Classical symphonies are often considered as works for full orchestra, demanding fidelity to the composers' orchestral scores in performance, listening and study. This book resituates the cultural context, uncovering a largely untapped wealth of early nineteenth-century domestic music-making and chamber ensemble arrangements of Beethoven's works.
Classical symphonies are often considered as works for full orchestra, demanding fidelity to the composers' orchestral scores in performance, listening and study. This book resituates the cultural context, uncovering a largely untapped wealth of early nineteenth-century domestic music-making and chamber ensemble arrangements of Beethoven's works.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Nancy November is Associate Professor in musicology at the University of Auckland. Recent publications include Beethoven's Theatrical Quartets: Opp. 59, 74, and 95 (2013); a three-volume set of fifteen string quartets by Beethoven's contemporary Emmanuel Aloys Förster (2016); Cultivating String Quartets in Beethoven's Vienna (Boydell Press, 2017) and the Cambridge Companion to the Eroica Symphony (Cambridge, 2020). She is the recipient of a Humboldt Fellowship; and two Marsden Grants from the New Zealand Royal Society.
Inhaltsangabe
Introduction 1. 'A fruitful age of arrangements' 2. Arrangers and authority 3. Selling arrangements, constructing the canon 4. Beethoven and Steiner's plan 5. Musical arrangements and musical works 6. 'Completely absorbed by the piano'.
Introduction 1. 'A fruitful age of arrangements' 2. Arrangers and authority 3. Selling arrangements, constructing the canon 4. Beethoven and Steiner's plan 5. Musical arrangements and musical works 6. 'Completely absorbed by the piano'.
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