Thematische Bibliographien / Symphonies de Beethoven

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Auswahl der wissenschaftlichen Literatur zum Thema „Symphonies de Beethoven“

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Veröffentlicht am 15. Februar 2025

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Zeitschriftenartikel zum Thema "Symphonies de Beethoven"

Zhang, Xiaochen. „The Symphony of Bass in the Grand Narrative: On the Position and Function of Trombone in Beethoven's Symphonies“. Journal of Education, Humanities and Social Sciences 42 (09.12.2024): 263–70. https://doi.org/10.54097/d3mgyh44.

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Trombone is an important brass instrument and plays an important role in modern symphony orchestra. Trombone is different from other brass instruments. In the history of the development of western Musical Instruments, the shape and playing mode of trombone have hardly changed. However, the position of the trombone in Beethoven's previous symphonies was radically different. Beethoven is recognized as the first composer to bring the trombone from sacred to secular music. This article will list three symphonies composed by Beethoven that include the trombone. Through the research of the creation background of these three works, this paper discusses the trombone and explore the reason why Beethoven used the trombone here. In addition, this paper also briefly lists the position of the trombone in each symphony, and analyzes its functional characteristics, function and status in each Beethoven symphony. Beethoven's influence on the trombone is profound, and this paper hopes to analyze these three symphonies to draw out Beethoven's influence on the use of trombone by later composers.

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Mathew, Nicholas. „Beethoven's Political Music, the Handelian Sublime, and the Aesthetics of Prostration“. 19th-Century Music 33, Nr. 2 (2009): 110–50. http://dx.doi.org/10.1525/ncm.2009.33.2.110.

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Abstract This article argues for a number of hitherto unrecognized continuities——stylistic, aesthetic, and ideological——between Beethoven's marginalized ““political music”” from the period of the Congress of Vienna and his canonical symphonic works. It rereads his œœuvre against the background of the popularity and ubiquity of the ““Handelian sublime”” in early-nineteenth-century Viennese public life——that is, the aesthetics and social practice of grand choral singing, associated primarily with some of Handel's oratorios, but also with the late choral works of Haydn. Presenting new archival research into Vienna's politicized choral culture, the article argues that contemporary theorizing about the power of the musical sublime became the theoretical wing of music's changing social status, as it was mobilized by the state during the Napoleonic Wars more than ever before. These new, Handelian contexts for Beethoven's music lead to three conclusions. First, the choral aesthetic background to Beethoven's symphonies has been largely overlooked. With reference to original performance contexts as well as the topical character of Beethoven's symphonies, the article argues that the symphonies are often best understood as orchestral transmutations of the grand Handelian chorus. Against this background, the appearance of an actual chorus in the Ninth might be reconceived as a moment when the genre's aesthetic debt is most apparent, rather than a shocking generic transgression. Second, the distinction, commonly elaborated by Beethoven scholars, between the mere bombast of Beethoven's political compositions and the ““authentic,”” Kantian sublime of human freedom supposedly articulated in his symphonies cannot easily be sustained. Third, the cultural entanglement of choral and symphonic music in Beethoven's Vienna reveals something not only of the political origins but also of the continuing political potency of Beethoven's symphonies. With reference to Althusserian theories of power and subjectivity, the article speculates that the compelling sense of listener subjectivity created by Beethoven's most vaunted symphonic compositions (noted by Scott Burnham) comes about in part through the music's and the listener's transformation of external, choral reflections of political power into internal, symphonic ones——a transformation that leaves its mark on the topical character of the symphonies, which, especially in their most intense moments of subjective engagement, are replete with official topics and gestures: marches, hymns, and fugues. This might explain why the music has so often been heard as simultaneously browbeating and uplifting, authoritarian and liberating.

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Martin-Castro, Almudena, und Iñaki Ucar. „Conductors’ tempo choices shed light over Beethoven’s metronome“. PLOS ONE 15, Nr. 12 (16.12.2020): e0243616. http://dx.doi.org/10.1371/journal.pone.0243616.

