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The admirable Cambridge Music Handbooks series now offers more than 40 titles, each devoted to a single piece of music and each by a different author. Among the wide range of works represented (from Monteverdi's Vespers to the Beatles) is an especially fine volume on Berg's Violin Concerto. The task for the Eroica must have been especially daunting, but Thomas Sipe offers a notably thorough consideration of the symphony in the space of about a hundred pages.

Readers might do well to concentrate on the last chapter ("Interpretation"), which lays out a convincing reading of each movement of the Eroica. Among the many ideas touched on is Sipe's provocative theory that Beethoven is able "to delineate form not with periodic regularity but with overpowering syntactic necessity." Focus in the earlier chapters on historical background to the French Revolution leads to considerations of the relationship between Beethoven and Napoleon, to whom the symphony was originally dedicated, and of political utopianism. Sipe incorporates this into his larger theme of heroism, with particular emphasis on the classical figures of Prometheus and Hector. An earlier chapter ("Reception") summarizes two interpretations of the Eroica by M. Miel (on the Homeric model) and Richard Wagner (an idealized vision of redemption through love).

Sipe also offers well-chosen examples showing the gradual shift in musical analysis from programmatic considerations to the more objective, almost scientific style we are used to today. Readers will benefit from having scores (easily available from Dover) on hand to consult. --William R. Braun Book Description
Beethoven's Third Symphony, originally entitled "Bonaparte", now bears the title "Eroica" ("Heroic"). Napoleon promised an Enlightened Europe but ultimately Beethoven was disillusioned by him. This handbook treats the politics, aesthetics, reception, and musical meaning of this decisive work, which, because of its unique design, powerfully expanded the potential of symphonic expression. Beethoven's ideals, derived largely from the writings of Friedrich Schiller and clearly perceived already by the composer's contemporaries, are readily apparent in the music. ... Read more

Customer Reviews (1)

Very in-depth
This is the most in-depth book on the Eroica I have found. It goes into great detail about not only the symphony itself, but also with all political and influential histories surrounding the great symphony and itcomposer. A must for anyone studying The Eroica ... Read more

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The Black Dog Music Library presents Ludwig van Beethoven's Symphonies. ... Read more

Book Description
This account of Beethoven reveals the life and times of a creative musician in Bonn and Vienna in the late eighteenth and early nineteenth centuries. While paying due regard to the image of Beethoven as one of the most single-minded composers in the history of music, this biography places his work in the context of the musical life of the period. Through an understanding of the changing nature of musical patronage, the private and public concert, the impact of the Napoleonic Wars on culture and society--in addition to the effects of Beethoven's increasing deafness and his difficult relationships with both patrons and the musical institutions of the day--a varied and dynamic picture of the life and career of the musical genius emerges. ... Read more

Customer Reviews (1)

A Mediocre Biography
This is a very mediocre biography of Beethoven. Not much more is contained here but a chronicle of concerts during Beethoven's lifetime and which of his pieces were played, and who published what pieces and how much Beethoven was paid. A mere paragraph or two is given to the Heiligenstadt Testament, the Immortal Beloved and the lawsuit over custody of Beethoven's nephew Karl. The book contains practically nothing on the music. There is no analysis, merely a recitation that the Fifth Symphony was written in such and such year. Nor is there anything on the singular importance of Beethoven in music history. I realize that the Cambridge University Musical Lives series are intended to be concise biographies. However, if the pages dedicated to lists of what was played at various concerts, and who published what pieces had been seriously cut down there would have been more space for the important analysis of his music. The Cambridge Musical Lives series biography of Schubert was similiarly flawed; their bios of Debussy, Mahler and Richard Strauss were better. ... Read more

Customer Reviews (1)

