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By William Kinderman

Combining musical perception with the latest learn, William Kinderman's Beethoven is either a richly drawn portrait of the guy and a advisor to his tune. Kinderman lines the composer's highbrow and musical improvement from the early works written in Bonn to the 9th Symphony and the overdue quartets, compositions from diversified and unique views that convey Beethoven's paintings as a union of sensuous and rational, of expression and constitution. In analyses of person items, Kinderman exhibits that the deepening of Beethoven's musical inspiration used to be a continual method over many years of his lifestyles. during this new up-to-date variation, Kinderman supplies extra awareness to the composer's early chamber song, his songs, his opera Fidelio, and to a few often-neglected works of the composer's later years and interesting initiatives left incomplete. A revised view emerges from this of Beethoven's aesthetics and the musical which means of his works. instead of the traditional picture of a heroic and tormented determine, Kinderman presents a extra complicated, extra absolutely rounded account of the composer. even though Beethoven's deafness and his different own crises are addressed, including this ever-increasing dedication to his paintings, so too are the lighter points of his character: his humor, his love of puns, his nice savour juxtaposing the exalted and the common.

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S. Bach. Very little of the elder Bach’s music had appeared in print by the 1780s, and one would not have expected The Well-Tempered Clavier to serve as the cornerstone of instruction, as it did in fact for Beethoven. Neefe, however, had studied in Leipzig, where his musical mentor had been Johann Adam Hiller, the director of the Gewandhaus Concerts and later Bach’s successor as Kantor of the Thomaskirche. By the time he came to Bonn in 1779 to work for the Grossmann theatrical company, Neefe was an avid Bach admirer eager to pass on the legacy.

For whom did Beethoven write this thoughtful inscription with the quotation 7 A facsimile, transcription, and description of this source appears in Grita Herre, “Ein frühes Stammbuchblatt Beethovens,” Bonner Beethoven-Studien 5 (2006), pp. 115–17. As Herre observes, the source was acquired by the Preussischer Staatsbibliothek (now Staatsbibliothek zu Berlin preussischer Kulturbesitz) by 1942; nevertheless, it long remained in obscurity, and was not included, for instance, in the comprehensive Beethoven Briefe published in 1996.

Thayer-Forbes, p. 66. The spelling “Betthoven” appears in the original source; Beethoven was actually twelve years old at the time in question. 3 beethoven 18 Like Haydn and Mozart before him, Beethoven was to be exposed during his first Vienna years to works of Handel and J. S. Bach at the musical gatherings of the venerable connoisseur Baron Gottfried van Swieten, who had developed his taste for Bach in Berlin before moving to the Austrian capital. Unlike his predecessors, however, Beethoven’s formative musical direction was already shaped by the Leipzig master.

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