Beethoven’s music, stemming from its 18th- and 19th-century European context, communicates values of the Enlightenment bearing a seemingly universal, timeless significance.
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More than a quarter millenium after his birth, a 21st-century perspective offers a timely opportunity — against a backdrop of the reconfiguration of Europe and tensional power shifts across continents — to explore ways in which notions of European ideals impacted the works of Beethoven and his contemporaries and which social-political contexts shaped its reception. The essays in this volume offer cutting-edge research shedding new light on varied aspects of Beethoven’s music, and the ways it has been adapted and adopted by the musical world up to the present-day. Foremost international experts and younger scholars, gathered together with the editors William Kinderman and Malcolm Miller, share insights about Beethoven reception both within and beyond Europe, covering France, Italy, Britain, Spain, the USA and Japan. Innovative contextual studies consider topics on criticism and interpretation, performance and publication, and a variety of less familiar personalities, institutions and performing organisations. Studies of individual works illuminate Beethoven’s well-known masterpieces through novel, sometimes polemical, contextual and analytical frameworks. The volume as a whole celebrates Beethoven’s genius as European and global, marking a fascinating turning-point between the particular and the universal.
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Descrizione
*Beethoven the European : transcultural contexts of performance, interpretation and reception / edited by Malcom Miller, William Kinderman Turnhout : Brepols, 2022 xix, 410 p. ; 27 cm
Note
Saggi della conferenza Beethoven the European, presentati dal Centro Studi Opera Omnia Luigi Boccherini e dal giornale Ad Parnassum, 4-6 dicembre 2020.
Nota di contenuto
Politics, Aesthetics and Ideology: W. Kinderman, Beethoven’s Ninth Symphony as a Disputed Symbol of Community: From Thomas Mann’s Doktor Faustus to the Brexiteers of 2019; M. Christoforidis - P. TregearBeethoven, the Congress of Verona, and the Concert of Europe in 1822/1823; D. B. Dennis, Beethoven’s 100th Todestag in 1927: Ideological Battles over the Composer and His Music in Weimar Political Culture; S. Iitti, Patriotism and Islam in Ludwig van Beethoven’s The Ruins of Athens, Op. 113, and King Stephen, Op. 117; A. Pare, Beethoven as a Transnational Composer: Straßenmusik, Verbunkos and the Trio Op. 11 ‘Gassenhauer’; S. Cooper, Beethoven, His Circle and Horace.Reception across Europe and beyond: M. Encina Cortizo - R. Sobrino, Interpreting Beethoven in Spain in the 19th Century: The Arrival of His Symphonic Music to a Nascent Concert Life; C. Sintoni, Ludwig van Beethoven and His Reception in Piano Methods of the First Half of the 19th Century; F. de La GrandvilleWho Are You, Mr Bethowen?; D. Hurwitz, Beethoven’s French Liturgical Organ Music – No, Really; D. Rowland, Further Light on Clementi’s 1807 Contract with Beethoven; M. Koshikakezawa, Beethoven’s ‘Moonlight’ Sonata and the Japanese Reception of Western Music; A. Minkus; Reception and Reflection of Beethoven’s Works at the Philharmonic Society of New York (1842-1892).Performance and Analysis: B. Cooper, Performing Beethoven’s Vocal Music in the 21st Century; N. Kellenberger, Beethoven’s Violin Concerto Opus 61: Toward Performance of Alternate Solo Violin Parts; M. Miller, Beethoven’s Registral Structures and Strategies of Transcendence in the Late Piano Sonatas; E. Papanikolaou, Uwe Scholz’s Choreographic Conception of Beethoven’s Seventh Symphony; P. Du Krol, The Whimsical Character of Beethoven’s Salieri Piano Variations, WoO 73 (1799).