Beethoven Research Papers - Academia.edu (original) (raw)

For many generations, music aficionados have identified a lyrical intensity and near-spiritual calm in many of Beethoven’s slow movements, for which various authors have coined the term “Hymnic Adagio.” However, the hymn-like expressive... more

For many generations, music aficionados have identified a lyrical intensity and near-spiritual calm in many of Beethoven’s slow movements, for which various authors have coined the term “Hymnic Adagio.” However, the hymn-like expressive slow movements so often associated with Beethoven, and emulated by his musical successors, did not completely originate with him. I propose that Beethoven’s intensive cultivation of the Hymnic Adagio had its origins in the string quartets of Joseph Haydn. In particular, Haydn’s Sun Quartets, Opus 20, of 1772, which Beethoven was known to have studied in depth, and two other quartet sets of Haydn from around the same time (his Opus 9 and 17), were influential. Through comparison of specific movements, I show that particular slow movements from Haydn’s quartets, especially the ones from the late 1760s and early 1770s, greatly influenced Beethoven as he sought to achieve greater and more profound musical expression in his movements in adagio tempo.

El revival arcaizante que recorrió las cortes europeas en la Edad Moderna popularizó la cita de la gaita en la música culta. Algunos autores (Winternitz, Leppert, Oberlander) han descrito el aluvión que hubo entonces de reflexiones... more

El revival arcaizante que recorrió las cortes europeas en la Edad Moderna popularizó la cita de la gaita en la música culta. Algunos autores (Winternitz, Leppert, Oberlander) han descrito el aluvión que hubo entonces de reflexiones gaiteras, atribuyéndolo al uso del folklore en el marco del esplendor barroco y galante. Sin embargo hay motivos para considerar un acusado desnivel en esta moda y establecer una causalidad correlativa.
Nuestro trabajo pretende en primer lugar esclarecer cómo en composiciones muy significativas la gaita no fue tomada al azar—a modo de amable pincelada o complicidad con el mundo campesino—, sino que realmente figura en algunas celebérrimas páginas de la historia de la música. Así sucede con citas textuales del instrumento provenientes de Corelli en el Concierto de Navidad, de Vivaldi en Las Cuatro Estaciones, de Bach en el Oratorio de Navidad, de Handel en El Mesías (en dos ocasiones), de Mozart en Bastián y Bastiana, de Beethoven al inicio de la Sinfonía Pastoral, de Brahms en la Serenata nº 1 o de Grieg en Peer Gynt. Varias de estas obras se enmarcan en el contexto bíblico de la Adoración, pero no todas, y la raíz última de tan singular concentración apenas ha sido estudiada. Con certeza nunca, ni antes ni después de esta época, recibió la gaita tan insignes homenajes por parte de los compositores de escuela.
En segundo lugar el presente estudio propone como teoría explicativa la cercanía de los compositores al mundo rural (omnipresente hasta hace un siglo) y a la gaita (aún universal en la Europa dieciochesca). Aquéllos habrían escuchado ocasionalmente melodías populares de gran belleza y fuerza inherente; reconociendo, como excelentes músicos que eran, su potencial estético, las habrían adoptado en fragmentos capitales de su producción sin declararlo (como era normal entonces). Así se desprende de relevantes confesiones de Telemann, Mendelssohn o Bartók. El análisis de partituras y sonoridades específicas refuerza esta hipótesis.

This article discusses the aetiology and evolution of musical structure, specifically the sonata-form exposition, from a memetic perspective. It regards established musical forms as replicated schemata arising from the conglomeration of... more

This article discusses the aetiology and evolution of musical structure, specifically the sonata-form exposition, from a memetic perspective. It regards established musical forms as replicated schemata arising from the conglomeration of foreground-level memes, the resultant archetypes (structural memes or Memesätze) being replicated (reinstantiated) by different collections of functionally analogous (allelic) memes. After a discussion of the theoretical background — including the top-down/bottom-up generative dichotomy as it applies to form, and some attributes of memes affecting conglomeration — three sonata expositions, by Haydn, Mozart and Beethoven, are discussed as specific evidence in support of the general hypotheses advanced.