Excellent introductory book on Beethoven
This book is a wonderful way to introduce your child to one of the great composers. As the book lays open, there is usually one very large picture and then writing in large print. The whole book is probably a 20 minute read. It does give some detail of Beethoven's rather horrid childhood, but this detail allows the child to understand the composer's work better. I followed this book with Beethoven by Reba Paeff Mirsky, a long chapter book. After my 6 year old and I completed this sequence with both Mozart and Beethoven, she said "Mommy you can hear Beethoven's childhood problems in his music. Mozarts is so calm and sweet. His childhood was easy." I kid you not! Putting a bunch of cds on shuffle, she used this to figure out correctly which songs were by which composer. One mistake she made was Beethoven music modified to make people sleep - in other words Beethoven's music played the way he never intended it to be played. Slight details of the misery of his childhood are key to understanding the beauty he made from his pain. ... Read more

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Customer Reviews (4)

As close as it gets
I feel like I'm a fly on the wall in Beethovens apartment...well, one of his many apartments.Can't get any closer than this too someone who lived that many years ago.I also find it hard to believe that a man like Rossini would spend two years in the same city as Beethoven and not meet him.I'm willing to bet that the moment Rossini stepped from his carriage in the city of music he grabbed the first passerby and said "Where do I find Beethoven?"

great book
I have enjoyed this book very much. It written by someone that knew Beethoven ,and it offers you a lot of information about Beethoven's life, it is accurate. When there are two differents versions of the same event, the authors explains and describe them.
A very objective book and enjoyable.

Great
Great book

Strange that the first reviewer says that the meeting between Beethoven and Rossini never took place.Rossini and Beethoven would have disagreed!They met in the spring of 1822 when Rossini was in Vienna for the premiere of his opera Zelmira.Rossini has left an account of the meeting

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 fascinatingoccurrences that no other biographer, such as Ries, had access to.Schindler gives us examples of Beethoven's strongly emotional nature, insuch a way that I felt I could have recognized the composer should I havepassed by him on abusy street.Inclusion of this information is what madethis biography most appealing to me. One of my favourite sections is anappendix entitled "Beethoven's Daily Routine" which describes,among other things, how Beethoven would count out 60 beans for his cup ofcoffee.

However, Schindler is not a transparent witness.Rather, hefeels compelled to "protect" Beethoven from "his manyenemies", for whom there is no historical basis.A sense of Schindleracting as guardian comes through strongly in the writing. The moststriking example of this attitude is Schindler's description of the meetingbetween Beethoven and Rossini, a meeting which historically never tookplace!

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

Book Description
Fidelio is Beethoven's only complete opera and one of the most admired, and problematic, in the repertoire. This Opera Handbook explores the fascinating musical and dramatic elements within the work as well as the debt to the traditions of French opera in the late eighteenth century and the French Revolution. Winton Dean offers a comparison of the opera's first (1805) and final (1814) versions. Essays by Michael Tusa and Joseph Kerman consider its musical idiom and the challenges Beethoven faced as an instrumental composer trying his hand at opera. A final chapter examines the opera's performance history, and the volume also includes a synopsis, bibliography, and informative illustrations. ... Read more

Book Description
The ten essays in this volume explore different aspects of the performance of instrumental works by Beethoven. Each essay discusses performance issues from Beethoven's time to the present, whether the objective be to realise a performance in an historically appropriate manner, to elucidate the interpretation of Beethoven's music by conductors and performers, to clarify transcriptions by editors or to reconstruct the experience of the listener in various different periods. Four contributions focus on the piano music while another group concentrates on Beethoven's music for strings. These chapters are complemented by an examination of Beethoven's exploitation of the developing wind choir, an evaluation of early twentieth-century recordings as pointers to early nineteenth-century performance practice and an historical survey of rescorings in Beethoven's symphonies. ... Read more

Book Description
Fidelio, one of the world's best-loved operas, now joins the incredibly popular Black Dog Opera Library. The perfect listening/reading combination, this book/CD package includes a world-class recording of the complete opera along with a full-color 144-page guide featuring the libretto, history, a synopsis and more. Fidelio features performances by opera greats Gösta Winbergh and Péter Pálinkás. The book also details the life and work of the composer, the careers of the most famous and talented performers of all time and the nuances of the opera itself. ... Read more

Book Description
Details the musical, psychological, and metaphysical secrets in twenty-seven of Beethoven's greatest works. ... Read more

Customer Reviews (5)

