Cover image for The Cambridge companion to Beethoven
The Cambridge companion to Beethoven
Stanley, Glenn.
Publication Information:
Cambridge, UK ; New York : Cambridge University Press, [2000]

Physical Description:
xiii, 373 pages : illustrations ; 26 cm.
A professional portrait -- Style and structure -- Genres -- Reception.
Added Author:
Electronic Access:
Table of Contents

Format :


Call Number
Material Type
Home Location
Item Holds
ML410.B4 C24 2000 Adult Non-Fiction Non-Fiction Area

On Order



This Companion, first published in 2000, provides a comprehensive view of Beethoven and his work. The first part of the book presents the composer as a private individual, as a professional, and at the work-place, discussing biographical problems, Beethoven's professional activities when not composing and his methods as a composer. In the heart of the book, individual chapters are devoted to all the major genres cultivated by Beethoven and to the elements of style and structure that cross all genres. The book concludes by looking at the ways that Beethoven and his music have been interpreted by performers, writers on music, and in the arts, literature, and philosophy. The essays in this volume, written by leading Beethoven specialists, maintain traditional emphases in Beethoven studies while incorporating other developments in musicology and theory.

Reviews 1

Choice Review

If there were a gigantic Beethoven puzzle with thousands of pieces, puzzle solvers could find in this volume a few of the defining pieces of that puzzle. Stanley (Univ. of Connecticut, Storrs) has collected 17 disparate articles with no real unifying theme other than the act of discovery in defining and discussing problems about Beethoven's music and its reception. This diversity can be seen simultaneously as a strength and a weakness. The editor chose contributors who are leading Beethoven scholars--e.g., Scott Burnham, Nicholas Marston, Barry Cooper, Elaine Sisman, Richard Kamien. Concentrating most heavily on genres and reception, the essays are short, averaging only 17 pages. Some are enlightening, for example, Nicholas Marston's "The Sense of an Ending." This volume will be used by undergraduates as a tasting menu of current research, and undergraduates and scholars alike will find ample further reading in the extensive, useful bibliography. Stanley's collection is recommended for academic libraries with extensive resources, where it will join the multivolume Beethoven Forum (1992- ; v. 1, CH, Apr'93), a similar Beethoven collection and a must-have. M. N.-H. Cheng; Colgate University

Table of Contents

Part I A Professional Portrait
1 Biographical considerations and chronologyGlenn Stanley
2 Beethoven at work, musical activist and thinkerGlenn Stanley
3 The compositional act: sketches and autographsBarry Cooper
Part II Style and Structure
4 'The spirit of Mozart from Haydn's hands': Beethoven's musical inheritanceElaine Sisman
5 Phrase, period, themeRoger Kamien
6 'The sense of an ending': goal-directedness in Beethoven's musicNicholas Marston
Part III Genres
7 The piano music: concertos, sonatas, variations, small formsWilliam Kinderman
8 Beethoven's chamber music with piano: seeking unity in mixed sonoritiesMark Kaplan
9 Manner, tone, and tendency in Beethoven's chamber music for stringsJohn Daverio
10 Sound and structure in Beethoven's orchestral musicLeon Botstein
11 Beethoven's songs and vocal styleAmanda Glauert
12 Beethoven's essay in opera: historical, text-critical, and interpretative issues in FidelioMichael Tusa
13 Beethoven's sacred and liturgical compositions: songs, oratorio, massesBirgit Lodes
Part IV Reception
14 'With a Beethoven-like sublimity': Beethoven in the works of other composersMargaret Notley
15 Beethoven's music in performance: historical perspectivesAlain Frogley
16 The four ages of Beethoven: musicians (and a few others) on BeethovenScott Burnham
17 Beethoven at large: reception in literature, the arts, philosophy, and politicsDavid Dennis