Beethoven and Rossini have always been more than a pair of famous composers. Even during their lifetimes, they were well on the way to becoming 'Beethoven and Rossini' a symbolic duo, who represented a contrast fundamental to Western music. This contrast was to shape the composition, performance, reception and historiography of music throughout the nineteenth and twentieth centuries. The Invention of Beethoven and Rossini puts leading scholars of opera and instrumental music into dialogue with each other, with the aim of unpicking the origins, consequences and fallacies of the opposition between the two composers and what they came to represent. In fifteen chapters, contributors explore topics ranging from the concert lives of early nineteenth-century capitals to the mythmaking of early cinema, and from the close analysis of individual works by Beethoven and Rossini to the cultural politics of nineteenth-century music histories.
Daugiau informacijos
Leading scholars re-evaluate the opposition between Beethoven and Rossini, the great symbolic duo of early nineteenth-century music.
|
|
|
vii | |
| Notes on contributors |
|
ix | |
| Acknowledgements |
|
xii | |
|
|
|
xiii | |
| Introduction: Pleasure in history |
|
1 | (12) |
|
|
|
|
|
PART I THE AGE OF BEETHOVEN AND ROSSINI? |
|
|
13 | (108) |
|
1 Dahlhaus's Beethoven-Rossini Stildualismus: lingering legacies of the text-event dichotomy |
|
|
15 | (34) |
|
|
|
2 Beethoven, Rossini -- and others |
|
|
49 | (17) |
|
|
|
3 Heilige Trias, Stildualismus, Beethoven: on the limits of nineteenth-century Germanic music historiography |
|
|
66 | (30) |
|
|
|
4 Rossini and Beethoven in the reception of Schubert |
|
|
96 | (25) |
|
|
|
|
|
121 | (74) |
|
5 Two styles in 1830s London: "The form and order of a perspicuous unity" |
|
|
123 | (16) |
|
|
|
6 Looking north: Carlo Soliva and the two styles south of the Alps |
|
|
139 | (20) |
|
|
|
7 "More German than Beethoven": Rossini's Zelmira and Italian style |
|
|
159 | (19) |
|
|
|
|
|
178 | (17) |
|
|
|
|
|
195 | (68) |
|
|
|
197 | (13) |
|
|
|
10 Beethoven dances: Prometheus and his creatures in Vienna and Milan |
|
|
210 | (26) |
|
|
|
|
|
236 | (27) |
|
|
|
PART IV CROSSING MUSICAL CULTURES |
|
|
263 | (92) |
|
12 Very much of this world: Beethoven, Rossini, and the historiography of modernity |
|
|
265 | (18) |
|
|
|
13 Schopenhauer and Rossinian universality: on the Italianate in Schopenhauer's metaphysics of music |
|
|
283 | (22) |
|
|
|
14 Elements of disorder: appealing Beethoven vs. Rossini |
|
|
305 | (28) |
|
|
|
15 Role reversal: Rossini and Beethoven in early biopics |
|
|
333 | (22) |
|
|
| List of works cited |
|
355 | (26) |
| Index |
|
381 | |
Nicholas Mathew is a professor in the Department of Music at the University of California, Berkeley. He is the author of Political Beethoven (2013) and has published articles in, among others, Musical Quarterly, Eighteenth-Century Music, 19th-Century Music, Current Musicology, the Journal of the Royal Musical Association, and the volume Engaging Haydn (edited by Richard Will and Mary Hunter, 2012). He is currently editor, with W. Dean Sutcliffe, of the journal Eighteenth-Century Music. Benjamin Walton is a Senior University Lecturer in Music at the University of Cambridge and a Fellow of Jesus College. He is the author of Rossini in Restoration Paris: The Sound of Modern Life (2007), and is currently writing a book about the spread of opera beyond Europe in the first half of the nineteenth century.