An excellent account of Beethoven's journey towards greatness
Tame has captured Beethoven's inner life and creativity, his struggles and desires in an unprecedented way. The book is a masterpiece: it does not get fixated with the technicalitities of classical music, but sheds light on the spiritual source and path underpinning the composition of such beauty. Explaining Beethoven in technical terms may be an easy way of interpreting classical music, but it is simple and mediocre. To shed light on its spiritual dimension - a dimension that enveloped Beethovens' entire being and life requires much depth and sensitivity. Tame has managed this in an extraordinary way. Beethoven was more than a musician and composer. He was a great soul. This books shows how undiversal truths - as opposed to technical skills - inspired and guided Beethoven to produce the greatest music that has ever been.

INSPIRES YOU TO LISTEN TO THE WORKS
Disregard most of what the intellectualising and somewhat pompous reviewers write below. Read this book and be inspired to delve deeper into the music and genius of Beethoven. With the exception of one 5 page chapter(that those below get stuck on!) it is an easy read, and adds anappreciation of the music that other books on Beethoven fail to do well.Whether you are a fan or a beginner this book will bring pleasure.

Fails in its purpose, but recommended otherwise
This is a curious work, a treatment of two subjects together which few general readers would have thought to be compatible. Unfortunately, it is a most unsatisfactory and weak book as far as its purpose is concerned. Thebook may be read without loss by neglecting the 'numerological' and'esoterological' parts altogether. This way it makes for a non-technicaldiscussion of Beethoven's works, much in the spirit of Sullivan's book,which the author often quotes. That, however, is not how the author intendsit to be read; if one tries to go along with him, most general readers willfind that much of the substance is indeed 'esoteric drivel' as a previousreviewer here has said. It is impossible to give the author or the book anycredit at all, if it is seen in the said light of its own purpose - namely,to reveal the 'esoteric' aspects of Beethoven's greatest works - sincethere are very few readers among the public, I should suppose, who bothhave had an exposure to the ideas of esotericism, as well as have acapacity to appreciate Beethoven's music. In fact, the number of people ineach of these categories (the former in general, and the latter in America)is very small. In fact, one does not even here get a beginner'sintroduction to the ideas of numerology and esoteric knowledge, if it is tobe taken that the author purports to make the general public aware ofthese. The reader is straightaway exposed to looking at the Master'sgreatest works through the eyes of an esoteric seeker. However, one maygrant the book this much: that it may possibly induce in some Beethovenlovers the desire to find out more about the ideas mentioned.Also, asmentioned, a general reader may well read the book completely omitting thereferences to them. Read this way (which is the only way the presentreviewer can recommend to the general public), the book serves well toexalt Beethoven and place his music where it belongs: in the loftiestplanes that one can imagine. For ardent lovers of Beethoven, this workmakes for satisying reading, if only because of this glorification of theMaster and of his greatest works, and the brief discussions about these, inwhich they will find echoes of some of their own thoughts and feelings. Notthe work of a musicologist, this author presents a faithful view of theessentially spiritual nature of Beethoven's works, and of the sublimemetaphysical nature of the late quartets.

Inspiring book about Beethoven and music
This book gives a spiritual interpretation of Beethoven the man, and his music.There are various spiritual paths one can take, and I think that Tame tries a bit too hard to fit Beethoven into a particular pattern.Nevertheless,one does not have to accept completelyTame's Theosophicalapproach to get something out of this book.(I note in passing that thereare no diatribes involving yin and yang in the book.Tame discusses theseissues but does not bitterly criticise.)Tame does not mention Beethoven'smoon sign.In fact it was Sagittarius, thus emphasising his Sagittarianqualities.If we knew the exact time of his birth further insight into hischaracter could be obtained with an accurate birth chart. I must confessthat I cannot understand why Tame allocates masculine zodiacal signs to"feminine" symphonies, and vice-versa.I find Tame's argumentplausible that Beethoven did not marry because he had a higher calling,that is ,to lift up humankindwith his music.This book has increased myunderstanding of Beethoven and made me itch to get into some seriouslistening of his works.

