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  1. Beethoven's critics : aesthetic dilemmas and resolutions during the composer's lifetime

    Wallace, Robin
    Cambridge ; New York : Cambridge University Press, 1986.

    This book is a survey of the critical reaction to Beethoven's music as it appeared in the major musical journals, French as well as German, of his day, and represents the first book-length history of Beethoven reception. The author discusses the philosophical and analytical implications of these reviews - by, among others, Hoffmann, A. B. Marx and Berlioz - and reassesses what has come to be the accepted view of a nineteenth-century musical aesthetics rooted in Romantic Idealism. Wallace sees Beethoven's critics as in fact providing a link between two apparently antithetical approaches to music: the eighteenth-century emphasis on expression and extra-musical interpretation and the nineteenth-century emphasis on 'absolute' music and formal analysis. This book thus provides, in addition to a carefully documented study of Beethoven's critical reception, a re-evaluation of his oeuvre and its significance in music history. An index of all reviews cited is provided, and a further appendix contains the quoted material in its original language.

  2. Beethoven : the music and the life

    Lockwood, Lewis
    1st ed. - New York : W.W. Norton, c2003.

    In this interpretation of the composer's life and works, Beethoven scholar Lewis Lockwood interweaves the composer's musical and biographical dimensions and places them in their historical and artistic contexts. Written for the lay reader, this book explores the special problems that Beethoven faced as an artist who fulfilled his destiny as Mozart's sucessor while remaining a true, rebellious original. It uncovers the artistic challenges that Beethoven set for himself and shows how they were fulfilled in his compositions. In this way, Lockwood develops a new interpretation of the composer's character that puts to rest the "heroic" model as the only basis for understanding Beethoven's career. While taking the latest scholarship fully into account, Lockwood presents the reader with a portrait of the composer that is based principally on his artistic achievements.

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