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During most part of Western classical music history, tempo, the speed of music, was not specified, for it was considered obvious from musical context. Only in 1815, Maelzel patented the metronome. Beethoven immediately embraced it, so much as to add tempo marks to his already published eight symphonies. However, these marks are still under dispute, as many musicians consider them too quick to be played and even unmusical, whereas others claim them as Bethoven’s supposedly written will. In this work, we develop a methodology to extract and analyze the performed tempi from 36 complete symphonic recordings by different conductors. Our results show that conductor tempo choices reveal a systematic deviation from Beethoven’s marks, which highlights the salience of “correct tempo” as a perceptive phenomenon shaped by cultural context. The hasty nature of these marks could be explained by the metronome’s ambiguous scale reading point, which Beethoven probably misinterpreted.

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Nagina, Dana A. „The genre of concert symphony in the works of Haydn and Mozart“. Contemporary Musicology, Nr. 3 (2019): 2–23. http://dx.doi.org/10.56620/2587-9731-2019-3-002-023.

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The article focuses on the concert symphony (fr. symphonie concertante, it. sinfonia concertata) – a classical music form which remains little studied in Russian musicology – as is exemplified in the works of Joseph Haydn and Wolfgang Amadeus Mozart. The study raises three questions crucial for the history and theory of the genre. First, the article analyses the development of ideas about concertante as well as relevant terminology. Reference books and scientific works of the 18th-early 21st centuries provide different points of view on the genre. Some highlight its symphonic nature, while others take a middle position or lean toward its concert-related aspects. Second, the article analyses different models of concert symphonies shaped in different regional traditions. The study has allowed to distinguish two mainstream lines of genre development – German and French (C. Stamitz and A. Stamitz, C. Cannabich, J.B. Davaux, G. Cambini, F. J. Gossec, and others), and Austrian (J. Haydn, C.D. von Dittersdorf, W.A. Mozart, I. Pleyel, F.A. Hoffmeister, L. van Beethoven, and others). In both traditions, concert symphonies are generally cyclic orchestral works with elaborated parts for two or more solo instruments. They are often marked by virtuoso cadences in one or several movements as well as a major tonality and cheerful festive mood. However, in many aspects Austrian concert symphonies differ from German and French ones. The article examines the features of Austrian concertante (the third aspect of the research) based on the evidence from concert symphonies and concerts for several solo instruments by Mozart and Haydn. The key features include a three- or four-part cycle, a variety of musical forms with sonata-like features as a backbone, thoughtful intonation patterns and thematic connections, equal standing of soloists and orchestra or, at times, the predominance of the latter. The study suggests that Austrian concert symphonies are closer to the symphonic interpretation in contrast to more concert-like German and French compositions written in this genre.

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Romashchuk, I. M. „BEETHOVEN IN THE MIRROR OF CENTURIES“. Arts education and science 1, Nr. 4 (2020): 189–94. http://dx.doi.org/10.36871/hon.202004023.

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The article is devoted to a significant date — the 250th anniversary of the birth of the great German composer Ludwig van Beethoven. The author examines some issues of the influence of Beethoven's work on Russian artists in various fields of art. Especially stands out the name of one of the leading representatives of the Soviet musical avant-garde of the XXth century, composer Gavriil Popov, who created "Heroic" and "Pastoral" symphonies, following in the steps of the outstanding German master and entering into a "dialogue at a distance" with him. Furthermore, the indirect parallels between Popov's work and Beethoven's art are considered. The article also touches on the role of Beethoven's "Moonlight Sonata" in the legendary film "Chapaev" by the Vasilyev brothers.

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La Rue, Jan. „Harmonic Rhythm in the Beethoven Symphonies“. Journal of Musicology 18, Nr. 2 (2001): 221–48. http://dx.doi.org/10.1525/jm.2001.18.2.221.

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Simonton, Dean Keith. „Drawing Inferences from Symphonic Programs: Musical Attributes versus Listener Attributions“. Music Perception 12, Nr. 3 (1995): 307–22. http://dx.doi.org/10.2307/40286186.

