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• Introduction
• 1. The public ball in Viennese musical life, 1770-1830
• 2. Early waltz dances of the Viennese ballroom: transmission and transformation in eighteenth-century music and dance
• 3. The minuet: performing aristocracy in the Viennese ballroom
• 4. The contredanse: participation and spectatorship in the public ballroom
• 5. Dance arrangements from the Viennese stage
• 6. Battle waltzes: programmatic music in the ballroom
• 7. The Congress dances': the Viennese public ball and court-sponsored festivities at the Congress of Vienna
• Epilogue
• Appendix: Selected original musical sources consulted
• Bibliography.
• (source: Nielsen Book Data)

The repertoire of the early Viennese ballroom was highly influential in the broader histories of both social dance and music in nineteenth-century Europe. Yet music scholarship has traditionally paid little attention to ballroom dance music before the era of the Strauss dynasty, with the exception of a handful of dances by Haydn, Mozart and Beethoven. This book positions Viennese social dances in their specific performing contexts and investigates the wider repertoire of the Viennese ballroom in the decades around 1800, most of which stems from dozens of non-canonical composers. Close examination of this material yields new insights into the social contexts associated with familiar dance types, and reveals that the ballroom repertoire of this period connected with virtually every aspect of Viennese musical life, from opera and concert music to the emerging category of entertainment music that was later exemplified by the waltzes of Lanner and Strauss.
(source: Nielsen Book Data)

• I. INTRODUCTION
• 1. The Purpose of the Study
• 2. Historical Overview of Dedications
• II. BACKGROUNG, FACTS AND FIGURES ON GROUPS OF DEDICATEES
• 3. Types of Work, Dedicatee, and Related Issues
• 4. Why Dedicate?
• 5. Intended Dedications
• 6. Beethoven's Works Dedicated by Others
• 7. Dedications to Beethoven
• III. STORIES BEHIND THE TRIBUTES
• 8. Official Dedications
• 9. Unofficial Dedications, Handwritten Inscriptions, and Musical Gifts
• IV. CONCLUSIONS.
• (source: Nielsen Book Data)

The dedication of a piece of music is a feature generally overlooked, but it can reveal a great deal about the work, the composer, the society and the music world in which the composer lived. This book explores the musical, biographical and sociological aspects of the practice of dedicating new compositions in the late 18th and early 19th centuries, and makes a significant contribution towards a better understanding of the impact these tributes had on Beethoven's life and work, and their function within the context of the musical, cultural and economic environments in which they appeared. As the first of its kind, this study demonstrates that, as a result of their different functions, published dedications and handwritten inscriptions are distinct from one another, and for that reason they have been classified in different categories. This book, therefore, challenges the idea of what exactly can be termed as a 'dedication', a concept which extends far beyond the dedication of musical works.
(source: Nielsen Book Data)

• 1. Re-hearing Op. 131
• 2. The early and popular reception of Op.131
• 3. "A new kind of part writing"
• 4. "Like an overly large fantasy"
• 5. Op. 131 and the Rise of Attentive Listening.
• (source: Nielsen Book Data)

Beethoven's String Quartet in C-sharp minor Op. 131 (1826) is not only firmly a part of the scholarly canon, the performing canon, and the pedagogical canon, but also makes its presence felt in popular culture. Yet in recent times, the terms in which the C-sharp minor quartet is discussed and presented tend to undermine the multivalent nature of the work. Although it is held up as a masterpiece, Op. 131 has often been understood in monochrome terms as a work portraying tragedy, struggle, and loss. In Beethoven's String Quartet in C-sharp Minor, Op. 13, author Nancy November takes the modern-day listener well beyond these categories of adversity or deficit. The book goes back to early reception documents, including Beethoven's own writings about the work, to help the listener reinterpret and re-hear it. This book reveals the diverse musical ideas present in Op. 131 and places the work in the context of an emerging ideology of silent or 'serious' listening in Beethoven's Europe. It considers how this particular 'late' quartet could speak with special eloquence to a highly select but passionately enthusiastic audience and examines how and why the reception of Op. 131 has changed so profoundly from Beethoven's time to our own.
(source: Nielsen Book Data)

• Introduction
• 1. 'A fruitful age of arrangements'
• 2. Arrangers and authority
• 3. Selling arrangements, constructing the canon
• 4. Beethoven and Steiner's plan
• 5. Musical arrangements and musical works
• 6. 'Completely absorbed by the piano'.
• (source: Nielsen Book Data)

