After Beethoven: The Imperative of Originality in the by Mark Evan Bonds PDF

By Mark Evan Bonds

ISBN-10: 0674008553

ISBN-13: 9780674008557

Beethoven solid a looming shadow over the 19th century. For composers he was once a version either to emulate and to beat. "You don't know the way it feels," Brahms confided, "when one consistently hears this sort of tremendous marching in the back of one." Exploring the reaction of 5 composers--Berlioz, Mendelssohn, Schumann, Brahms, and Mahler--to what every one sincerely observed because the problem of Beethoven's symphonies, Evan Bonds richly complements our realizing of the evolution of the symphony and Beethoven's legacy.

Overt borrowings from Beethoven--for instance, the lyrical topic within the Finale of Brahms' First Symphony, so just like the "Ode to pleasure" topic in Beethoven's Ninth--have usually been the topic of feedback. Bonds now exhibits us how composers imitate or allude to a Beethoven topic or compositional approach accurately which will shrink back from it, making a new musical resolution. Berlioz's Harold en Italie, Mendelssohn's Lobgesang, Schumann's Fourth Symphony, Brahms' First, and Mahler's Fourth function illuminating examples. dialogue specializes in such center matters as Beethoven's strategies in formal layout, the position of textual content and voice, fusion of various genres, cyclical coherence of hobbies, and the functionality of the symphonic finale.

Bonds lucidly argues that the nice symphonists of the 19th century cleared inventive area for themselves by means of either confronting and deviating from the practices in their possibly overpowering precursor. His research locations normal masterpieces in a brand new gentle.

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Extra info for After Beethoven: The Imperative of Originality in the Symphony

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Ernest Newman observed that Berlioz "had no use for Beethoven" in this work, "except to take Over for his own ends the opening procedure of the finale of the Ninth Symphony" {Berlioz, Romantic and Classic, ed. Peter Heyviforth [London: Gollancz, 1 9 7 2 ] , p. 1 7 8 ) . Others who have questioned the rationale and aesthetic value of these reminiscences include August Wilhelm Ambros, in his Die Grenzen der Musik und Poesie ( 1 8 5 5 ) , p. 1 7 4 ; and Adolphe Boschot, in his Un romantique saus Louis-Philippe: Hector Berlioz, 1 8 3 1 - 1 8 4 2 (L'Histoire d'un romantique, II) (Paris: Plon-Nourrit, 1 9 0 8 ) , p.

Wotton, Hector Berlioz (London: Oxford University Press, 1 9 3 5 ) , p. 1 5 6 . Ernest Newman observed that Berlioz "had no use for Beethoven" in this work, "except to take Over for his own ends the opening procedure of the finale of the Ninth Symphony" {Berlioz, Romantic and Classic, ed. Peter Heyviforth [London: Gollancz, 1 9 7 2 ] , p. 1 7 8 ) . Others who have questioned the rationale and aesthetic value of these reminiscences include August Wilhelm Ambros, in his Die Grenzen der Musik und Poesie ( 1 8 5 5 ) , p.

Berlioz went on to explain in some detail the recurrence of the theme associated with the character of Harold. 1], but with the difference that whereas the theme of the Symphonie fantastique, the idee fixe, keeps obtruding like an obsessive idea on scenes that are alien 3. See The Memoirs of Hector Berlioz, Irans, and ed. , 2 vols. 43, 246-248. 4. Translation adapted from Cairns's edition of the Memoirs, p. 225. BERLIOZ'S HAROLD EN ITALIE 31 Adagio m solo via. mf S l r iH espress. 1 Berlioz, Harold cfi ltct'lie/'\y m.

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After Beethoven: The Imperative of Originality in the Symphony by Mark Evan Bonds


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