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In classical music listening, program announcements both on radio and in concerts will usually introduce the performance of a symphony with the same minimal articles of information, such as the composer, the order of composition, the key, and the name, if any. But how much can a listener infer about the musical attributes of the work from these basic facts? Examination of 99 symphonies by 13 symphonists between Beethoven and Shostakovich showed that such rudimentary programmatic data can predict several subjective and objective features, including aesthetic significance, listener accessibility, repertoire popularity, melodic originality, originality variation, and playing time. Discussion follows about what these empirical relationships may imply about how composers create their symphonies and how appreciators perceive those musical products.

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Chao, Wu. „LI DELUN’S ROLE IN THE PRESERVATION OF CHINESE ORCHESTRAS“. Arts education and science 2, Nr. 39 (2024): 77–85. http://dx.doi.org/10.36871/hon.202402077.

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Li Delun, an outstanding Chinese conductor, has made a huge contribution to the development and popularisation of Chinese symphonic music in Russia, Europe and the USA. Having received an excellent education at the Moscow Conservatory in the class of opera and symphony conducting, Li Delun has rightfully earned a place in the cohort of outstanding musicians of our time. In early 1956, Li Delun was commissioned by the Chinese political leadership to establish and lead the Central Orchestra. He formed the repertoire of the symphony orchestra, combining Western classics (symphonies by W. A. Mozart, L. Beethoven, R. Schumann) with new works by modern Chinese composers (Sytsong, Luo Zhongzhong). Li Delun considered his greatest achievement to be the Chinese premiere of J. Puccini’s opera “Madame Butterfly” (1958). However, this production, along with the performance of Beethoven’s Ninth Symphony during the celebration of the Xth anniversary of the People’s Republic of China in 1959, became increasingly dissonant with the tense political atmosphere. The article reveals Li Delun’s role in preserving symphonic music-making during the difficult period of the “cultural revolution” in China.

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Phillippo, Simon. „Symphonic Momentum and Post-tonal Dramas: Simpson's First Symphony“. Tempo, Nr. 209 (Juli 1999): 2–6. http://dx.doi.org/10.1017/s0040298200014613.

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Robert Simpson died on 21 November 1997, leaving behind him an impressive body of works. At its core are 11 symphonies and 15 string quartets; also three concertos, two string quintets, sonatas, some choral music, even some much admired pieces for brass band. While a thoroughly individual, music-as-process modernism imbues all he wrote, the prevailing image of Simpson is that of the conservative classicist, clinging to the apparent certainties of antiquated forms and diatonic tonality – a view that begins to some extent with the composer himself. He is widely known for his influential writings on Beethoven, Nielsen, and Bruckner among others; writings that, along the way, fiercely and polemically extol the enduring virtues of symphonic composition, manifestly swimming against the tide of contemporary music of the mid-century. Simpson's symphonism was always ideologically opposed to the post-war trends towards total mechanization, as much as to the experiments with extreme irrationality and chance in the 1960s.

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Bandy, Dorian. „Beethoven's Rhetoric of Embellishment“. 19th-Century Music 46, Nr. 2 (2022): 125–62. http://dx.doi.org/10.1525/ncm.2022.46.2.125.

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This article examines the communicative and interpretive significance of melodic embellishment in Beethoven's oeuvre, with a particular focus on multi-movement instrumental works from the period 1795–1824. Embellishment has received comparatively little attention in Beethoven studies; yet it formed a crucial part of his musicianship as both a performer and a composer. The article begins with a broad overview of Beethoven's embellishment practices, drawing examples primarily from his early piano trios and piano sonatas. It then goes on to examine a series of issues in more detail: first, the role of embellishments in the composition and performance of concertos (with a focus on the Piano Concertos Nos. 3–5); second, the role of embellishments in evoking musical character and expressive personae (with a focus on the Piano Sonata op. 31, no. 3, the Violin Sonata op. 30, no. 1, and the Cello Sonata op. 5, no. 1); and finally, the possibility of understanding embellishment as a musical topic in symphonic writing (with a focus on the slow movements of the Symphonies Nos. 4, 8, and 9). The article closes with reflections on the expressive function of embellishments in Beethoven's late style, arguing that melodic decorations, along with other rhetorical devices, provided a vehicle for the evocation of nostalgia and memory.