Early nineteenth-century composers, publishers and writers evolved influential ideals of Beethoven's symphonies as untouchable masterpieces. Meanwhile, many and various arrangements of symphonies, principally for amateur performers, supported diverse and 'hands-on' cultivation of the same works. Now mostly forgotten, these arrangements served a vital function in nineteenth-century musical life, extending works' meanings and reach, especially to women in the home. This book places domestic music-making back into the history of the classical symphony. It investigates a largely untapped wealth of early nineteenth-century arrangements of symphonies by Beethoven - for piano, string quartet, mixed quintet and other ensembles. The study focuses on three key agents in the nineteenth-century culture of musical arrangement: arrangers, publishers and performers. It investigates significant functions of those musical arrangements in the era: sociability, reception and canon formation. The volume also explores how conceptions of Beethoven's symphonies, and their arrangement, changed across the era with changing conception of musical works.
(source: Nielsen Book Data)

• Cover
• Half Title
• Title
• Copyright
• Dedication
• Contents
• Preface
• 1. The Sonatas: Overview-Form and Content
• 2. Beethoven's Pianism
• 3. The Piano in Beethoven's Time
• 4. Performance Practice and Beethoven's Notation
• Types of Touch
• From ""Common"" Touch to Legato
• Legato
• Prolonged Touch
• Detached Touch
• Beaming
• Pedaling
• Rubato
• Character and ""Heavy"" and ""Light"" Execution
• Meter and Metrical Construction
• Uneven Metrical Constructions
• Meter and Subdivisions
• Tempo
• The Metronome
• 5. The Editions
• 6. Style and Interpretation

• 7. The Recordings
• Appendix: Keyboard Actions
• Notes
• Bibliography
• Autographs in Facsimile Editions
• Index of Sonatas
• Index of Persons
• A
• B
• C
• D
• E
• F
• G
• H
• J
• K
• L
• M
• N
• P
• Q
• R
• S
• T
• U
• V
• W
• Z
• Illustration Credits

A comprehensive and immersive survey of thirty-five Beethoven piano sonatas "Beethoven piano sonatas accompany every pianist, amateur or professional for his or her entire life and constitute one of the most miraculous constants of the human civilization. To help us around the exciting journey through those masterpieces Jan Marisse Huizing combines his expertise, knowledge, and above all his unconditional love for this music."- Alexander Melnikov, pianist Beethoven's piano sonatas are among the iconic cornerstones of the classical music repertoire. Jan Marisse Huizing offers an in-depth study of the sonatas using available autographs, first editions, recordings, and nearly three hundred musical examples. Digging into the historical background and historical performance practice, the book provides illuminating detail on Beethoven's pianism as well as his characteristics of notation, form and content, "types of touch, " articulation, beaming, pedal indications, character, rubato, meter, metric constructions, tempo, and metronome marks. Packed with anecdotes, quotations, and considerable new information, the book will inspire all involved with these masterworks, playing a fortepiano or modern Grand, giving the sense of the composer sitting beside them as he translates his inspiration and ideas into his notation.
(source: Nielsen Book Data)

• A Tale of two cities: Bonn to Vienna
• The sublime and inverted sublime
• Beethoven in Heiligenstadt
• Path to the Eroica
• Leonore as "angel of freedom"
• From Grätz to Wagram and Leipzig
• A double chill: Beethoven in Metternich's Vienna
• Then and now: the Ninth Symphony

We have long regarded Beethoven as a great composer, but we rarely appreciate that he was also an eminently political artist. This book unveils the role of politics in his oeuvre, elucidating how the inherently political nature of Beethoven's music explains its power and endurance. William Kinderman presents Beethoven as a civically engaged thinker faced with severe challenges. The composer lived through many tumultuous events--the French Revolution, the rise and fall of Napoleon Bonaparte, and the Congress of Vienna among them. Previous studies of Beethoven have emphasized the importance of his personal suffering and inner struggles; Kinderman instead establishes that musical tensions in works such as the Eroica, the Appassionata, and his final piano sonata in C minor reflect Beethoven's attitudes toward the political turbulence of the era. Written for the 250th anniversary of his birth, Beethoven takes stock of the composer's legacy, showing how his idealism and zeal for resistance have ensured that masterpieces such as the Ninth Symphony continue to inspire activists around the globe. Kinderman considers how the Fifth Symphony helped galvanize resistance to fascism, how the Sixth has energized the environmental movement, and how Beethoven's civic engagement continues to inspire in politically perilous times. Uncertain times call for ardent responses, and, as Kinderman convincingly affirms, Beethoven's music is more relevant today than ever before.
(source: Nielsen Book Data)

