Reviews (1)

Immersed in the Austria of Beethoven's time.
The great advantage I find in Marek's book is his effort to give the reader a feel for the era in which Beethoven lived. In the foreward of the book Marek says he sees Beethoven not as an isolated phenomenon but "as a man who grew from the soil of his times and stood deep in the cultural, political, and social streams that swirled around him." Marek takes the time to explore these streams, as when for instance he devotes the first two chapters to review the shifts in philosophy, science, art in general and music in particular - in Europe overall, then focusing on Bonn, birthplace of the composer. He describes the streets of Bonn, the Electoral Palace and its household, the personalities of the various Electors who employed not only Beethoven but his father and grandfather before him. Later, a whole chapter is given to discuss the transition of the arts from the Classical to the Romantic period. And he paints verbal portraits of many figures acquainted with Beethoven, such as Goethe and Napoleon, Maazel and Count Rasoumovsky.

As one example, we learn early on in a quote by Kapellmeister Ignaz von Seyfried that Beethoven "was as much at home in Rasoumovsky's palace as a hen in her coop." How sad then to learn that in 1816, Rasoumovsky - shortly after being elevated from Count to Prince - gave a gala event at which a fire broke out, destroying much of his palace including its library and tapestries, and causing the roof to collapse onto his collection of sculptures. After this, Marek relates, Rasoumovsky went into a decline in which he "existed rather than lived." Now, one does not need to know this in order to appreciate the set of quartets that Beethoven had dedicated to this patron, but I for one am glad to know of it nonetheless.

All this background is in addition to, not in place of, the details of Beethoven's life, all presented in an extremely readable style without in any way "writing down" to the reader. Quoted are many of the composer's contemporaries and letters, as well as Thayer's classic "Life of Beethoven". As one example of the effort that went into this book, a team of researchers in Vienna searched - among many other things - the Vienna newspaper files dating between 1793 and 1827.

Note well -- this book is not the place to look for extensive discussion of the music itself. Of this Marek gives fair warning in his statement: "I would like to emphasize that this book is about the man, not about the music." You will, however, find plenty of details on the performances, the successes and failures, of Beethoven's resulting delight or rage.

So, if you like the idea of following Beethoven's life while being more or less immersed in the Austria of two centuries ago, this biography is a wonderful place to begin.

In this handsome book (my copy is of the original Funk & Wagnalls' edition) there are extensive illustrations, all save one in black-and-white.

A little on the author. George R. Marek was born in Vienna and often attended performances of the Vienna State Opera. At the age of 17, he came to the USA, where in the 1950's he headed RCA's Red Seal division, later becoming V.P. and General Manager of the Record Division. He worked with a number of top classical recording artists of the time, such as Toscanini and Artur Rubinstein. ... Read more

Reviews (2)

Don't believe everything you read :)
Just scanning the synopsis of this book is quite distressful. I am hoping that the book does not say something as completely wrong as "his sudden deafness at age 26." That is completely false. I am not sure about this book, but I would highly recommend Maynard Solomon's "Beethoven" It is a careful and thoughtful analysis of the man and the musician.

excellent
This is a great book about a great man, Ludwig van Beethoven. Each page has many fine photographs; most in color. It is a very well-written book which will not disappoint. In addition, the quality and feel of the paper is tops. It is nice to have color portraits of people such as Beethoven's grandfather and other members of his family, as well as Antonio Salieri, Haydn, Kreutzer, Clementi, and many of his benefactors and other personal friends, not to mention street scenes, scenes of Beethoven playing the piano as a mesmerized audience looks on, scenes of Fidelio, etc. No one who buys this book can be bored by it or have buyer's remorse.

The reader is transported back to the the late 18th and early 19th century. One thing I liked was finding out what Beethoven was doing at the precise time he wrote a certain work. In the book, Ferdinand Ries (a friend and composer) points out that Beethoven had been humming out loud during a walk in the woods. When he returned, he put to paper the 3rd movement of the famous Appassionata sonata.

This book gets an A plus. ... Read more

Book Description

Book Description

A fresh look at Beethoven's life, career, and milieu highlighting his development as a composer.

