The opening essay by James Webster, qBeethoven in Vienna, 1792-1802: AnAc'Early' Period?q, evaluates the critical tradition of dividing Beethoven?s career into three periods?early, middle, and late?and shows both their artificiality andActheir implications, including a tendency to undervalue early works. J_rgen May?s essay qBeethoven and Prince Karl Lichnowsky, q considers Beethoven?s relations with one of the first of his most important patrons. In qBeethoven before 1800: The Mozart Legacy, q Lewis Lockwood examines Beethoven?s sketchbooks to describe how Beethoven composed with and against models from Mozart. Glenn Stanley's essay, qThe 'wirklich gantz neue Mainer' and the Path to It: Beethoven's Variations for Piano, 1783-1802, q surveys Beethoven?s sets of piano variations written in his first decade in Vienna and argues the importance of the variations in Beethoven's progress as a composer. In 'Pathos and the PathActique, q Elaine R. Sisman provides a historical and aesthetic analysis of one of Beethoven?s most popular piano sonatas. The composition of one of Beethoven's most popular violin sonatas, the qSpringq sonata is traced in the sketchbooks by Carl Schachter in qThe Sketches of the Sonata for Piano and Violin, Op. 24.q Nicholas Marston's qStylistic Advance, Strategic Retreat: Beethoven's Sketches for the Finale, qAcalso pays precise attention to Beethoven's sketches to discover how the composition of the Second Symphony illuminates Beethoven's work on an qunderlying idea.q In qHybrid Themes: Toward a Refinement in the Classification of Classical Theme Types, qAcWilliam E. Caplin defines qhybrid themesq and shows their variety in Beethoven?s early compositions. William Kinderman concludes the volume with a review article onAcKlaus Kropfinger?s Wagner and Beethoven and its study of the qbattle for Beethovenq that racked nineteenth-century European music.William Kinderman concludes the volume with a review article onAcKlaus Kropfinger?s Wagner and Beethoven and its study of the aquot;battle for Beethovenaquot; that racked nineteenth-century European music.
|Publisher||:||U of Nebraska Press - 1994-01-01|