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Dissertationen zum Thema "Symphonies de Beethoven"

Liu, Hongye. „Interpréter les symphonies de Beethoven dans les transcriptions de Franz Liszt“. Electronic Thesis or Diss., Strasbourg, 2024. http://www.theses.fr/2024STRAC022.

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Les transcriptions des symphonies de Beethoven pour piano seul par Liszt sont considérées comme les transcriptions les plus proches de l'original. Liszt a nommé ces transcriptions « partition de piano », signifiant spécifiquement reproduire ainsi la résonance orchestrale au piano. Liszt a également encouragé les jeunes pianistes du conservatoire à apprendre ces transcriptions. Cependant, les recherches existantes se limitent à l'étude des sources historiques et à l'analyse sur les partitions, ignorant la description de Liszt quant aux effets sonores résultant de l'interprétation orchestrale sur la partition de piano et trahissent le manque d'étude sur la façon dont elles s’interprètent sur piano moderne. Notre recherche prend la performance de la résonance orchestrale au piano comme thème de recherche, à partir des contextes historiques, de la comparaison entre les partitions symphoniques et de leurs transcriptions et de la façon d'interpréter en imitant l'orchestre sur piano moderne. Notre étude comporte trois parties, l'objectif étant de clarifier le concept « partition de piano » et la véritable pensée de Liszt pour ces transcriptions et ainsi d'enrichir le jeu pianistique en imitant la résonance orchestrale à travers l'étude de ces transcriptions des symphonies de Beethoven par Liszt
Liszt 's transcriptions of Beethoven's symphonies for piano solo are considered the most faithful to the original works. Liszt named these transcriptions « partition de piano » (piano score), specifically referring to reproduction of orchestral resonance on the piano. Liszt also encouraged young pianists of conservatories to learn these transcriptions. However, existing research has been limited to the study of historical sources and score analysis, which overlooked Liszt's description of the orchestral sound effect from the piano score and lacked studies on how they should be performed on the modern piano. The principal theme of our research focuses on the orchestral resonance on the piano, consists of historical contexts, comparison of the symphonic scores with their piano transcriptions, and exploration of how to perform them on the modern piano. Our study is divided into three parts, aiming to clarify the concept of « partition de piano » (piano score) and Liszt's true thinkings behind these transcriptions, and to enrich piano playing by reproducing orchestral resonance through the study of these transcriptions of Beethoven's symphonies by Liszt

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Oechsle, Siegfried. „Symphonik nach Beethoven : Studien zu Schubert, Schumann, Mendelssohn und Gade /“. Kassel ; Basel ; London : Bärenreiter, 1992. http://catalogue.bnf.fr/ark:/12148/cb35531549h.

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Cobra, De Oliveira Maximianno. „Les symphonies de Ludwig van Beethoven : une étude analytique, critique et historique en vue d'une nouvelle édition“. Paris 4, 2000. http://www.theses.fr/1999PA040191.

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Ce travail se propose de mettre en évidence les matériaux, les principes et quelques-uns des choix essentiels que nous semblerait devoir assumer une véritable Edition critique des symphonies de Beethoven, titre auquel aucune des éditions actuelles, même les plus récentes, ne peuvent prétendre. Une première partie d'ordre historique énonce quelques éléments et principes essentiels d'une approche objective féconde de l'époque de Beethoven. Illustration de notre méthode et échantillon de ce que devrait à nos yeux inclure une future Edition critique intégrale des symphonies de Beethoven, la seconde partie présente une étude critique complète de la cinquième symphonie ; l'étude du quatrième mouvement de la IXème symphonie; enfin une étude des indications textuelles de Beethoven concernant la VIème symphonie. La troisième partie dresse l'inventaire des documents musicaux et biographiques. En abordant par ces prismes la problématique de l’édition musicale des œuvres de Beethoven, nous espérons pouvoir réunir les éléments nécessaires à l'établissement d'un outil de travail utile aux éditeurs scientifiques, afin qu'ils puissent prétendre établir un texte éditorial proche de celui qu'eut pu souhaiter Beethoven.

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Cummings, Ronn (Ronn Thomas). „Analysis of the Re-Orchestrations of Robert Schumann's Four Symphonies Employed by Felix Weingartner: With Four Recitals of Selected Works by Schumann, Beethoven, Tchaikovsky, Poulenc, Bizet, Rossini, and Chabrier“. Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc935814/.