In this brilliant portrayal of the world's most famous composer, eminent Beethoven scholar Lewis Lockwood interweaves his subject's musical and biographical dimensions and places them in their historical and artistic contexts. Written for the lay reader, the book describes the special problems Beethoven faced as a highly gifted artist who fulfilled his destiny as Mozart's main successor while remaining a true, rebellious original. It sketches the turbulent personal, historical, political, and cultural frameworks in which Beethoven worked and demonstrates their effects on his music. Finally, it turns to the composer in his last years, with great achievements behind him, surmounting the crisis of finding still further artistic paths by which to continue. Also, by providing glimpses into the composer's sketchbooks and autograph manuscripts, Lockwood allows us to gain substantial insights into Beethoven's compositional methods.

In a publishing first, musically literate readers will find some one hundred notated music examples on a special Web site. 50 illustrations, 8 music examples. ... Read more

Reviews (5)

Paperback Edition Forthcoming...
Checking on Amazon today for this book revealed that a paperback edition is forthcoming. One of the criticisms of the hardcover edition is that the musical examples are available only through a web site. Also, reviewers have said that the binding of the hardcover edition is poor. (Check recent editions of the Beethoven Journal for that review.)

Personally, I am waiting for the paperback.

Lockwood's Beethoven
Lewis Lockwood's "Beethoven: the Music and the Life" (2003)is an outstanding introduction to Beethoven, aimed at the nonspecialist rather than the scholar. Those readers who are new to Beethoven's music will find this book a guide to his major work. Readers familiar with Beethoven's music and life will find much to learn and enjoy as well. I found this a book to be savored. Reading the book, I think, will encourage the reader to explore further the inexhaustible richness of Beethoven's music.

Lookwood concentrates on Beethoven's compositions and on their historical and musical contexts. He does not offer a full biography of Beethoven but rather offers only sufficient broad outline of Beethoven's life to give a sense of the composer and to allow the reader to reflect upon the relationship between the life of Beethoven and his music. Lookwood himself has some interesting things to say on various views of this relationship. (pp 17-21)

Lockwood sees Mozart and Bach as Beethoven's primary musical influences. As a young composer, Beethoven both set out to learn from Mozart without becoming an imitator. His early works are greatly influence by Mozart, Lockwood argues, until Beethoven breaks away and finds his own voice in what Lockwood terms Beethoven's second maturity. As Beethoven continued to compose, his work becomes more influenced by the counterpoint of Bach. (Beethoven had played Bach's "well-tempered clavier" as a boy of twelve.) Bach's influence becomes increasingly apparent in the close-textured and fugal works of Beethoven's third maturity.

Lockwood basically organizes his book in terms of what he describes as Beethoven's first, second and third maturities of musical development. In each case, he begins with brief details of Beethoven's life, followed by a substantial overview of Beethoven's work and influences in each period, followed by a description of some of the major individual works of the period. For the period of Beethoven's first maturity, Lockwood finds the apex of Beethovens' work in the six opus 18 string quartets.

For Beethoven's first and third maturity Loockwood approaches the works chronologically. Interestingly, for the second maturity, Lockwood organizes Beethoven's work by type: the symphonies, concertos, piano sonatas, string quartets, etc, to account for Beethoven's tendency during this time to work on many various compositions simultaneously.

Some of the individual works receive little discussion in Lockwood's approach, but this is more than balanced by his excellent overviews of Beethoven's varying styles. Of the early and middle maturity works, Lockwood discusses well Beethoven's third through eighth symphonies, particularly the Eroica. But he does not see Beethoven's work at this time as predominantly "heroic" in tone. Unlike some writers, Lockwood gives good attention to Beethoven's lyrical, melodic, and reflective writing during his second maturity as exemplified by the even-numbered symphonies and by works such as the violin concerto and the cello sonata in A, opus 69. Loockwood emphasies as well the lyrical aspect of Beethoven's writing in his detailed consideration of Beethoven's song-cycle "An Die Ferne Geliebte" (to the distant beloved), opus. 98 (pp.344-46)and in his discussion of Beethoven's songs. (pp 274-279).

The compositions of Beethoven's third maturity receive the most individualized and detailed attention in this book. Lookwood considers at some length the Hammerklavier piano sonata and the opus 101 piano sonata (somewhat less attention is given to the final three sonatas), the Missa Solemnis, Diabelli variations, and to each of the five final string quartets and to the great fugue. Lockwood clearly loves this difficult music and impresses its character well upon the reader. But he gives his fullest discussion to Beethoven's Ninth Symphony. Lookwood gives a detailed musical discussion of each of the four movements of this work, not merely its choral finale which sets Schiller's "Ode to Joy"; and he places the work well in its historical situation. He admirably rejects the attempts in some modern writers to policticize or deconstruct this great symphony.

