By Lewis Lockwood
An authoritative paintings supplying a clean examine Beethoven’s existence, profession, and milieu. “Magisterial” ―New York evaluate of Books.
This exceptional portrayal weaves Beethoven's musical and biographical tales into their ancient and inventive contexts. Lewis Lockwood sketches the turbulent own, historic, political, and cultural frameworks during which Beethoven labored and examines their results on his tune. "The result's that rarest of achievements, a profoundly humane paintings of scholarship that will―or no less than should―appeal to experts and generalists in equivalent measure" (Terry Teachout, Commentary). Finalist for the Pulitzer Prize. "Lewis Lockwood has written a biography of Beethoven within which the hours that Beethoven spent writing music―that is, his equipment of operating, his curiosity in modern and prior composers, the advance of his musical intentions and beliefs, his internal musical lifestyles, in short―have been adequately built-in with the exterior occasions of his profession. The booklet is invaluable." ―Charles Rosen "Lockwood writes with poetry and clarity―a infrequent mix. I in particular loved the relationship that he makes among the works of Beethoven and the social and political context in their creation―we think towards Beethoven the guy with no wasting our ask yourself at his genius." ―Emanuel Ax "The magnum opus of an illustrious Beethoven student. any longer, we'll all flip to Lockwood's Beethoven: The tune and the lifestyles for perception and instruction." ―Maynard Solomon "This is actually the Beethoven biography for the clever reader. Lewis Lockwood speaks in his preface of writing on Beethoven's works at 'a hugely available descriptive level.' yet he is going past that. His dialogue of the song, in accordance with a deep wisdom of its context and the composition techniques in the back of it, explains, elucidates, and isn't afraid to judge; whereas the biographical chapters, essentially and unfussily written, and taking complete account of the latest considering on Beethoven, align heavily with the musical dialogue. the result's a deeply perceptive publication that comes as shut as should be to offering the fellow and the track as a unity."―Stanley Sadie, editor, the recent Grove Dictionary of track and Musicians "Impressive for either its scholarship and its clean insights, this landmark work―fully obtainable to the amateur―immediately takes its position one of the crucial references in this composer and his music."―Bob Goldfarb, KUSC-FM 91.5 "Lockwood writes like an angel: lucid, enthusiastic, stirring and enlightening. Beethoven has discovered his ablest interpreter."―Jonathan Keates, The Spectator "There isn't any higher survey of Beethoven's compositions for a large audience."―Michael Kimmelman, the recent York instances booklet overview 50 illustrations
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Additional resources for Beethoven: the Music and the Life
Forkel machte aus seiner Aversion gegen das vermeintlich unvollkommene Friihwerk Bachs keinen Hehl. 1st aber in dieser Beschreibung vom wilden Tastendriicker ein Genie am Werk? »Das Genie ist ein reines Geschenk der Natur« - so die Definition in einer Enzyklopadie von 1757. DaIS diese Vorstellung von Begabung durchaus im Sinne Bachs gewesen sein mag, diirfte ein Hinweis seines Sohnes Carl Philipp Emanuel belegen. Ober den Lehrer Bach heWt es da: 4. BACH, EIN GENIE? »Was die Er£indung der Gedancken betrifft, so forderte er gleich anfangs die Fiihigkeit darzu, u.
Carl Heinrich Bitter etwa sah mit Johann Sebastian -leicht philosophisch angehaucht gleich den »Lebenszweck« des gesamten Geschlechts in die Erscheinung treten. « In dieser teleologischen Vorstellung ist Johann Sebastian Ziel- und Endpunkt der gesamten Dynastie. Bach selbst referierte seine Vita im »Ursprung« zwar etwas ausfiihrlicher als die Lebensliiufe seiner Verwandten, doch Ziel der Ahnentafel war es weniger, die eigene Herkunft individuell zu legitimieren, als vielmehr kollektiv zu erfassen.
BACH, EIN GENIE? Taufeintrag Johann Sebastian Bachs im Kirchenbuch zu St. Georg in Eisenach, 23. Marz 1685. den in so unterschiedlichen Familien sozialisiert wurden. Beide niimlich hatten auf ihrem Weg zum Olymp Widerstiinde zu iiberwinden. Der eifrige Johann Sebastian 5011 - so will es die bereits erwiihnte Geschichte im Nekrolog - des Nachts mit seinen kleinen Hiinden vorenthaltene Noten aus einem Gitterschrank entwendet und beim Mondlicht zum Schaden seiner Augen abgeschrieben haben. Auch der kleine Georg Friedrich dachte nachts scheinbar nur an die Musik.