Esoteric Drivel About a Great Genius
I have concluded that it is not by accident that this book in support ofits sweeping conclusions about one event or another in Beethoven's lifeoffers no credentials or background on their origins.The very titlemisleads the reader into thinking that the spirituality of the man in anera when western church values were the norm in Europe would prevail.Thereader finds complete confusion in ramblings involving the spiritual pathof Beethoven.[The very title of the book!]The text jumps from diatribesinvolving the 'Yin and the yang' of Beethoven's symphonies to an in-depthastrological sun and moon sign analysis of his music and it's impact onBeethoven's psyche at one time or another.Couple that with lengthydiscussions of Beethoven's karma along with Biblical quotations supportingBeethoven's belief in God and Jesus Christ, and you have a totally confusedmass of psychic drivel, a readers nightmare.

The only saving graceto some of the topics discussed in the book come from the incorporation oflengthy key passages and critical analysis from such Beethoven authoritiesas Thayer, von Lenz, Schindler, Ries, Eichoff et al.In these areas, acredible argument for the various conclusions drawn by the author isevident.The conclusions drawn from analysis of Beethoven's circumstances,his friends, their politics, affiliations, and influences of the day seemreasoned and supportable.Drawing on the influences of Freemasonry and theIlluminati in Beethoven's life were insightful and well articulated.

Unfortunately, just when one got a sense of how these influences could haveaffected the compositions being written or sketched at that moment, one wasconfronted with some diversion or another - like a discussion of theastrological polarity of one symphony over another!Garbage!

The finalstraw broke for this reader near the end of the book.It was at this pointthat the analysis of major individual works of Beethoven began.It washere that one reads of the reflections of the final string quartets writtenjust before Beethoven's death in terms of their numerology.Pages weredevoted to explaining the masculine, positive polarity- yang - with thefeminine, negative- yin - of each movement.Further expansion on the'talisman of the secret rays', the five-pointed star, and true meditationborne in the last of Beethoven's great works was offered.

This bookshould be read only after the prospective reader has done exhaustivereading and studying of Beethoven from highly respected musicologicalsources.To accept or even consider this book as a definitive study on hislife or consider any conclusions drawn in this book, without a priorhistorical musicological basis of evaluating the esoteric minutiapresented; would be an insult to the greatness of Beethoven's genius.

He is rolling in his grave on this one - folks!

Thomas H. Brown, B.M.'74, Westminster Choir College of Music, Rider University, Princeton, NJ ... Read more

Book Description

Book Description

Ludwig van Beethoven (1770-1827) was a genius so universal that his popularity, extraordinary even during his lifetime, has never ceased to grow. It now encircles the globe: Beethoven's most famous works are as beloved in Beijing as they are in Boston.

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Customer Reviews (2)

A Great Primer!
The New Grove Beethoven is one of a series of biographies on great composers.The text was originally written in the 1970's.

I used this book during an upper division class on Beethoven at UCLA, and I loved it.Why?Because I knew nothing about music, but I loved Beethoven's music.What is refreshing about this book is that it will provide a background on the life of Beethoven that is wholly understandable even if you don't have a music background.

This book is a little over 150 pages of text.The remainder is notes etc.It reads very quick.The book is largely broken up into chronoligical sections and ends with a quick breakdown of Beethoven's music and his impact on music.

The New Grove Beethoven does a great job of delving into Beethoven's frustration with the onset of deafness and how he felt estranged from society as a result.It also treats Beethoven's deep desire to be respected as this desire continually butted up against his dislike for preferential treatment to nobility as "superiors."In short, he wanted to be like them, loved like them but his attitude estranged him from them.

If you are looking for a quick primer on Beethoven that is readable and quite enjoyable, pick up the New Grove Beethoven!

Most Historically Accurate Info
This book is being used in my music class at Dartmouth College that's focusing on Beethoven. It contains very accurate information about the Maestro himself and does not add to the myths about the composer as other books do. It's very easy to read and there's a lot of satisfaction andknowledge that a Beethoven admirer can gain from this magnificentbiography. ... Read more