In the Ninth, Lockwood shows, Beethoven combined two tendencies which tend to separate in some of his works: his tendency to write works to appeal to a large public on the one hand, and his tendency to write artistically elevated and striving works on the other hand. Lockwood's treatment of the Ninth is one of the highlights of his book.

Lockwood has written a basic book, but probably the best overall book that will increase the reader's understanding of Beethoven and his music. May this book lead its readers to explore and to deepen their appreciation of Beethoven's great music

A treasure
Two other readers have reviewed this, the first complains that biographical details are subordinated to discussion of the music and also that not all the music is discussed in depth (this would take a multivolume set). The second says that musicians will find nothing new here, but if you are not a professional musician but a layman deeply interested in music, you'll treasure the musical analysis and suggestions for illuminating comparisons between works. The biographical details have been covered amply many times over, not just in Solomon, and they are treated adequately and sensibly here, I think.

Some excellent sections but uneven in scope and content
This is a curious book. First, it leaves most of the biographical details (and psychoanalysis) to others, notably Maynard Solomon. This disappointed me, since I think some of Solomon's occasionally reductionist interpretations of Beethoven's behaviour, motivation, etc. could and should be challenged. Given that the composer had such a difficult life, fraught with political, financial and family instability as well as illness and disability, it is very important to understand more about this man of such intense and resolute character in order to more fully appreciate his music.

Second, while Lockwood's concentration on the music is interesting and sometimes insightful, it is at times difficult to understand for those without more than a passing knowledge of music theory. Furthermore, Lockwood's analysis is uneven. Some compositions such as the Missa Solemnis, Ninth Symphony and late quartets get substantial coverage, much of it remarkably good at dismissing historical criticism that has mistakenly assigned various political, sexual and other interpretations while more or less ignoring the music itself. Unfortunately, Lockwood does not give the same attention to other major compositions--the five piano concertos and the Violin Concerto among them. This also disappointed me. Given Lockwood's thought-provoking and balanced approach to the later works, it was too bad that he gave other major works more superficial or cursory treatment.

Nonetheless, this book is worth reading. Having read numerous books about Beethoven, I have come to the conclusion that no single book could possibly do justice to this complex and fascinating man and the incredible music he produced.

So what's new?
A well researched and well written book, but musicians will find nothing new here. ... Read more

Book Description

Few composers even begin to approach Beethoven's pervasive presence in modern Western culture, from the concert hall to the comic strip. Edited by a cultural historian and a music theorist, Beethoven and His World gathers eminent scholars from several disciplines who collectively speak to the range of Beethoven's importance and of our perennial fascination with him.

The contributors address Beethoven's musical works and their cultural contexts. Reinhold Brinkmann explores the post-revolutionary context of Beethoven's "Eroica" Symphony, while Lewis Lockwood establishes a typology of heroism in works like Fidelio. Elaine Sisman, Nicholas Marston, and Glenn Stanley discuss issues of temporality, memory, and voice in works at the threshold of Beethoven's late style, such as An die Ferne Geliebte, the Cello Sonata op. 102, no. 1, and the somewhat later Piano Sonata op. 109. Peering behind the scenes into Beethoven's workshop, Tilman Skowroneck explains how the young Beethoven chose his pianos, and William Kinderman shows Beethoven in the process of sketching and revising his compositions.

The volume concludes with four essays engaging the broader question of reception of Beethoven's impact on his world and ours. Christopher Gibbs' study of Beethoven's funeral and its aftermath features documentary material appearing in English for the first time; art historian Alessandra Comini offers an illustrated discussion of Beethoven's ubiquitous and iconic frown; Sanna Pederson takes up the theme of masculinity in critical representations of Beethoven; and Leon Botstein examines the aesthetics and politics of hearing extramusical narratives and plots in Beethoven's music.