• From the chapel to the theatre to the Akademiensaal : Beethoven's musical apprenticeship at the Bonn Electoral Court, 1784-1792 / John Wilson
• Apprenticeship at the Bonn Electoral Court, 1784-1792 / John Wilson
• Gracious Beethoven? / W. Dean Sutcliffe
• Beethoven's unfinished symphonies / Barry Cooper
• Beethoven as sentimentalist / Michael Spitzer
• Beethoven's nature : Idealism and sovereignty from an ecological perspective / Keith Chapin
• (Cross-)Gendering the German voice / Katherine Hambridge
• Beethoven and tonal prototypes : an inherited and developing relationship / Giorgio Sanguinetti
• Shared identities and thwarted narratives : Beethoven and the Austrian Allgemeine musikalische Zeitung, 1817-1824 / David Wyn Jones
• Composing with a dictionary : Sounding the Word in Beethoven's Missa solemnis / Birgit Lodes
• Deafly performing Beethoven's last three piano sonatas / Tom Beghin

Did you know that Beethoven contemplated, however fleetingly, writing more than forty symphonies and that for the Missa solemnis he sought stimulus from a Latin-German dictionary? And what about the underappreciated sociable side of Beethoven's music to set alongside the familiar one of the heroic? Beethoven Studies 4 is a collection of ten chapters that approach the composer and his music from an appealing range of critical standpoints, aesthetic, analytical, biographical, historical and performance. Alongside essays that offer new information on Beethoven's compositional practice and broaden understanding of the music's contemporary and posthumous appeal, there are essays on his interaction with specific environments, Bonn and post-Napoleonic Austria, and vocal and piano performance practice. The volume will appeal to cultural historians and practitioners as well as Beethoven enthusiasts.
(source: Nielsen Book Data)

• Introduction: The Instrumental Self
• Part 1: The Paradigm of Objective Expression: 1770-1830
• Chapter 1: The Framework of Rhetoric
• Chapter 2: Toward Subjective Expression
• Chapter 3: The Composer in the Work
• Part 2: The Paradigm of Subjective Expression: 1830-1920
• Chapter 4: The Framework of Hermeneutics
• Chapter 5: First-Person Beethoven
• Chapter 6: After Beethoven
• Part 3: Dual Paradigms: Since 1920
• Chapter 7: The Return of Objectivity
• Chapter 8: The Endurance of Subjectivity Conclusion: Tracking Comets Bibliography.
• (source: Nielsen Book Data)

The "Beethoven Syndrome" is the inclination of listeners to hear music as the projection of a composer's inner self. This was a radically new way of listening that emerged only after Beethoven's death. Beethoven's music was a catalyst for this change, but only in retrospect, for it was not until after his death that listeners began to hear composers in general-and not just Beethoven-in their works, particularly in their instrumental music. The Beethoven Syndrome: Hearing Music as Autobiography traces the rise, fall, and persistence of this mode of listening from the middle of the eighteenth century to the present. Prior to 1830, composers and audiences alike operated within a framework of rhetoric in which the burden of intelligibility lay squarely on the composer, whose task it was to move listeners in a calculated way. But through a confluence of musical, philosophical, social, and economic changes, the paradigm of expressive objectivity gave way to one of subjectivity in the years around 1830. The framework of rhetoric thus yielded to a framework of hermeneutics: concert-goers no longer perceived composers as orators but as oracles to be deciphered. In the wake of World War I, however, the aesthetics of "New Objectivity" marked a return not only to certain stylistic features of eighteenth-century music but to the earlier concept of expression itself. Objectivity would go on to become the cornerstone of the high modernist aesthetic that dominated the century's middle decades. Masterfully citing a broad array of source material from composers, critics, theorists, and philosophers, Mark Evan Bonds's engaging study reveals how perceptions of subjective expression have endured, leading to the present era of mixed and often conflicting paradigms of listening.
(source: Nielsen Book Data)

