Download PDF Beethoven and the Grosse Fuge: Music, Meaning, and Beethoven's Most Difficult Work, by Robert S. Kahn
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Beethoven and the Grosse Fuge: Music, Meaning, and Beethoven's Most Difficult Work, by Robert S. Kahn
Download PDF Beethoven and the Grosse Fuge: Music, Meaning, and Beethoven's Most Difficult Work, by Robert S. Kahn
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The Grosse Fuge, composed by Ludwig van Beethoven in his late period, has an involved and complicated history. Written for a string quartet but published as an independent work, the piece raises interesting questions about whether music without words can have meaning, and invokes speculation about the composer and his frame of mind when he wrote it. Kahn looks closely at the musical, aesthetic, philosophical, and historical problems the work raises, considering its history, structure and development, meaning, and response among critics and contemporaries. Kahn also studies Beethoven's difficulties with publishers and sponsors, his everyday life, and his character in light of recent advances in the pharmacology of depressive illness.
The book places both Beethoven and the Grosse Fuge in their historic and social contexts, arguing that Beethoven intended the Fuge as the finale of his String Quartet Opus 130 and created a substitute finale for the quartet at his publisher's urging; not because he was unhappy with the work. Beethoven is examined as a freelance musician: a vocation whose members were frequently excluded from society and the protection of its laws, including respect for copyright. Viewed in this light, Beethoven's famous quirks and resentments become understandable, even rational. Kahn also devotes a chapter to the phenomenon of synesthesia—a sense of motion through three-dimensional volumes of space—examining how some works of Western music can evoke synesthesia in listeners. He also speculates that Beethoven's creative dry spell in his late 40s was caused by an extended bout with clinical depression. Written for a general audience and including a bibliography and index, this fascinating study will interest scholars and fans of classical music and Beethoven.
- Sales Rank: #2754818 in Books
- Brand: Brand: Scarecrow Press
- Published on: 2010-06-01
- Original language: English
- Number of items: 1
- Dimensions: 9.07" h x .45" w x 6.33" l, .66 pounds
- Binding: Paperback
- 180 pages
- Used Book in Good Condition
Review
I was bowled over by the intelligence and range of Kahn's considerations, even when I do not agree with them. (Dr. Oliver Sacks, author of Musicophilia: Tales of Music and the Brain)
This book...is accessible to the general reader while also meaningful to the knowledgeable musician and historian. (The Beethoven Journal)
About the Author
Robert S. Kahn worked as a professional musician after receiving music degrees from Reed College and the Manhattan School of Music. He is the author of Other People's Blood: U.S. Immigration Prisons in the Reagan Decade, and is news editor for Courthouse News Service.
Most helpful customer reviews
2 of 2 people found the following review helpful.
A Terrific Book!
By Kenny SanDiego
This book is a terrific read from start to finish. Kahn gives you a great deal of insight into Beethoven and his times, and illustrates how even composers of Beethoven's stature had to struggle to make a living. You don't have to be a classical music aficionado to enjoy this book.
3 of 4 people found the following review helpful.
End Of Discussion
By John Harris
According to Kahn, the conventional wisdom for the last two centuries has been that Beethoven never envisioned his Grosse Fugue as a part of his Opus 130 Quartet-- even though it repeats and amplifies themes from sections of the Quartet-- but rather always meant for it to be set aside, apart, like the aberration it was-- frantic, veering into the atonal, and nearly impossible to play. Best yank it out of the Quartet, and insist it was never in, so no one has to try and play it, much less listen to it..
In the first twenty-six pages of this remarkable and important book, Kahn details every argument for the conventional wisdom, and quotes every expert who has contributed to it, and then gleefully and very entertainingly demolishes them all.
What fun ! A serious scholarly work, decently written !
Having laid waste the conventional wisdumb for all time in Chapter One, Kahn goes on to detail the wretched position of writers of music in Beethoven's day, and then lets us see just what a frustrated, angry, socially maladept guy old Ludwig was (deafness obviously didn't help, but he was well on his way before..).
Whether you share the author's knowledge or passion for his subject or not, you will find yourself getting into this, I promise you.
ps If you listen to the fugue--which I didn't do until I finished the book--
you might think it was written some time between 1940 and yesterday.
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