Bringing together varied and fresh approaches to the West's most celebrated composer, this collection of essays provides music lovers with an enriched understanding of Beethoven--as man, musician, and phenomenon. ... Read more

Reviews (1)

Engaging essays about a complex man
Given the range and breadth of Western music, it is astonishing how often we fall back on the work of this German dude from the late 18th, early 19th century. Many people who find Western art music a snore have Beethoven records in their collection, and the complex mythology that has grown up around the composer and his works barely accounts for how often his works are played. This book, which grew out of a festival of Beethoven's works, provides some really fascinating material. My three favorite essays explored Beethoven and the concept of masculinity (he's typically considered a "masculine" composer for complex reasons), the reason for Beethoven's "scowl" (I won't give it away, but it's amazing), and a long thoughtful reflection on how Beethoven's image was shaped by his death in Vienna, and the public response to that event. If you want a standard bio of LvB, there are plenty of good ones out there. These essays give some non-standard perspectives on the most revered composer in Western culture, and may help you understand why people feel that way about him. ... Read more

Reviews (1)

An entertaining juvenile biography of the great Ludwig Van
Mike Venezia's Getting to Know the World's Greatest Composers series tends to focus on biographies rather than music appreciation because unlike his companion series on the World's Greatest Artists you cannot include a sonata the way you can a reproduction of a painting. However, for Ludwig Van Beethoven the author/illustrator makes an exception. This volume begins with an appreciation for how Beethoven changed the sound of music (no more party music). Within that context Venezia provides the expected biography, complete with historic ethics and paintings as well as those funny cartoons; just think Beethoven as the Liberace (if you are over 50) or Elton John (if you are under 50) of his day. There is also a photograph of his eyeglasses and metal ear trumpets. However, Venezia only mentions a handful of specific works by Beethoven, touching on how the 3rd symphony represented Napoleon, the four-note theme of the 5th Symphony, and going into some depth on the 6th Pastoral Symphony (but no mention of the glorious 9th Symphony or his other masterworks). Still, I appreciate the attempt to get more into Beethoven's music than he has done in other volumes of this series, which covers not only the great classic composers like Handel and Mozart, but also contemporary composers from Aaron Copland and George Gerswhin to Duke Ellington and the Beatles. As always, the recommendation is for young readers to have listened to some of Beethoven's masterpieces before, during and after reading this engaging juvenile biography and mini-music appreciation lesson. ... Read more

Reviews (2)

A New Study of Beethoven
The work of great artists is inexhaustible. In Beethoven's case, his music remains a stunning achievement. His achievement as a composer, together with the nature of his character, his deafness, his thwarted love affairs, and his relationships to his musical predecessors and successors, has led to a fascination with him and to a literature that is likely to be written and rewritten as long as people listen to his music. As is Beethoven's music, and is is history, Beethoven's life and character, and the means by which one is to understand them, are open to a multitude of approaches.

In his Preface, Cooper writes (at x) that "surprisingly little is known for certain about Beethoven." He points out that some studies, such as Maynard Solomon's fine biography that appeared shortly before Cooper's own, featured a psychoanalytical approach to Beethoven that attempted a fuller explanation of Beethoven's character than those that had been attempted by other writers at the cost of questionable psychological theory and speculation in the face of a scarcity of evidence. Cooper endeavors to write a biography that holds closer to the known facts about Beethoven's life and to emphasize those facts that may shed life on his activities as a composer.

Cooper also spends a great deal of his book analysing the music itself. There are lengthy accounts of the origins of the symphonies, concertos, quartets, sonatas,songs, masses, of Fidelio, of the folksongs and other parts of Beethoven's output. There are generous musical analyses and quotations. I was particularly impressed with Cooper's attention to some of Beethoven's work that is not as well known as it deserves to be, such as the Opus 7 piano sonata, the Creatures of Prometheus Ballet, and the oratorio, Christ on the Mount of Olives. These works are analyzed insightfully and lovingly.

As Cooper acknowledges, his study is perhaps less detailed than is Solomon's on Beethoven's life. His book does, however, offer its own perspective on Beethoven. Broadly speaking, Cooper is more sympathetic to certain aspects of Beethoven's actions than has been the case with many other writers. Unlike Solomon, Cooper takes Beethoven's side, for the most, part, in his dispute with his sister-in-law over the custody of Karl, Beethoven's nephew. Also, he disputes Solomon's account that Beethoven frequented prostitutes. In both these matters, I am not sure that Cooper has the better of the evidence. The portrayal endeavors to see Beethoven favorably without making him something different than a human being with fallibilities.

I also found interesting Cooper's discussion of Beethoven's religious views. Beethoven's views on such matters, as is the case with the views of any thinking person on these matters, were highly personal and difficult for a third party, such as a biographer writing 250 years after the fact, to ascertain and expound. Cooper acknowledges that Beethoven was not for most of his life a practicing Christian but finds him a devout believer in God as the source of human morality. Solomon's account emphasizes more Beethoven's predilection towards the Enlightenment. A difficult question, and I suspect that Beethoven had components of both views in him.