Most of us can recall chuckling, or even laughing out loud, at a humorous musical passage and perhaps recalling how much that experience increased our enjoyment of the music. This study focuses on humour in the instrumental works of... more

Most of us can recall chuckling, or even laughing out loud, at a humorous musical passage and perhaps recalling how much that experience increased our enjoyment of the music. This study focuses on humour in the instrumental works of Haydn, Mozart, and Beethoven: composers who have been singled out by contemporary and modern scholars for their ingenuity and mastery of the Classical style. In the most general sense, musical humour arises when composers play with established conventions of musical discourse by writing something incongruous according to the stylistic context.
Chapter 1 demonstrates how historical critics understood the role of contrast in examples of musical humour and wit. It then surveys many recent music-theoretical discussions of musical humour, before briefly introducing how elements of contrast, “valence shifts,” and “opposition” are involved in musical humour from the Classical period. This study’s analytical and theoretical approach to musical humour draws on recent studies of musical humour, form, and communication in the Classical style, as well as concepts from recent linguistic theories of humour.
Chapter 2 introduces the two primary strategies Classical instrumental composers employed to create musical humour: “opposition” and “excess.” Chapters 3 and 4 discuss a wide range of musical examples to explore how composers deployed formal functions and musical topics to produce humour. These discussions provide a sense of the wide range of effects that fall under the umbrellas of opposition and excess.
Chapter 5 concludes by briefly examining some performance applications of this study and suggesting some further potential sources of musical humour.

From the Romantic era onwards music has been seen as the most quintessentially temporal art, possessing a unique capacity to invoke the human experience of time. Through its play of themes and recurrence of events music has the ability... more

From the Romantic era onwards music has been seen as the most quintessentially temporal art, possessing a unique capacity to invoke the human experience of time. Through its play of themes and recurrence of events music has the ability to stylise in multiple ways our temporal relation to the world, with far-reaching implications for modern conceptions of memory, subjectivity, personal and collective identity, and history. Time, as philosophers, scientists and writers have found throughout history, is notoriously hard to define. Yet music, seemingly bound up so intimately with the nature of time, might well be understood as disclosing aspects of human temporality unavailable to other modes of inquiry, and accordingly was frequently granted a privileged position in nineteenth-century thought. For if this age understood time, it was through a melody.
This book examines the multiple ways in which music may provide insight into the problematics of human time. Whether in the purported timelessness of Beethoven’s late works or the nostalgic impulses of Schubert’s music, in the use of music by philosophers as a means to explicate the aporias of temporal existence or as medium suggestive of the varying possible structures of time, as a reflection of a particular culture’s sense of historical progress or the expression of the intangible spirit behind the course of human history, each of the book’s chapters explores a specific theme in the philosophy of time as expressed through music. They chart the development across the course of the nineteenth century of music’s capacity to convey the manifold nuances of time, revealing how music would finally become seen as the ideal instantiation of time and human existence itself. At once historical, analytical, critical, and ultimately hermeneutic, it provides both fresh insight into many familiar nineteenth-century pieces and a rich theoretical basis for future research.

"Two works (Treber, Denton 2010; Luong, Montreal 2012) have recently reconsidered the collection of papers about opus 90 by Schenker and Elias housed in the Ernst Oster Collection, New York. Vivian Luong examines the question of... more

"Two works (Treber, Denton 2010; Luong, Montreal 2012) have recently reconsidered the collection of papers about opus 90 by Schenker and Elias housed in the Ernst Oster Collection, New York.
Vivian Luong examines the question of Schenker's concepts of performance and analysis, using Agawu's and Smith's definitions of ambiguity and incorporating revisionist Schenkerian theories of multiple analytical and performance interpretation. Her research on Schenker ́s conflicting graphs and annotated scores outlines two critical passages: the exposition ́s transition and the development ́s end. The ambiguity of the placement of the subordinate theme (mm. 45 or 55?) in Schenker's graphs is supported by a consideration of Caplin's formal functions.
On the other hand, Luong's explanation of the transition ignores the Eb (mm. 37-38) in the enharmonic reinterpretation of Bb (mm. 37-44) and underestimates the „few textural changes“ in the recapitulation. Why does the transition begin at the distance of a third (mm. 24/167) and land at the distance of a fifth (mm. 45/188)? I will insert my analysis (Hamburg 2012) here, integrating tools of historical and systematical German-speaking theory, and then compare my results for the first movement with Schenker's ambiguity among “apparent tripartite organization” and “underlying two-part interrupted structure”.
Stefan L. Treber embeds his Schenkerian analysis in a biographical-historical frame: according to Schindler/Krones, a program could explain the two-movement-structure of opus 90. My approach renounces to any non-musical references but the category of Historicism in art applied to Beethoven's harmonics. It extends the definition of enharmonischer Wendepunkt (Besseler 1955, Bahr 2005), reflects on funktionale Mehrdeutigkeit (s. Holtmeier 2011) and opens to a multi-level interpretation of subthematics:

  1. Single ton: Distinctiveness principle, autonomous and integrated tone, signum (Hohlfeld) 2) Several tones: Tonfolge (“ton succession”), model(s), paradigm
  2. Abstraction: Formel (Dahlhaus/Hohlfeld?), Vehikel (Sprick 2011).
    This path conducts to a coherent large-form including both movements of the sonata."

A brief analysis of Beethoven's last Symphony, his "Choral" symphony.

In this anniversary year, many orchestras saturate their seasons with Beethoven's complete symphonies. The University of Kansas' 2020 Beethoven Cycle, by contrast, features two "unheard" symphonies of Beethoven, each comprising four... more

In this anniversary year, many orchestras saturate their seasons with Beethoven's complete symphonies. The University of Kansas' 2020 Beethoven Cycle, by contrast, features two "unheard" symphonies of Beethoven, each comprising four movements in the classical format, with one movement selected from each of the first eight symphonies. This article discusses the surprising cohesiveness and organicity of the two "new" works and shows that they recreate sensibilities of the early nineteenth century. By embracing the flexible performance expectations of Beethoven's contemporaries, our symphonic experiment offers an alternative to encyclopedic presentations of museum "masterpieces," which largely resulted from Romantic and modernist aesthetics.

Charged with the task of confirming the new key in the exposition and resolving to the home key in the recapitulation, the second theme group performs perhaps the defining actions of any sonata form. Although Classical works provide many... more

Charged with the task of confirming the new key in the exposition and resolving to the home key in the recapitulation, the second theme group performs perhaps the defining actions of any sonata form. Although Classical works provide many instances of a clear beginning to this crucial part of the form, in a significant proportion of works the beginning of the second theme (ST) cannot be so easily discerned, especially in works from Beethoven’s middle and late periods. Consequently, debate continues to surround the issue, particularly in the work of James Hepokoski and Warren Darcy and that of William E. Caplin. The problem is that no matter how powerful a single rule may be, no rule by itself can identify all those locations which may be considered an ST beginning. For this reason I contend that there are several indications which contribute to its expression. One may therefore understand the initial ST of a movement to be a synthesis of musical signals which, taken together, allow a passage to be perceived as the first syntactically complete set of formal functions (at the very least, a beginning and end) which centres on the secondary key of the movement. Not all signals appear with every initial ST, nor are they necessarily in their clearest state when they do appear: an ST may still be expressed when some of the most familiar signals are considerably weakened or even absent. Consequently, STs have many possible degrees of expression, obviating the need to decide between all-or-nothing levels of expression in cases that seem to hover somewhere between the two. Moreover, this spectrum of possibilities allows us to understand how STs, and sometimes entire ST groups, may be engaged in a dynamic process which seeks to compensate for weaknesses in the ST’s expression, a phenomenon I call an ST process.

Despite the ubiquity of sentence form in the classical repertoire, its great importance remains underappreciated in music scholarship. In this article, I widen the form’s definition by re-examining William E. Caplin’s three components of... more

Despite the ubiquity of sentence form in the classical repertoire, its great importance remains underappreciated in music scholarship. In this article, I widen the form’s definition by re-examining William E. Caplin’s three components of presentation, continuation, and cadential, and by offering a more flexible definition that minimally consists of a single basic idea and a continuation. This broad outline, which I call the sentential idea, is intended to emphasize the similarity of all such structures and to demonstrate that a sentence need not occur as a Schoenbergian theme, but may assume virtually any formal function within a movement.

