By William Kinderman
Combining musical perception with the newest study, William Kinderman's Beethoven is either a richly drawn portrait of the guy and a advisor to his song. Kinderman lines the composer's highbrow and musical improvement from the early works written in Bonn to the 9th Symphony and the past due quartets, taking a look at compositions from varied and unique views that express Beethoven's paintings as a union of sensuous and rational, of expression and constitution. In analyses of person items, Kinderman indicates that the deepening of Beethoven's musical suggestion used to be a continuing procedure over many years of his existence. during this new up to date variation, Kinderman offers extra recognition to the composer's early chamber song, his songs, his opera Fidelio, and to a couple of often-neglected works of the composer's later years and engaging tasks left incomplete. A revised view emerges from this of Beethoven's aesthetics and the musical that means of his works. instead of the traditional snapshot of a heroic and tormented determine, Kinderman presents a extra advanced, extra totally rounded account of the composer. even supposing Beethoven's deafness and his different own crises are addressed, including this ever-increasing dedication to his paintings, so too are the lighter facets of his character: his humor, his love of puns, his nice savour juxtaposing the exalted and the regular.
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Extra info for Beethoven, Second Edition
Neefe was a crucial ﬁgure but by no means the only source of personal support and cultural nourishment for the young musician; another musical inﬂuence was the Kapellmeister and composer Andrea Luccchesi, and especially important was Beethoven’s friendship with the von Breuning family, which apparently began by 1784, having been enabled through Beethoven’s friend Franz Gerhard Wegeler. Beethoven became acquainted with German literature and poetry in the cultivated domestic environment of the von Breunings, whom he served as piano instructor, giving lessons to Eleonore (who was about his age) and her brother Lenz (who was seven years younger).
He plays the clavier very skillfully and with power, reads at sight very well, and—to put it in a nutshell—he plays chieﬂy The Well-Tempered Clavier of Sebastian Bach, which Herr Neefe has put into his hands. Whoever knows this collection of preludes and fugues in all the keys—which might almost be called the non plus ultra of our art—will know what this means. So far as his duties permitted, Herr Neefe has also given him instruction in thorough-bass. He is now training him in composition and for his encouragement has had nine variations for the pianoforte, written by him on a march—by Ernst Christoph Dressler— engraved at Mannheim.
The newfound album inscription includes a slightly adapted version of the fourteenth strophe of another poem by Bürger, “Die beiden Liebenden” (“The Two Lovers”), followed by a short dedication: Ein volles Herz giebt wenig Klang; Das leere klingt aus allen Tönen. Man fühlet dennoch seinen Drang; Und ach! Versteht sein stummes Sehnen. Bürger. 7 [A full heart makes but little sound; An empty one sounds through all tones. Yet one then feels its urgent pulse; And oh! Does grasp its silent yearning.
Beethoven, Second Edition by William Kinderman