Too many recent biographers feel a need to deprecate their subjects. This is definitely not Cooper's approach to Beethoven. (For that matter, it was not Solomon's approach either.) Cooper writes of Beethoven that "despite much sniping from twentieth-century critics, his reputation as a giant among composers remains intact as we enter the twenty-first century." (Preface x)

This book is not hero-worship but it presents an inspiring and historically plausible account of a composer and a man who is worthy to be revered for his vision, attainments and character. This book will be treasured by those who love Beethoven's music. May it encourage the reader to become acquainted or reaquainted with these works of the human spirit.

Filling a gap
As a Beethoven fan I was initially attracted to the cover of this book, until I discovered its contents. The amount and quality of information is outstanding and Barry Cooper doesn't spare any words to guide us through the life, creative process and personality of this incredible composer. In a nutshell, a book not to be missed by any classical music enthusiast. ... Read more

Book Description

Wonderfully intimate biography by Beethoven’s pupil, secretary and factotum. Extensively annotated by Beethoven scholar Donald MacArdle, it not only offers Schindler’s personal view of the composer’s music, personality, deafness, irascible behavior, etc.—but incorporates 100 years of subsequentresearch. Revised third edition. Editor’s Notes. Introduction. 7 illustrations.
... Read more

Reviews (1)

Beethoven as Schindler Knew Him
Schindler met Beethoven in 1814, when Beethoven was 44 and the author was an impressionable 19 year old. Schindler became an almost constant companion of the composer, and was witness to a number of fascinating occurrences that no other biographer, such as Ries, had access to. Schindler gives us examples of Beethoven's strongly emotional nature, in such a way that I felt I could have recognized the composer should I have passed by him on abusy street. Inclusion of this information is what made this biography most appealing to me. One of my favourite sections is an appendix entitled "Beethoven's Daily Routine" which describes, among other things, how Beethoven would count out 60 beans for his cup of coffee.

However, Schindler is not a transparent witness. Rather, he feels compelled to "protect" Beethoven from "his many enemies", for whom there is no historical basis. A sense of Schindler acting as guardian comes through strongly in the writing. The most striking example of this attitude is Schindler's description of the meeting between Beethoven and Rossini, a meeting which historically never took place!

Fortunately, this excellent Dover edition is thoroughly annotated - there are as many editor's notes as there are pages in the text! I recommend this book to anyone who is interested in reading a contemporary account of the life of the great composer, and who would enjoy witnessing the profound effect that he had on at least one of his associates. ... Read more

Download Description

My miserable hearing does not trouble me here. In the country it seems as if every tree said to me: 'Holy! holy!' Who can give complete expression to the ecstasy of the woods ! O, the sweet stillness of the woods! ... Read more

Reviews (1)

Interesting but ultimately not very revealing
This nice little book presents us with a collection of writings on Beethoven by Beethoven's contemporaries. Among these one finds prominent musicians such as C.M.v. Weber, Gioacchino Rossini and even the very young Franz Liszt, great performers, close friends (e.g. Ferdinand Ries) and short-term visitors. Some of the encounters are well documented, whether some are somewhat controversial - such as the encounters with Bettina Brentano-von Arnim (as described in her letters to Goethe). Some of the material in this book is directly taken from Thayer's, and some of it from other sources. The documents shed light on the "visible" aspects of Beethoven the man, the composer and the performer. The writing, of course, is very subjective, however there's enough material through which one can construct a (very partial) view of Beethoven's personality. What one can not find in this book is a window to the mind of the creative genius that Beethoven was. Yes, some evidence is given as to the practical aspects of his writing - the famous notebook and the walks in the woods and so on, but for all the information given by these observers - the great riddle of how does the creative mind transform scattered musical ideas into a masterpiece - well, that will remain a mistery. Nevertheless - there's enough interesting information (in addition to the repetitive descriptions of the messy room and the harsh manners etc.) to make this book a reccomendable addendum to the library of whoever is interested in Beethoven and his work. ... Read more

Amazon.com

A well-publicized 1994 Sotheby's auction listed, among other musical artifacts and ephemera on the block, a lock of Beethoven's hair. The high-bidders of the hair, two Beethoven enthusiasts, were easy enough to identify by their oddball names: one was a doctor named Che Guevara, the other a retired real estate developer named Ira Brilliant. But the real story, as author Russell Martin attempts to explain in this book, is how did the lock end up on the auction block?More important, can we learn anything from a 175-year-old snippet of hair? Somehow, author Russell Martin attempts to weave biographical information about Beethoven's life with scientific findings about his hair (the two buyers had the lock DNA-tested), as well as trace the path the hair took, from the great composer's head right into the present.