This Part 2 describes the various structures of melodies as more complex versions of the metrical structures discussed in Part 1. In this way, the metrical structure and the grouping structure will be integrated into one theoretical... more

Preface: Toward the end of the eighteenth century, such great minds as Mozart and Beethoven entertained the notion that string trios might someday rival or eclipse string quartets. The quartet had grown from being mainly fluff to a... more

Preface: Toward the end of the eighteenth century, such great minds as Mozart and Beethoven entertained the notion that string trios might someday rival or eclipse string quartets. The quartet had grown from being mainly fluff to a vehicle for immortal masterpieces in only 15 years, and the string trio offers advantages in the chamber music virtues of frugality, simplicity, transparency, and equality. (In a violin, viola, cello trio, no one is a "second" anything, and the viola is an important melody instrument.) But few string trios were written in the nineteenth century, and these mostly at the lighter end of the classical music spectrum or in the antique style. Some older reference books give the impression that the form is well suited to children and amateurs, but for professionals, the repertoire is very small. That would tend to discourage artists from exploring the literature, and a shortage of expert players would, in turn, deter composers from writing new trios. Meanwhile, the string quartet has become the most evolved and perhaps the most subtle and profound of art forms. String quartet audiences have risen over the years, and major composers commonly write several string quartets each and list them among their "important works." Talented and well-trained performers are arriving in the U.S. from Eastern and Central Europe and East Asia in great numbers, and the annual output of American conservatories is immense and seems equal to any technical challenge. For performers, regrettably, the supply has grown faster than the demand, but for audiences, this surely is the golden age of string quartets. Why did trios languish? Evidently, it was difficult to write nineteenth-century Romantic music for only three voices. The tradition of four-voiced chords has been strong in western music for 500 years, and it takes more than usual skill to achieve tonal complexity with just three voices. The gorgeous chords and dramatic modulations which sustained Romanticism were too taxing for most composers and performers of string trios, and grandiosity and bombast are more easily achieved by other means. But things have changed: During the twentieth century, we became more accepting of linear, less chordal textures, and music with no tonality at all. We may have a fuller appreciation now of the Age of Enlightenment and its clarity and restraint. For the forward-looking, the timbral possibilities of the contrabass and electric instruments are intriguing. Less is more, small is beautiful, to put a large ensemble on an airplane is an extravagance in hard times, and the string trio is poised for a resurgence. The advent of the internet and digital data formats have created niche marketing opportunities even as the traditional publishers of records and sheet music have fallen prey to the mass-market orientation of the giant entertainment conglomerates. Perhaps Mozart and Beethoven were onto something after all. I hope that this compendium will demonstrate that the string trio literature is large, growing rapidly, and in interesting directions. A review of where we have been may be helpful in deciding where to go next.

路德維茲‧凡‧貝多芬獨奏鋼琴全集: 由亞圖爾‧施耐貝爾錄製於一九三零年代的倫敦艾比路錄音室 -- 三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。 Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres... more

路德維茲‧凡‧貝多芬獨奏鋼琴全集: 由亞圖爾‧施耐貝爾錄製於一九三零年代的倫敦艾比路錄音室 --
三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。
Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.

Scholars have addressed the tendency of U.S. symphony orchestras to perform the works of relatively few composers. While many highlight this phenomenon, others note that the nature and extent of this conformity can shift over time, as... more

Scholars have addressed the tendency of U.S. symphony orchestras to perform the works of relatively few composers. While many highlight this phenomenon, others note that the nature and extent of this conformity can shift over time, as reliance on the works of certain composers decreases and allows the works of newly heralded composers to be heard. Drawing on the work of DiMaggio and others, we derive hypotheses about field-level factors influencing both phenomena. We analyze more than 86,500 performances given by twenty-seven major U.S. symphony orchestras between 1842 and 1969. Our findings indicate that three factors spur the introduction of new composers into orchestral repertoires: the increased performance capabilities of symphony orchestras, the expanded resources for new music, and the proliferation of music programs among U.S. colleges and universities. We also find that one of these factors reduces the conformity of orchestral repertoires: the increased performance capabilities of orchestras. Our exploratory analyses, then, offer lessons about the organization of the musical canon.

Ludwig van Beethoven's Sonatas for Piano and Violoncello have been somewhat neglected in terms of published study. The early sonatas have received far less attention than they deserve, a deficiency often attributed to the portrayal of... more

Ludwig van Beethoven's Sonatas for Piano and Violoncello have been somewhat neglected in terms of published study. The early sonatas have received far less attention than they deserve, a deficiency often attributed to the portrayal of Beethoven's early compositions as "forerunners of later greatness". Chapter one provides a background to the development of the cello, the origins of Beethoven's piano and cello sonatas, and a general discussion of the composer's stylistic periods. The sonatas are then examined; specifically, the combination of the piano and the cello, and the form and structure of the pieces.