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An analysis of re-orchestrations of Robert Schumann's four symphonies employed by conductor Felix Weingartner (1863-1942). The text includes a brief history of Schumann's orchestral writing career and an overview of Weingartner's life as a conductor. The bulk of the dissertation discusses actual changes suggested by Weingartner (with score examples). Patterns of modifications are identified and discussed as they relate to historically entrenched problems perceived with Schumann's originally employed practices of orchestration. The analysis focuses on overall patterns of alteration imposed by Weingartner and their perceived effectiveness in achieving a noticeably improved aural outcome.

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Wiegandt, Matthias. „Vergessene Symphonik ? : Studien zu Joachim Raff, Carl Reinecke und zum Problem der Epigonalität in der Musik /“. Sinzig : Studio, 1997. http://catalogue.bnf.fr/ark:/12148/cb39996115s.

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Parsons, James 1956. „Ode to the Ninth: the Poetic and Musical Tradition Behind the Finale of Beethoven's Choral Symphony“. Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc935728/.

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This study examines the finale of Beethoven's choral symphony and focuses on its inspirations and aims to invoke critical theories involving genre, namely genre's "horizon of expectation", and lead to an enriched perspective that points toward a number of compelling aspects of the Choral Finale overlooked by previous commentators.

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Eichhorn, Andreas. „Beethovens Neunte Symphonie : die Geschichte ihrer Aufführung und Rezeption /“. Kassel ; Basel ; London : Bärenreiter, 1993. http://catalogue.bnf.fr/ark:/12148/cb35641148f.

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Buch, Estebán. „La Neuvième symphonie de Beethoven et la construction de l'identité Européenne“. Paris, EHESS, 1997. http://www.theses.fr/1997EHESA011.

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Ce travail explore le statut symbolique de l'image et la musique de beethoven dans l'histoire politique de l'europe, jusqu'a l'adoption en 1985 de la melodie de l'ode a la joie comme hymne officiel de la communaute europeenne. Deux modes de constitution de l'imaginaire social par l'intermediaire de la musique sont notamment consideres : le mythe du heros-musicien d'une part, les genres des musiques politiques de l'autre, aussi bien que leur interaction paradigmatique dans le cas de beethoven et de sa reception. La recherche se developpe en trois moments. La premiere partie decrit la naissance de l'hymne national moderne, avec le god save the king, la marseillaise, et le gotti erhalte franz den kaiser de haydn, pour deboucher sur l'analyse des rapports de beethoven avec la musique d'etat al'epoque du congres de vienne, et du poids de cette experience sur la rhetorique musicale de la neuvieme symphonie. La deuxieme partie retrace le parcours du mythe romantique de beethoven, en s'arretant sur certains moments commemoratifs -l'erection de sa statue a bonn en 1845, le centenaire de 1927- qui concentrent la dimension politique de la production et reproduction du canon de la musique classique. La troisieme partie concerne le role de l'ode a la joie au sein des formations etatiques du xxe siecle, notamment en tant que symbole de l'"idee europeenne" a partir de l'hymne de pan-europe de 1929, incluant un chapitre sur son utilisation en 1974 comme hymne national de la rhodesie. Il s'agit en somme d'un travail interdisciplinaire qui peut etre decrit comme un chapitre d'histoire sociale de la musique ou comme une contribution a l'etude des symboles politiques. Les references bibliographiques - en francais, anglais et allemand - proviennent de la musicologie, de l'histoire et de la sociologie, sans oublier le recours a des sources documentaires inedites.

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Raab, Armin. „Werkidee und Klangvorstellung. Beethovens Staccato als editorisches Problem am Beispiel der Symphonie Nr. 1“. Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37112.

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Vial-Henninger, Mireille. „Essai de mythe-analyse du processus de création musicale : justification, méthode, application. Beethoven, la 23e sonate dite Appassionata (exposition) ; Berlioz, Episode de la vie d'un artiste : la Symphonie fantastique suivie de Lélio ou le retour à la vie“. Paris 4, 1996. http://www.theses.fr/1996PA040092.