It's a tall order and one at which Martin partially succeeds. His facts about Beethoven and Ferdinand Hiller (the original keeper of the lock) are solid, but he hypothesizes at length about how the hair ended up in a small port town in Denmark during the Nazi occupation. Likewise, he spends nearly the entire second half of the book describing the lives of Guevara and Brilliant, occasionally sounding more like a press agent than a journalist. Subtitled "An Extraordinary Historical Odyssey and a Musical Mystery Solved," Beethoven's Hair doesn't truly solve any musical mysteries, but it is a fascinating, original read for Beethoven-philes who want to learn a little bit more about their favorite composer. --Jason Verlinde ... Read more

Reviews (34)

Not conclusive
Regardless of whether you are a classical music fan or not, Russell Martin's Beethoven's Hair, is a captivating mixture of biography, history, and modern-day scientific investigation.

When musician/composer Johann Nepomuk Hummel heard his good friend, Ludwig Van Beethoven, was near death in 1827, he journeyed from Germany to Vienna to say his farewell. In tow was his most talented student, fifteen-year-old Ferdinand Hiller. Hummel and Hiller visited the dying genius many times during his last two months. Upon viewing the body, Hiller asks, and receives permission, from Hummel to snip a locket of the graying-brown hair as a keepsake. It becomes the boy's most prized treasure. He has it mounted in an oval locket, and it becomes a family heirloom for the next 100 years.

After World War II, the locket turns up in Denmark, the custody of a doctor who helped hide, and maybe treat, Jews escaping Hitler's wrath. How and why the locket gets to Denmark and into Kay Fremming's possession can only be theorized. Martin does an excellent job in putting the facts he has been able to gather into a compelling and interesting tale.

In 1994 the locket came up for auction at Sotheby's. Ira Brilliant and Che Guevara (not the Argentine radical), both Beethoven zealots, purchase the locket and begin to institute a series of 20th-century scientific tests that ultimately reveals more about the physical deficiencies of the musical genius.

Beethoven's Hair is a written in an interesting style, alternating Beethoven's biography and the history of the locket with its sale and decision to perform scientific studies of the 500-odd strands of hair. The story of Beethoven's life and the history of the locket are intertwined and often confusing.... especially when Martin only refers to other musical legends (Bhrams, Hayden, Mozart, etc) without completely defining their relationship with Beethoven. The journey of the locket is the most fascinating part of the book. The tests performed upon the hairs and the creation of a Beethoven center at San Jose State University in California are a little dry, but well worth the time to read. I came away from Beethoven's Hair glad I had learned new information about the great man, intrigued by modern science, and totally captivated by the locket's 170-year journey.

A beguiling mystery; a celebration of artistic achievement!
In 1827, 17 year old music student Ferdinand Hiller visited Beethoven, accompanied by his piano instructor. The day after the master's death, young Hiller was permitted to take a lock of Beethoven's hair as a memento of the great man. Hiller went on achieve fame as a virtuoso pianist and music director in Cologne, Germany. At his death, he bequeathed Beethoven's hair to one of his sons. What happened from there is a beguiling mystery. How did it manage to turn up in the estate of a Danish doctor who had helped Jews escape from Nazi-occupied Denmark to Sweden?

In my opinion, Russell Martin has done a masterful job of interweaving the story of this locket of Beethoven's hair with biographies of those we know who had come in contact with it, accompanied by relevant facts concerning musical history, politics, medicine and forensic science. This is a book that will inform you and stir your imagination. More importantly, it will enable you to enjoy the fellowship of people from all walks of life who love music in general and Beethoven's masterpieces in particular.

Ode to Boredom
As a Beethoven enthusiast and musician, I eagerly bought this book and thought that I wouldn't be able to put it down. Unfortunately, I put it down many times...and put it down about 3/4 of the way through and haven't picked it back up since. Its not as much about Beethoven as it is a flowery excursion into what might have happened with people who might have come into contact with the lock of his hair. It is all speculation and lots of back story, which drowns any seed of interest I had in it.