A short article (published in "Dissent") on Beethoven's politics.

Il mito di Beethoven prende corpo negli ambienti in cui Biagio Marin visse e si formò, fra Gorizia, Trieste, Firenze e Vienna nei primi decenni del Novecento, finendo per costituire un importante elemento d’ispirazione della sua stessa... more

Il mito di Beethoven prende corpo negli ambienti in cui Biagio Marin visse e si formò, fra Gorizia, Trieste, Firenze e Vienna nei primi decenni del Novecento, finendo per costituire un importante elemento d’ispirazione della sua stessa opera poetica.

A precis of the book, The Hallelujah Effect, with an overview of its three sections. Or the problem with publications... accepted for one journal, too long, remanded to the proceedings where length is no trouble. Postprint from this... more

crítica de la novela de Vikram Seth

A discussion of the reception of Beethoven's Ninth Symphony after the attacks on America, 11 September 2001.

This paper compares and contrasts two symphonies from two different periods. The first symphony I picked is ‘Symphony No. 25 in G minor’ by Wolfgang Amadeus Mozart, and he composed this piece in 1773. The second symphony I picked is... more

This paper compares and contrasts two symphonies from two different periods.
The first symphony I picked is ‘Symphony No. 25 in G minor’ by Wolfgang Amadeus Mozart, and he composed this piece in 1773.
The second symphony I picked is ‘Symphony No. 8 in F major’ by Ludwig van Beethoven. He composed this symphony in 1812.
This paper summarizes some general analysis for two symphonies and provides a detailed analysis on how Mozart and Beethoven apply the sonata-allegro form on their first movements. Besides, this paper will discuss the related social setting of two symphonies, and how those social factors affect their musical technique.

Incontri con Beethoven recupera dal passato un racconto collettivo dal tocco lieve ma frutto di una seria ricerca, che conserva tutto il suo valore di suggestivo breviario biografico. Grazie a una nuova traduzione, alla verifica delle... more

Incontri con Beethoven recupera dal passato un racconto collettivo dal tocco lieve ma frutto di una seria ricerca, che conserva tutto il suo valore di suggestivo breviario biografico. Grazie a una nuova traduzione, alla verifica delle fonti e alla contestualizzazione degli episodi narrati, un brillante mosaico di documenti storici permette alla figura di Ludwig van Beethoven, nel duecentocinquantesimo anniversario della nascita, di riemergere in una dimensione inattesa.

This article aims to shed light on the complex relationship between music analysis and performance practice, taking hypermetric analysis, in particular hypermetric ambiguity, as a case in point. In many studies dealing with metre above... more

This article aims to shed light on the complex relationship between music analysis and performance practice, taking hypermetric analysis, in particular hypermetric ambiguity, as a case in point. In many studies dealing with metre above the bar level, one encounters a prescriptive approach to performance where analytical insights are considered to determine the range of possibilities for the musician. Even in cases of hypermetric ambiguity, analysts tend to advise the musician to decide in favour of one preferred analytical reading and, thus, to resolve ambiguity. The present essay is organized into three parts: based on an essentially cognitive theory of metre presented in part one, the second part examines hypermetric ambiguity in the final movement of Beethoven's »Tempest Sonata« op. 31,2. Conflicting readings of this movement and hence ambiguity largely result from fundamental differences regarding both the underlying theoretical notion of metrical accent and the importance ascribed to various factors for metric analysis. Part three deals with various problems that go hand in hand with the prescriptive approach to performance. It is argued that analytical suggestions about how to perform a composition adequately are of relatively little value, so long as it remains unclear what a metric accent is and to what extent a metrical structure can be influenced by other types of accents (e.g., dynamic, agogic or tonal). A further difficulty is that analysts either rarely specify the means for realizing a proposed analytical reading or simply advise the performer that certain points in time should be played louder in order to make them heard as metrically accented, thus suggesting that dynamic accents automatically coincide with metrical ones.

