After Beethoven: The Imperative of Originality in the Symphony
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Cambridge, Mass.
Harvard University Press
[1996]
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| Schlagworte: | |
| Online-Zugang: | Volltext |
| Beschreibung: | num. musical notes Exploring the response of five composers--Berlioz, Mendelssohn, Schumann, Brahms, and Mahler--to what each clearly saw as the challenge of Beethoven's symphonies, Evan Bonds richly enhances our understanding of the evolution of the symphony and Beethoven's legacy Beethoven cast a looming shadow over the nineteenth century. For composers he was a model both to emulate and to overcome. "You have no idea how it feels," Brahms confided, "when one always hears such a giant marching behind one." Exploring the response of five composers--Berlioz, Mendelssohn, Schumann, Brahms, and Mahler--to what each clearly saw as the challenge of Beethoven's symphonies, Evan Bonds richly enhances our understanding of the evolution of the symphony and Beethoven's legacy. Overt borrowings from Beethoven--for example, the lyrical theme in the Finale of Brahms' First Symphony, so like the "Ode to Joy" theme in Beethoven's Ninth--have often been the subject of criticism. Bonds now shows us how composers imitate or allude to a Beethoven theme or compositional strategy precisely in order to turn away from it, creating a new musical solution. Berlioz's Harold en Italie, Mendelssohn's Lobgesang, Schumann's Fourth Symphony, Brahms' First, and Mahler's Fourth serve as illuminating examples. Discussion focuses on such core issues as Beethoven's innovations in formal design, the role of text and voice, fusion of diverse genres, cyclical coherence of movements, and the function of the symphonic finale. Bonds lucidly argues that the great symphonists of the nineteenth century cleared creative space for themselves by both confronting and deviating from the practices of their potentially overpowering precursor. His analysis places familiar masterpieces in a new light |
| Beschreibung: | 1 Online-Ressource (212p.) |
| ISBN: | 9780674733398 9780674733374 |
| DOI: | 10.4159/harvard.9780674733398 |
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| 500 | |a Exploring the response of five composers--Berlioz, Mendelssohn, Schumann, Brahms, and Mahler--to what each clearly saw as the challenge of Beethoven's symphonies, Evan Bonds richly enhances our understanding of the evolution of the symphony and Beethoven's legacy | ||
| 500 | |a Beethoven cast a looming shadow over the nineteenth century. For composers he was a model both to emulate and to overcome. "You have no idea how it feels," Brahms confided, "when one always hears such a giant marching behind one." Exploring the response of five composers--Berlioz, Mendelssohn, Schumann, Brahms, and Mahler--to what each clearly saw as the challenge of Beethoven's symphonies, Evan Bonds richly enhances our understanding of the evolution of the symphony and Beethoven's legacy. Overt borrowings from Beethoven--for example, the lyrical theme in the Finale of Brahms' First Symphony, so like the "Ode to Joy" theme in Beethoven's Ninth--have often been the subject of criticism. Bonds now shows us how composers imitate or allude to a Beethoven theme or compositional strategy precisely in order to turn away from it, creating a new musical solution. Berlioz's Harold en Italie, Mendelssohn's Lobgesang, Schumann's Fourth Symphony, Brahms' First, and Mahler's Fourth serve as illuminating examples. Discussion focuses on such core issues as Beethoven's innovations in formal design, the role of text and voice, fusion of diverse genres, cyclical coherence of movements, and the function of the symphonic finale. Bonds lucidly argues that the great symphonists of the nineteenth century cleared creative space for themselves by both confronting and deviating from the practices of their potentially overpowering precursor. His analysis places familiar masterpieces in a new light | ||
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| author | Bonds, Mark Evan 1954- |
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| dewey-full | 784.2/184/09034 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 784 - Instruments & instrumental ensembles |
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| dewey-search | 784.2/184/09034 |
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| dewey-tens | 780 - Music |
| discipline | Musikwissenschaft |
| doi_str_mv | 10.4159/harvard.9780674733398 |
| era | Geschichte 1800-1900 |
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| spelling | Bonds, Mark Evan 1954- Verfasser (DE-588)131657917 aut After Beethoven The Imperative of Originality in the Symphony Mark Evan Bonds Cambridge, Mass. Harvard University Press [1996] 1 Online-Ressource (212p.) txt rdacontent c rdamedia cr rdacarrier num. musical notes Exploring the response of five composers--Berlioz, Mendelssohn, Schumann, Brahms, and Mahler--to what each clearly saw as the challenge of Beethoven's symphonies, Evan Bonds richly enhances our understanding of the evolution of the symphony and Beethoven's legacy Beethoven cast a looming shadow over the nineteenth century. For composers he was a model both to emulate and to overcome. "You have no idea how it feels," Brahms confided, "when one always hears such a giant marching behind one." Exploring the response of five composers--Berlioz, Mendelssohn, Schumann, Brahms, and Mahler--to what each clearly saw as the challenge of Beethoven's symphonies, Evan Bonds richly enhances our understanding of the evolution of the symphony and Beethoven's legacy. Overt borrowings from Beethoven--for example, the lyrical theme in the Finale of Brahms' First Symphony, so like the "Ode to Joy" theme in Beethoven's Ninth--have often been the subject of criticism. Bonds now shows us how composers imitate or allude to a Beethoven theme or compositional strategy precisely in order to turn away from it, creating a new musical solution. Berlioz's Harold en Italie, Mendelssohn's Lobgesang, Schumann's Fourth Symphony, Brahms' First, and Mahler's Fourth serve as illuminating examples. Discussion focuses on such core issues as Beethoven's innovations in formal design, the role of text and voice, fusion of diverse genres, cyclical coherence of movements, and the function of the symphonic finale. Bonds lucidly argues that the great symphonists of the nineteenth century cleared creative space for themselves by both confronting and deviating from the practices of their potentially overpowering precursor. His analysis places familiar masterpieces in a new light In English Geschichte 1800-1900 Symphony / 19th century Symphonie / 19e siècle Musik Originality Originalité Sinfonie Symphony https://doi.org/10.4159/harvard.9780674733398 Verlag Volltext |
| spellingShingle | Bonds, Mark Evan 1954- After Beethoven The Imperative of Originality in the Symphony Symphony / 19th century Symphonie / 19e siècle Musik Originality Originalité Sinfonie Symphony |
| title | After Beethoven The Imperative of Originality in the Symphony |
| title_auth | After Beethoven The Imperative of Originality in the Symphony |
| title_exact_search | After Beethoven The Imperative of Originality in the Symphony |
| title_full | After Beethoven The Imperative of Originality in the Symphony Mark Evan Bonds |
| title_fullStr | After Beethoven The Imperative of Originality in the Symphony Mark Evan Bonds |
| title_full_unstemmed | After Beethoven The Imperative of Originality in the Symphony Mark Evan Bonds |
| title_short | After Beethoven |
| title_sort | after beethoven the imperative of originality in the symphony |
| title_sub | The Imperative of Originality in the Symphony |
| topic | Symphony / 19th century Symphonie / 19e siècle Musik Originality Originalité Sinfonie Symphony |
| topic_facet | Symphony / 19th century Symphonie / 19e siècle Musik Originality Originalité Sinfonie Symphony |
| url | https://doi.org/10.4159/harvard.9780674733398 |
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