Interesting Story In Bloated Form
It is impossible to damage this book. That's because it has so much padding it probably could survive any shock.Initially you are expecting to read a story about how a lock of Beethoven's hair snipped by a 17 year old Ferdinand Hiller (the later composer) wound up by various means in the U.S. 200 years later. That interesting story could be told in about half the space taken up in this book.
Beethoven dies, the hair is snipped and then we get a mini biography of Ferdinand Hiller. Beethoven is next ressurected and we get a chapter of his first decade in Vienna with much repetition. Don't worry you'll get the rest of his life a chapter here and there. Then Hiller dies and we get his obituary which retells what we got two chapters back. You get the idea. Every now and then something else about the hair and later chapters about the 2 guys who bought the lock at auction.
What this book sorely needed was an editor to organize it and cut out the repetitions, paragraphs entirely made up of questions(most of which had already been answered) and unsupported speculation. When I tried to check the bibliography to find out where some of this stuff came from I was some how not surprised that there was none. Here is a case of a book that will probably work better in a Reader's Digest condensed version.

not worth 5 dollars
well i assumed that this book would be crap seeing as it is about beethoven's hair. however i read it in hopes that it would be about beethoven. it is not, it is about the nazis. honestly you read the book and it starts off with beethoven, then a name gets dropped of some famous composer or related family memeber. And in a matter of sentences you go from the death of beethoven to the rescuing of jews from denmark? what? yeah. its basically a 288 page ramble. However within those pages there are a few good quotes and some worthy information. Like someone said "who doesn't love beethoven," we all love his music and have a strong appreciation for him, but if i were you, i'd save your five dollars and buy some ice cream or something. ... Read more

Book Description

In a series of powerful strokes, the music of Beethoven's last years redefined his legacy and enlarged the realm of experience accessible to the creative imagination. Maynard Solomon's Late Beethoven investigates the phenomenon of the final phase, focusing especially on the striking metamorphosis in Beethoven's system of beliefs that began early in his fifth decade and eventually amounted to a sweeping realignment of his views of nature, antiquity, divinity, and human purpose. Using the composer's letters, diaries, and conversation books, Solomon traces Beethoven's attraction to a constellation of heterogeneous ideas, drawn from Romanticism, Freemasonry, comparative religion, Eastern initiatory ritual, Mediterranean mythology, aesthetics, and classical and contemporary thought. Through these often arcane sources, Beethoven gained access to a vast reservoir of imagery and ideas with the potential to expand music's expressive and communicative reach. This "multitude of productive images," writes Solomon, "provided kindling for the blaze of his imagination." Late Beethoven is a rich tapestry of original perspectives on Beethoven's music. Solomon sees the Seventh Symphony as a deployment of the rhythms of antiquity in an effort to revalidate the premises of the Classical world; the Ninth as an essay on the prospects and limits of affirmative, monumental endings; and the "Diabelli" Variations as a doorway to the universe of metaphoric significances that attach to beginnings. In the Violin Sonata in G, op. 96, Solomon finds a restoration of the full range of pastoral experience that the ancient poets had known. In the Grosse Fuge he locates issues of fragmentation and reassembly, and he suggests that pivotal passages of the last sonatas evoke sacred states of being. These stimulating perspectives illuminate the inner world within which Beethoven dwelled during his last fifteen years and the ways in which his thought and music may be interrelated. Written in accessible and eloquent prose, and with numerous music examples, Late Beethoven is a serious contribution to understanding this miraculous quantum leap in Beethoven's creative evolution. Illustrations: 5 figures, 61 music examples ... Read more

Reviews (1)

Solomon on Late Beethoven
Maynard Solomon has followed-up his distinguished biography of Beethoven (rev.ed. 1998)with an outstanding study of the music of Beethoven's third period and of the intellectual and emotional changes in Beethoven's outlook that likely contributed to Beethoven's late masterworks. These works include the Ninth Symphony, the Missa Solemnis, the Diabelli Variations, the final string quartets, including the great fugue, and the final five piano sonatas.