The Heiliger Dankgesang, the slow movement from the String Quartet op. 132, is very likely the most bizarre thing Beethoven ever wrote. The uncanny aura of that piece emanates not simply from the use of modality and the sharp contrast... more

The Heiliger Dankgesang, the slow movement from the String Quartet op. 132, is very likely the most bizarre thing Beethoven ever wrote. The uncanny aura of that piece emanates not simply from the use of modality and the sharp contrast between its alternating sections. It lies more in the realization that music here reaches its expressive limits, if not bordering to self-negation. Consider, for example, its perplexing beginning: the combination of the very slow tempo (Molto Adagio) with the rhythmic articulation in half and quarter notes, and the homophonic texture with the tonally unstable harmonic progression prompt questions about the movement's musical merits and Beethoven's artistic judgment.

Drawing on theories of mediation and a wealth of primary sources, Beethoven 1806 explores the specific contexts in which the music of this year was conceived, composed, and heard. As author Mark Ferraguto argues, understanding this music... more

Drawing on theories of mediation and a wealth of primary sources, Beethoven 1806 explores the specific contexts in which the music of this year was conceived, composed, and heard. As author Mark Ferraguto argues, understanding this music depends on appreciating the relationships that it both creates and reflects. Not only did Beethoven depend on patrons, performers, publishers, critics, and audiences to earn a living, but he also tailored his compositions to suit particular sensibilities, proclivities, and technologies. More: https://global.oup.com/academic/product/beethoven-1806-9780190947187?q=Beethoven&lang=en&cc=us#

""Counterpoint is a structural form in music which, in the high modernist era was mapped onto literature with differing degrees of success. It has also been the basis for a model of theoretical criticism, as critics such as Bakhtin and... more

""Counterpoint is a structural form in music which, in the high modernist era was mapped onto literature with differing degrees of success. It has also been the basis for a model of theoretical criticism, as critics such as Bakhtin and Said have sought to read literature and culture in a polyphonic or polyvocal manner. Both attempts to transpose contrapuntalism are problematised by the difficulty of reconstructing the experience of simultaneity in forms that are encountered serially.
James Joyce, who was a talented amateur singer with a significant interest in music, attempted to incorporate contrapuntal methodology in The Sirens episode of Ulysses, and revisited the experiment in Finnegans Wake. Anthony Burgess, a late Modernist and an accomplished composer, was heavily influenced by Joyce in his fiction-writing, and has repeatedly sought to transpose musical forms into his novels.
Burgess's earliest fiction draws extensively from musical form, and in his novels he developed literary structures that seek to emulate the passacaglia, the suite and the symphony. However, the challenge of constructing a literary counterpoint was one that he repeatedly revisited, exploring ways to create the form verbally, linguistically, typographically and even televisually.
In this paper, I intend to examine the extent to which Burgess's contrapuntal experiments in fiction draw upon and extend beyond those of Joyce. I also hope to explore whether the form of counterpoint can be considered beyond the level of mere metaphor in literature or in criticism, and what, if anything contrapuntal criticism and contrapuntal literature have to say to each other.""

Beethoven Piano Trio in B Flat Major, Opus 11

Статья посвящена переходу от классического понимания музыки как структурированного «языка чувств» к субъективному пониманию музыкальной выразительности. Рудименты барочной традиции (в том числе tempi ordinari) перестали воспри- ниматься... more

Статья посвящена переходу от классического понимания музыки как структурированного «языка чувств» к субъективному
пониманию музыкальной выразительности. Рудименты барочной традиции (в том числе tempi ordinari) перестали воспри-
ниматься музыкантами 1820-х гг. Для Бетховена, как композитора переходной эпохи, слова, фиксирующие темп, характер и
образность музыки, всегда были важны, но в произведениях позднего периода они составляют самостоятельный смысловой
слой. Иногда авторские обозначения настолько многослойны и внутренне противоречивы, что их точное воспроизведение
вряд ли возможно в реальности. Выражаемое переносится в сферу невыразимого — воображаемых виртуальных звучаний.
--
The article is devoted to the transition from the classical understanding of music as a structured «language of feelings» to the subjective
understanding of musical expressiveness. The rudiments of the Baroque tradition (including the tempi ordinari) were no longer
perceived by the musicians of the 1820s. For Beethoven, as a composer of the transition era, words that fix the tempo, character and
imagery of music were always important, but in the works of the later period they form an independent semantic layer. Sometimes
the author's designations are so multi-layered and internally contradictory that their exact reproduction is hardly possible in reality.
The expressed is transferred to the sphere of the inexpressible, to the sphere of imaginary virtual sounds.

