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In this provocative analysis of Beethoven's late style, Stephen Rumph demonstrates how deeply political events shaped the composer's music, from his early enthusiasm for the French Revolution to his later entrenchment during the Napoleonic era. Impressive in its breadth of research as well as for its devotion to interdisciplinary work in music history, Beethoven after Napoleon challenges accepted views by illustrating the influence of German Romantic political thought in the formation of the artist's mature style. Beethoven's political views, Rumph argues, were not quite as liberal as many have assumed. While scholars agree that the works of the Napoleonic era such as the Eroica Symphony or Fidelio embody enlightened, revolutionary ideals of progress, freedom, and humanism, Beethoven's later works have attracted less political commentary. Rumph contends that the later works show clear affinities with a native German ideology that exalted history, religion, and the organic totality of state and society. He claims that as the Napoleonic Wars plunged Europe into political and economic turmoil, Beethoven's growing antipathy to the French mirrored the experience of his Romantic contemporaries. Rumph maintains that Beethoven's turn inward is no pessimistic retreat but a positive affirmation of new conservative ideals.
- Sales Rank: #1150457 in Books
- Published on: 2004-08-15
- Original language: English
- Number of items: 1
- Dimensions: 9.28" h x 1.02" w x 6.60" l, 1.27 pounds
- Binding: Hardcover
- 304 pages
Review
"A brilliant and unfailingly provocative reading of Beethoven's music. Rumph challenges and refines our views of the subject, reinterpreting overly familiar music in striking new ways. Wonderful critical observations abound; the author writes with great imagination and flair." - Scott Burnham, author of Beethoven Hero"
From the Inside Flap
"A brilliant and unfailingly provocative reading of Beethoven's music. Rumph challenges and refines our views of the subject, reinterpreting overly familiar music in striking new ways. Wonderful critical and interpretive observations abound; the author writes with great imagination and flair."—Scott Burnham, author of Beethoven Hero
"Rumph shows at last the extent to which Beethoven's late period, the period of his most spiritual and 'inward' music, was a response to political change. In effect his book is an extended retort to E. T. A. Hoffmann's two-centuries-old claim that Beethoven's kingdom was not of this world—and it's about time! Rumph's argument will be resisted by Hoffmann's many heirs; but it is most compelling, not least because it answers so many long-standing questions about 'the music itself' and clears up so many misconceptions about the nature of musical romanticism."—Richard Taruskin, Class of 1955 Professor of Music, University of California, Berkeley
From the Back Cover
"A brilliant and unfailingly provocative reading of Beethoven's music. Rumph challenges and refines our views of the subject, reinterpreting overly familiar music in striking new ways. Wonderful critical and interpretive observations abound; the author writes with great imagination and flair."--Scott Burnham, author of "Beethoven Hero
"Rumph shows at last the extent to which Beethoven's late period, the period of his most spiritual and "inward" music, was a response to political change. In effect his book is an extended retort to E. T. A. Hoffmann's two-centuries-old claim that Beethoven's kingdom was not of this world--and it's about time! Rumph's argument will be resisted by Hoffmann's many heirs; but it is most compelling, not least because it answers so many long-standing questions about "the music itself" and clears up so many misconceptions about the nature of musical romanticism."--Richard Taruskin, Class of 1955 Professor of Music, University of California, Berkeley
Most helpful customer reviews
0 of 0 people found the following review helpful.
Slow going, but well worth reading
By Jeffrey Huntington
On the one hand, this is a scholarly book with original and penetrating insights. On the other, it is a slow read--the author is not kind to the reader with his use of flowery, arcane, or esoteric language. What is gained by referring to the Scotch Snap as "Lombard Rhythm" or "Mann und Weib/Weib und Mann" as "Chiasmus." (I think it might actually be antimetabole.) It slows things down to refer to "On 1 March...." without specifying the year, when the preceding paragraphs have jumped around several years. The printed excipits are very clear and good, but most of the citations of passages are without anything to see, so the reader will want to have a stack of scores at his elbow and access to IMSLP. And I cannot agree with certain of his conclusions, such as that Wellington's Victory and the Op. 131 quartet are equally exemplary of Beethoven's "Late" style. (They do both contain very complex fugues.) I'm afraid that Napoleon does not much figure in this book, nor does he explain changes in Beethoven's style. In summary, I recommend this book for its provocative ideas and new insights, even when I am not convinced.
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