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L'auteur essaie de faire apparaitre, à travers l'analyse de deux œuvres : l'exposition du 1er mouvement de la sonate Appassionata de L. Van Beethoven et La symphonie fantastique suivie de Lélio ou le retour à la vie de Berlioz, la fécondité et la fiabilité de ce qui pourrait devenir une nouvelle forme - ou application - d'analyse musicale. Son outil dominant est l'usage rationnel du raisonnement par analogie, appliqué à la logique du vivant, binaire et polarisée (sur le modèle du biologiste S. Lupasco), alliée au mythe. Cette approche n'envisage que l'œuvre musicale elle-même et non l'investigation dans la vie du compositeur comme pourrait le faire la psychanalyse. Par une voie sensiblement analogue - l'utilisation du mythe - elle parvient à l'explication des œuvres. Après une analyse musicale rigoureusement classique (factorielle, structurelle et dynamique) cet outil redonne leur sens aux structures et aspects remarquables mis en évidence. Il les coordonne et montre, par le parallèle avec le mythe, que le compositeur - consciemment ou non - suit un processus personnel de création qui s'inscrit dans le plan général du déroulement du mythe. Cet expose méthodique est né de la nécessité pédagogique d'expliquer rationnellement l'emploi d'un vocabulaire issu du sentiment. L'auteur serait satisfait de voir ce travail ne pas rester du domaine de la seule recherche et se diffuser vers l'enseignement
Through the analysis of two pieces - the exposition of the 1st movement of L. Van Beethoven’s sonata Appassionata, and Berlioz's Symphonie fantastique followed by Lelio ou le retour a la vie - the author tries to bring out the fertility and feasibility of what could become a new form (or application) of musical analysis. The author primarily uses a rational approach, reasoning through analogies applied to the logic of living things, binary and polarized (following the model of biologist S. Lupasco) linked to myth. This method only takes account of the musical piece itself and does not investigate the composers’ lives as a psychoanalytical approach could do. In a somewhat analogues fashion - the use of myth - the author is able to explain the pieces. Once analyzed in a strictly classical way (factorial, structural and dynamic), the use of myth not only gives meaning to the structures, but brings out remarkable aspects that demonstrate that the composer - be it consciously or not - has followed a personal creative process that inscribes itself in the general plan of the development of a myth. This methodical expose came about from the pedagogical necessity to explain rationally the use of vocabulary coming from sentiment. The author would be satisfied to see this work go beyond the field of research and into that of education

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Bücher zum Thema "Symphonies de Beethoven"

Simpson, Robert Wilfred Levick. Beethoven symphonies. [London]: Ariel Music, BBC publications, 1986., 1986.

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Simpson, Robert. Beethoven symphonies. London: Ariel Music, 1986.

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Berlioz, Hector. Textes sur les symphonies de Beethoven. Paris: Page après page, 2005.

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Beethoven, Ludwig van. Beethoven for all: Symphonies 1-9. London: Decca, 2012.

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Galla, Cesare. Le sinfonie di Beethoven. Vicenza: Accademia Olimpica, 1999.

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Beethoven, Ludwig van. Orchestral folio: Beethoven Symphonies 1-9 : flute. Corby, Northants, England: Fentone Music, 1990.

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1770-1827, Beethoven Ludwig van, Hrsg. Beethoven, Harnoncourt, 9 symphonies: The Chamber Orchestra of Europe. [Germany]: TELDEC, 1991.

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Rich, Alan. Ludwig van Beethoven: Play by play. San Francisco: HarperCollins, 1995.

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Beethoven, Ludwig van. Beethoven at bedtime: A gentle prelude to sleep. [Baarn, The Netherlands]: Philips, 1995.

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Brown, A. Peter. The first golden age of the Viennese symphony: Haydn, Mozart, Beethoven, and Schubert. Bloomington, Ind: Indiana University Press, 2002.

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Buchteile zum Thema "Symphonies de Beethoven"

Dorf, Samuel N., Heather MacLachlan und Julia Randel. „Beethoven’s Symphonies“. In Anthology to Accompany Gateways to Understanding Music, 125–43. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-29.

