Tour “Beethoven Story” Windeckstraße 1/am Münsterplatz, 53111 Bonn Discover Ludwig van Beethoven’s birthplace in the Bonn- Tourist advice, accommodation, guided coach gasse 20, where he was born in December 1770. Who at and walking tours, tour guide service, that time could have known that a musical genius was born, Bonn souvenirs, event programmes, ticket whose music would be known all over the world today? service, theatre and concert tickets Beethoven lived in Bonn until 1792, before he moved to Vienna, where he became one of the world’s famous com- Tel.: 0049 (0) 228 - 77 50 00 posers. You will visit places and locations where the com- [email protected] poser worked, and you will gain fascinating insights into his everyday life. Possible stations of the tour could include: Group tours available with own tour guide: The Remigius Church with Ludwig van Beethoven’s baptismal font, the Beethoven monument at the Münsterplatz. [email protected] Tip: Round off the tour with a visit to the Beethoven House. Tel.: 0049 (0) 228 - 77 39 21 Date and Time: 1 May to 30 October, Saturdays at 2 p.m. Opening hours: 4 June to 24 September, Fridays at 4 p.m. Monday - Friday 10 a.m. - 6 p.m. Meeting place: Bonn-Information, Saturday 10 a.m. - 4 p.m. Windeckstr. 1/am Münsterplatz Sunday and (nearby Minster Cathedral Square) public holidays 10 a.m. - 2 p.m. Duration: 2 hours Price: Adults 9.50 Euro, with reduction 5 Euro Tram 16, 18, 61, 62, 63, 66 (children aged 12-17, students, disabled) Stop: Hauptbahnhof (main railway station) Publisher: The Mayor of the Federal City of Bonn, Office for Economic Development – Bonn-Information, Press Office, January 2021, pictures: © Federal City of Bonn, BONN IS BEETHOVEN. -
Beethoven's Expanding Orchestral Horizons, 1795-1800 Theodore Albrecht Haydn's Concert in the Kleiner Redoutensaal, December
Beethoven’s Expanding Orchestral Horizons, 1795-1800 Theodore Albrecht Once Beethoven had tasted his initial success before the Viennese Tonkünstler-Societät’s public (as opposed to salon concerts of the nobility) on March 29-30, 1795, he began planning an Akademie of his own. For a typical potpourri program, he would need a new concerto, a symphony, plus works by other composers, and at least one or two vocal works. Even though he would need to get further use from his Piano Concerto in B-flat, he already had a Concerto in C Major in the works. He was also sketching a Symphony, likewise in C major. He worked on it, periodically, through 1795 and 1796, but it never progressed very far.1 Haydn’s Concert in the Kleiner Redoutensaal, December 18, 1795 Beethoven’s next public appearance playing his Concerto in B-flat was at a concert given by Joseph Haydn, primarily to introduce three of the six Symphonies (recently composed in London) to Viennese audiences on December 18, 1795. The concert took place in the Kleiner Redoutensaal, the smaller of the Imperial Ballrooms, often used for chamber music performances. The identity of the orchestra was not specified,2 but given the location---that is, not in the Burgtheater itself---and Griesinger’s mention that the Kärntnertor Theater’s orchestra under Wranitzky had performed Haydn symphonies,3 it is possible that this ensemble was in fact the orchestra employed. If so, Beethoven would probably again have had a positive experience in making music with Wranitzky. 1Beethoven did not use bound sketchbooks before the so-called “Grasnick 1 Sketchbook,” begun in the middle of 1798.