MUSICAL criticism, MUSICAL analysis, DEIXIS (Linguistics), and MUSICAL form
The article presents a deictic analysis of Ludwig van Beethoven's setting of Heinrich Schiller's poem "Ode an die Freude" in his 9th Symphony. The author presents diverse reflections on the context and musical setting of the text, contrasting the views of several musical historians who use a negative paradigm to relate the four movements of the work. Focus is instead given to the form rather than content of the work in its fourth movement.
TEMPO (Music theory), MUSICAL notation, MUSIC -- Manuscripts, PERFORMANCE practice (Music performance), and MUSICAL interpretation
The article presents an examination into the performance practice and manuscript history of Ludwig van Beethoven's 9th Symphony, focusing on the interpretation of the metronome markings for the Trio section of the Scherzo movement. Introductory details are given outlining the history of scholastic dispute over the composer's intended tempo markings. The author asserts that the written tempo in the manuscripts is authentic, even if self-contradictory.
AESTHETICS, PERFORMANCES, PERFORMANCE practice (Music performance), HISTORY, MUSIC conducting, MUSICAL interpretation, INFLUENCE (Literary, artistic, etc.), WAGNER, Richard, 1813-1883, and 19TH century
The article presents an examination into the performance practices of the 19th-century German composer and conductor Richard Wagner, highlighting his influence on the received tradition of performing the 9th Symphony of Ludwig van Beethoven. An extensive overview is given describing how Wagner's personal interpretations and performance specifications of the work became the mainstream, accepted way of presenting the work.
MUSICAL interpretation, PERFORMANCES, PERFORMATIVE (Philosophy), MUSICAL criticism, MUSIC & philosophy, and WAGNER, Richard, 1813-1883
Two kinds of musical interpretation will be explored in this essay: critical interpretation in the tradition of musical hermeneutics and interpretation as performance. Søren Kierkegaard's philosophy of music will also be discussed, specifically on how an idea in music is expressed. Richard Wagner's musical hermeneutic and performance interpretations will emerge from this background not as irreconcilable activities, but rather as the progression of an argument based on the illustration of tangible meaning in music. [ABSTRACT FROM AUTHOR]
Reynolds, Christopher A., author. and Reynolds, Christopher A., author.
Symphonies -- 19th century -- Analysis, appreciation.
"Reynolds shows that the stylistic advances made by Richard Wagner and Robert Schumann in 1845-46 stemmed from a deepened understanding of Beethoven's techniques and strategies in the Ninth Symphony, particularly the use of counterpoint involving contrary motion. The trail of influences that Reynolds explores extends back to the music of Bach and ahead to Tristan and Isolde, as well as to Brahms's First Symphony."--Provided by publisher.
New York Times. 2/27/2014, Vol. 163 Issue 56425, pC1-C2. 2p. 1 Color Photograph, 1 Black and White Photograph.
WIENER Philharmoniker, BEETHOVEN, Ludwig van, 1770-1827. Symphonies, no. 9, op. 125, D minor, and WELSER-Most, Franz, 1960-
The article presents a review of a concert by the Vienna Philharmonic Orchestra featuring the New York Choral Artists in which they performed composer Ludwig von Beethoven's Ninth Symphony, conducted by Franz Welser-Möst and held at Carnegie Hall in New York City on February 25, 2014.
19th Century Music; Spring2011, Vol. 34 Issue 3, p302-315, 14p
FILM criticism, MOTION picture music -- History & criticism, LOCOMOTIVES, and ROMANTICISM in music
The article presents an analysis of the 1979 Russian film "Stalker," by Andrei Tarkovsky, focusing on its use of the 1824 Ninth Symphony by the German composer Ludwig Van Beethoven along with the sound of a passing locomotive. The author discusses the aesthetic and symbolic meanings behind Tarkovsky's combination of sounds and music in the final scene of the film, connecting both to the ideals of progress and Romanticism. Further discussion is then offered analyzing the musicological concept of "expressive doubling" as seen in the thematic gesture.
Beethoven, Ludwig van, 1770-1827. Symphonies, no. 9, op. 125, D minor, Orchestral music -- History & criticism, and Nineteenth century
The first performance of Ludwig van Beethoven’s Ninth Symphony on May 7, 1824, in the Kärntnerthor Theater in Vienna, Austria, was greeted with enthusiasm by the audience. It is unlikely, however, that any of those in attendance recognized the lasting impact the work would have upon musical history. The Ninth Symphony was a massive work, the longest symphony written up to its time, and it uniquely added a chorus and vocal soloists to the orchestra in the finale. The text, setting verses of Friedrich Schiller’s poem “An die Freude” (1786; “Ode to Joy”), speaks of universal brotherhood in the symphony’s jubilant conclusion.