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Busch, Werner, und Martin Geck. „Moritz von Schwind Eine Symphonie 1852“. In Beethoven-Bilder, 49–63. Stuttgart: J.B. Metzler, 2019. http://dx.doi.org/10.1007/978-3-476-04972-8_5.

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Wegner, Sascha. „Pastoral-Sinfonie. Beethoven und der Gesang der Hirten“. In Symphonien aus dem Geiste der Vokalmusik, 41–84. Stuttgart: J.B. Metzler, 2018. http://dx.doi.org/10.1007/978-3-476-04616-1_2.

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Wegner, Sascha. „Neunte Symphonie. Beethovens Chorfinale zwischen Instrumental- und Vokalmusik“. In Symphonien aus dem Geiste der Vokalmusik, 85–184. Stuttgart: J.B. Metzler, 2018. http://dx.doi.org/10.1007/978-3-476-04616-1_3.

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Cooper, Barry. „Beethoven’s Unfinished Symphonies“. In Beethoven Studies 4, 44–81. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781108552813.004.

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Ferraguto, Mark. „Music for a Culture Hero“. In Beethoven 1806, 113–47. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190947187.003.0005.

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Beethoven’s Fourth Symphony has often been described as “Haydnesque.” But neither the extent of Haydn’s influence nor Beethoven’s motivations for emulating him has been carefully explored. In early 1806, publisher Breitkopf & Härtel began issuing the “London” Symphonies in full score, allowing many connoisseurs to study the works for the first time. Beethoven’s Fourth Symphony, composed that summer, bears numerous compositional affinities to these works (especially Nos. 99, 102, and 103). By turning to the “London” Symphonies for inspiration, Beethoven memorialized his former mentor while capitalizing on the Haydn mania that was sweeping theaters, concert halls, and the pages of journals like the Leipzig Allgemeine musikalische Zeitung.

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W. ADorno, Thedor. „Chapitre 8. Vers une analyse des symphonies *“. In Beethoven, 139–68. Éditions Rue d’Ulm, 2021. http://dx.doi.org/10.4000/books.editionsulm.3418.

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„Beethoven Symphonies: some supplementary remarks“. In Orchestral Masterpieces under the Microscope, 9–36. Boydell and Brewer, 2023. http://dx.doi.org/10.1515/9781800106611-003.

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Steinberg, Michael. „Beethoven“. In The Concerto, 52–91. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195103304.003.0005.

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Abstract The most recent research on this hard-to-pin-down concerto suggests that Beethoven wrote it in 1795 and played it in Vienna on 18 December that year at a concert organized by his teacher, Joseph Haydn, for the primary purpose of presenting three of the symphonies Haydn had composed for his recent visit to London. It is also likely that Beethoven considerably revised the work before its publication by the Viennese firm of T. Mollo & Co. in 1801. The dedication is to Princess Barbara Odescalchi, nee Countess Babette von Keglevics, a gifted amateur who took piano lessons from Beethoven; this Concerto is one of four piano compositions inscribed to her.

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„Beethoven and Steiner’s Plan“. In Beethoven's Symphonies Arranged for the Chamber, 116–52. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781108924207.005.

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Konferenzberichte zum Thema "Symphonies de Beethoven"

Siegert, Christine. „Komponisten-Gesamtausgaben im digitalen Zeitalter: Perspektiven und Reflexionen am Beispiel Ludwig van Beethovens“. In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.95.

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In the field of edition philology a diverse range of digital approaches is being put to the test. Taking Ludwig van Beethoven as a basis, this article demonstrates the limits of printed editions and presents preliminary considerations for a genuinely digital edition of his works. Various versions of the Ninth Symphony, the publisher Sigmund Anton Steiner’s publication concept for the Seventh and Eighth Symphonies and Wellingtons Sieg, which incorporated arrangements for highly diverse scorings, as well as the use of single numbers from the opera Fidelio in other music theatre works of the time, all serve as examples. The significance of metatexts and connections in terms of materiality are also discussed. Conceptional principles of such a Digital Beethoven Edition would include an inclusive approach allowing for multiple perspectives, which greatly expands both the number of sources on which an edition is based and the potential for insight, in contrast with traditional editions.

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