Solomon's biography of Beethoven was both notable and controversial for its psychoanalytical approach. I find that approach mostly lacking here. For his approach to Beethoven's inner life and development, Solomon draws extensively on Beethoven's Tagebuch, which Solomon describes as "the intimate diary [Beethoven] kept between 1812 and 1818 to which he confided his innmost feelings and desires" (p.2). Solomon finds a "sea change" (as he titles his Prologue) in Beethoven's system of belief beginning in about 1810. Following Beethoven's comparatively fallow period as a composer between 1812-1816, this change in Beethoven's beliefs bore its consequences in the works of his final maturity. In general, Solomon finds Beethoven's beliefs changed from the rational, enlightment, classical thought that characterized, for Solomon, the first and second period works, to a more romantic belief system that focused on inwardness, theology, (I found it fascinating that Beethoven showed awareness of and interest in Eastern thought in the Tagebuch), nature, and imagination. In sum, Beethoven in his final period came more under the influence of romanticism (whatever that notoriously vague term might mean) than is sometimes realized. Furthermore, with his nearly total deafness and the failure of his attempts to establish a lasting relationship with a woman, Beethoven tried mightily to devote his life to the pursuit of his art rather than to his own personal, less exalted ends.

The book consists of twelve chapters, some of which were earlier published, which Solomon has worked into a coherent whole. Of the twelve chapters, seven are examinations of the sources of Beethoven's thought and deal in broad concepts. Thus two chapters explore the relationship between concepts of classicism and romanticism -- highly slippery concepts as Solomon realizes-- and argue that Beethoven's final work and thought show an increased romantic influence -- particularly in its transcendent element. Two chapters discuss the possible influence of Freemasonry upon Beethoven while an additional chapter discusses the increased religious dimension in Beethoven's final works, including the influence of Eastern thought.

The remaining five chapters focus on individual works. The Diabelli Variations receive two detailed chapters. The first of them explores Diabelli's waltz theme and the attraction it might have had for Beethoven while the second is a detailed analysis of the pattern of each of the 33 variations, including copious musical illustrations. There is an outstanding chapter on Beethoven's opus 96 violin sonata and its source in pastorale. There is a chapter on the seventh symphony (not usually considered a late work) and on the influence it shows of Greek poetical meters, and a thorough chapter on the Ninth Symphony. This description only briefly touches the scope of the book as Solomon has provocative things to say about the last quartets, particularly on the opus 130 quartet and on the question of its two finales: the grosse fugue and the much simpler rondo which Beethoven substituted for it. And, as I mentioned, Solomon says much about the last piano sonatas, the Missa Solemnis and about the song cycle "An die Ferne Geliebte" even though these works do not have a specific chapter devoted to them.

I found it a joy to read this book. It combines a love and emotional understanding of Beethoven's music with deep erudition and a love of learning. Beethoven's music and intellectual development are well-discussed even if the reader finds himself not agreeing with all Solomon's arguments. The book is full of detailed consisderation of specific works including quotations from Beethoven's scores. It is probably a book that will be most appreciated by those who have some familiarity with Beethoven's music, particularly the works of the third period, rather than by those coming to the music for the first time.

This is a difficult, challenging, and revealing study of late Beethoven combining scholarship, philosophical thinking, and a love and understanding of Beethoven's music. ... Read more

Book Description

Detailing the childhood lives of famous artists, this series begins with composers, showing young readers some of the amazing things that have been accomplished by children. The stories both educate and inspire children to be creative, work hard, and follow their dreams.

Niños famosos esta dedicado contar los cuentos sobre las vidas infantiles de los músicos, artistas y escritores, mostrando su genialidad, creatividad, y sus obras a todos los lectores pequeños. ... Read more

Reviews (1)

Good reading, but...
This book may be well received by young readers; however, the author uses some words that may be unclear to them. For example, "waistcoat" is used to describe his dress for school and some musical terms may need explaining. Also, there seemed to be no flow in telling the story. It was as if each two page spread was a mini-story in itself. Even so I think young readers might find it intersting. ... Read more

Reviews (1)

A fascinating picture of life in musical Vienna
I approached this book with some trepidation, as I am not a fan of biography. Fortunately, this volume is much more than just a life of Beethoven- it is also a fascinating picture of the musical and social life of the Vienna of the early 19th century, with Mozart just dead, Haydn in his late, great years, and Beethoven the young lion of society. Although I call it a picture, it is more of a jigsaw, built as it is of snippets- letters, newspaper reports, bits of gossip, descriptions from contemporary accounts of all types. This has been skilfully done so that it does not feel fragmented, but rather forms a remarkably cogent whole. Apart from the structure, the image of Beethoven that the book creates is also of interest. No misunderstood artist struggling in the garret here, but a young man celebrated by society, the associate of the aristocracy and suitor of several beauties. Yes, this degenerates to some extent as he becomes shut off by deafness and the desire to express more in his music, but he is clearly seen to have retained very strong support. This is a believable biography, and a very capable use of a difficult format. ... Read more