• Heft 17 (ca. May 27, 1822 - ca. June 12/13, 1822) Heft 18 (ca. October 31/November 1, 1822 - November 4, 1822) Heft 19 (January 19, 1823 - January 26, 1823) Heft 20 (January 21, 1823 - January 26, 1823) Heft 21 (January 27, 1823 - January 30, 1823) Heft 22 (January 30, 1823 - February 6, 1823) Heft 23 (ca. February 6/7, 1823 - February 12, 1823) Heft 24 (February 12, 1823 - February 21/22, 1823) Heft 25 (February 22, 1823 - March 2, 1823) Heft 26 (March 4, 1823) Heft 27 (ca. March 20, 1823 - March 26, 1823) Heft 28 (March 31, 1823 - April 8, 1823) Heft 29 (April 11, 1823 - April 17, 1823) Heft 30 (ca. April 20, 1823 - April 26, 1823) Heft 31 (April 27, 1823 - May 4, 1823) Appendix A: Descriptions of the Conversation Books in Volume 3 Bibliography.
• (source: Nielsen Book Data)

Ludwig van Beethoven (1770-1827) is recognized the world over as a composer of musical masterpieces exhibiting heroic strength, particularly in the face of his increasing deafness from ca. 1798. By 1818, the Viennese composer had begun carrying blank booklets with him, for his acquaintances to jot their sides of conversations, while he answered aloud. Often, he himself used the pocket-sized booklets to make shopping lists and other reminders, including occasional early sketches for his compositions. Today, 139 of these booklets survive, covering the years 1818 up to the composer's death in 1827 and including such topics as music, history, politics, art, literature, theatre, religion, and education as perceived on a day-to-day basis in post-Napoleonic Europe. An East German edition, begun in the 1960s and essentially complete by 2001, represents a diplomatic transcription of these documents. It is a masterpiece of pure scholarship but is difficult to use for anyone who is not a specialist. Moreover, Beethoven scholarship has moved on significantly since the long-ranging genesis of the German edition. These important booklets are here translated into English in their entirety for the first time. The volumes in this series include an updated editorial apparatus, with revised and expanded notes and many new footnotes exclusive to this edition, and brand new introductions, which together place many of the quickly changing conversational topics into context. Due to the editor's many years of research in Vienna, his acquaintance with its history and topography, as well as his familiarity with obscure documentary resources, this edition represents an entirely new venture in source studies - vitally informative for scholars not only in music but also in a wide variety of disciplines. At the same time, these often lively and compelling conversations are now finally accessible for the English-speaking music lover or history buff who might want to dip into them and hear what Beethoven and his friends were discussing at the next table. THEODORE ALBRECHT is Professor of Musicology at Kent State University, Ohio.
(source: Nielsen Book Data)

The love of Beethoven's music is now become so universal, that his Letters will receive a hearty welcome from all those whose spirits have been elevated and soothed by the genius of this illustrious man.
(source: Nielsen Book Data)

• Introduction Nancy November
• Part I. Context and Genesis: 1. Beethoven and heroism in the age of revolutions Scott Burnham
• 2. Beethoven's 'watershed'? Eroica's contexts and periodization Mark Ferraguto
• 3. The symphony in Vienna and abroad around 1800 Erica Burrman
• 4. Genesis and publication of the Eroica Federica Rovelli
• Part II. Analytical Approaches: 5. Twentieth-century analytical approaches to the first movement William Drabkin
• 6. Beethoven in the garden: the hero who practices resignation
• or, the Eroica as 'late' work Vasili Byros
• 7. Registering the Eroica Nicholas Marston
• 8. After invention: traces and materials in the Eroica finale Elaine Sisman
• Part III. Reception: 9. Who is the hero? The early reception of the Eroica Beate Angelika Kraus
• 10. The Eroica in the nineteenth and twentieth centuries Leon Botstein
• 11. Performing, arranging and rearranging the Eroica: then and now Nancy November
• 12. The Eroica endures: Beethoven's Third Symphony in the twenty-first century Melanie Lowe.
• (source: Nielsen Book Data)

This Companion provides orientation for those embarking on the study of Beethoven's much-discussed Eroica Symphony, as well as providing fresh insights that will appeal to scholars, performers and listeners more generally. The book addresses the symphony in three thematic sections, on genesis, analysis and reception history, and covers key topics including political context, dedication, sources of the Symphony's inspiration, 'heroism' and the idea of a 'watershed' work. Critical studies of writings and analyses from Beethoven's day to ours are included, as well as a range of other relevant responses to the work, including compositions, recordings, images and film. The Companion draws on previous literature but also illuminates the work from new angles, based on new evidence and a range of approaches by twelve leading scholars in Beethoven research.
(source: Nielsen Book Data)