With this study the author «opened up a previously locked door of Beethoven research» (Martin Geck). The book presents conclusive answers to questions that had occupied critics for more than a century. It makes clear what exactly... more

With this study the author «opened up a previously locked door of Beethoven research» (Martin Geck). The book presents conclusive answers to questions that had occupied critics for more than a century. It makes clear what exactly Beethoven and his contemporaries meant by the term «heroic». It proves that the «heroic-allegorical ballet» The Creatures of Prometheus is a key work for an understanding of the Eroica, and shows
that Beethoven associated the First Consul of the French Republic, Napoleon Bonaparte, with the mythical figure of the Titan Prometheus. The book draws on interdisciplinary researches in the areas of Greek Mythology, Napoleonic History and Comparative Literature.

A pedido de vários colegas envio mais um tema "clássico": Ode to Joy também conhecido por Hino da Alegria. Escolhi uma obra que é muito conhecida e que pode ser tocada e/ou cantada facilmente por alunos iniciantes. À semelhança de outros... more

A pedido de vários colegas envio mais um tema "clássico": Ode to Joy também conhecido por Hino da Alegria.
Escolhi uma obra que é muito conhecida e que pode ser tocada e/ou cantada facilmente por alunos iniciantes.
À semelhança de outros temas fiz pequenas alterações tanto a nível rítmico como melódico para facilitar a sua execução.
Desci um tom relativamente ao original (de Ré para Dó) para evitar notas acidentadas.
Faço algumas sugestões ao longo do vídeo relativamente aos executantes tendo em conta a dinâmica do tema.
Este pequeno excerto da Obra 9ª Sinfonia pode ser um pretexto para falar em assuntos como: música clássica; História da música e os seus grandes compositores; dinâmica (forte, piano, etc); mudança de andamento, etc...

The article reviews the evidence relating to Bellini’s knowledge of Viennese classical music, from the years of his training to his last stay in Paris. The material examined includes documents that are already known and others that are... more

The article reviews the evidence relating to Bellini’s knowledge of Viennese classical music, from
the years of his training to his last stay in Paris. The material examined includes documents that are already
known and others that are little or not known. Among these, the transcription, made in Naples around 1824,
of a piece from Mozart’s cantata Davide pentito, and the fragments of Mozart’s and Beethoven’s sonatas found
in the Bellini’s working papers (‘studi giornalieri’) used in Paris in 1834-35. A further piece sheds possible
new light on the relationship between Bellini and Chopin. In light of the facts examined, the article concludes
that the stay in Paris was an opportunity for Bellini to enrich a path of knowledge characterized by constant
curiosity towards new experiences.

The writings of Johann Wolfgang von Goethe are often considered staples of German literature of the 18 th and 19 th centuries. Besides the various writings and articles about author and poet himself and his works, the fact that multiple... more

The writings of Johann Wolfgang von Goethe are often considered staples of German literature of the 18 th and 19 th centuries. Besides the various writings and articles about author and poet himself and his works, the fact that multiple composers throughout history have chosen to set the text of his poems to their music only further shows the importance of his works. Goethe's poem "Nur wer die Sehnsucht kennt," from Wilhelm Meisters Lehrjahre, is just one poem of many that has been set to music by various composers. Three major composers of interest who have created a masterwork using the text of this poem are Ludwig van Beethoven, Franz Schubert, and Peter Tchaikovsky. This is not to say that other composers have not created equally fine works utilizing this poem as their setting.

"Urvater der Harmonie" palabras de Ludwig van Beethoven, quien hasta el final de su vida no dejó jamás de admirar el infatigable talento del genio de Eisenach. La figura de Johann Sebastian Bach se fue construyendo a lo largo de los... more

"Urvater der Harmonie" palabras de Ludwig van Beethoven, quien hasta el final de su vida no dejó jamás de admirar el infatigable talento del genio de Eisenach. La figura de Johann Sebastian Bach se fue construyendo a lo largo de los siglos. No fue tarea fácil, el reconocimiento de su obra y de su contribución al estilo contrapuntístico, así como sus impresionantes cualidades como organista, clavecinista y violinista, fueron discretamente apreciadas en la primera parte del siglo XVIII.