Beethoven after Napoleon: Political Romanticism in the Late Works
University of California Press, 15 ago. 2004 - 304 páginas
In this provocative analysis of Beethoven's late style, Stephen Rumph demonstrates how deeply political events shaped the composer's music, from his early enthusiasm for the French Revolution to his later entrenchment during the Napoleonic era. Impressive in its breadth of research as well as for its devotion to interdisciplinary work in music history, Beethoven after Napoleon challenges accepted views by illustrating the influence of German Romantic political thought in the formation of the artist's mature style. Beethoven's political views, Rumph argues, were not quite as liberal as many have assumed. While scholars agree that the works of the Napoleonic era such as the Eroica Symphony or Fidelio embody enlightened, revolutionary ideals of progress, freedom, and humanism, Beethoven's later works have attracted less political commentary. Rumph contends that the later works show clear affinities with a native German ideology that exalted history, religion, and the organic totality of state and society. He claims that as the Napoleonic Wars plunged Europe into political and economic turmoil, Beethoven's growing antipathy to the French mirrored the experience of his Romantic contemporaries. Rumph maintains that Beethoven's turn inward is no pessimistic retreat but a positive affirmation of new conservative ideals.
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Beethoven After Napoleon: Political Romanticism in the Late Works
Vista previa restringida - 2004
Adagio Adorno aesthetic Allegro bars beauty Beethoven Beethoven’s late Beethoven’s music begins C-major cadenzas cantus ﬁrmus cello chorale chord Classical coda composer concerto conﬂict contrapuntal cresc critics Critique Dahlhaus dialectic double counterpoint double fugue dramatic E. T. A. Hoffmann Ehre Gottes Elaine Sisman Eroica ﬁgure ﬁnal ﬁnale ﬁnally ﬁnd ﬁrst movement ﬁrst theme French Friedrich fugal fugato Gellert German Grosse Fuge Hammerklavier harmony Haydn’s heroic style Hoffmann human hymn ideal individual inﬂuence Joseph Kerman Kant Kant’s Kinderman late quartets late style Leonore lyrical Maestoso major Marcia melody ment Missa solemnis modernist motive Mozart’s naive Napoleon nature Ninth Symphony notes Novalis Ode to Joy opening Piano Sonata realm reﬂect reprise rhythm rhythmic Riezler Romantic political Romanticism Rosen Schenker scherzo Schiller Schlegel seems Solomon sonata form song spirit stile antico structure sublime texture thematic tion tonal transcendent Universalgeschichte University Press variations Vienna voice Wellingtons Sieg Werke
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Michael Spitzer,Naomi André
Vista previa restringida - 2006