| Series |
North American Beethoven studies ; no. 5
North American Beethoven studies ; v. 5. ^A303204
|
| Contents |
Beethoven's awareness of the Orpheus legend -- A unique musical form invented to reflect a dramatic narrative: the andante con moto of the fourth piano concerto (Orpheus in Hades) -- The Orpheus legend as a unifying plan: the first movement of the fourth piano concerto (the song of Orpheus) ; An interruption, addressing the important question: why did Beethoven not reveal and explain the Orpheus program in his fourth piano concerto? -- Music "to complete the picturesque design" (Czerny): the finale of the fourth piano concerto (Orpheus and the Bacchantes) -- The Mahler portrait of Beethoven, ca. 1804: graphic evidence of Beethoven's three-part Orphic plan in his fourth piano concerto -- Conclusion and chronology of Beethoven's fourth piano concerto. |
| Abstract |
Beethoven composed his Fourth Piano Concerto in Vienna in the years 1803-06. In that period there was an unusually keen interest in the Orpheus legend; and so it is not surprising to learn that all three movements were undeclaredly or better described, secretly based on that famous story. In this fascinating and controversial book, the author maintains echoing the interpretation first suggested by Adolph Berhard Marx in 1859 that the three movements are based on the Classical versions of the Orpheus legend by Virgil and Ovid. Jander tells us the full story from the opening phrase of the first movement to the last measure of the finale of how the Orpheus legend informs every note of Beethoven's music. |
| Bibliography note | Includes bibliographical references (pages 197-205) and indexes. |
| LCCN | 2008053835 |
| ISBN | 9781576471326 |
| ISBN | 1576471322 |
