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Between early 1806 and early 1807, Ludwig van Beethoven completed a remarkable series of instrumental works. But critics have struggled to reconcile the music of this banner year with Beethoven's heroic style, the paradigm through which his middle-period works have typically been understood.Drawing on theories of mediation and a wealth of primary sources, Beethoven 1806 explores the specific contexts in which the music of this year was conceived, composed, and heard. As author Mark Ferraguto argues, understanding this music depends on appreciating the relationships that it both createsand reflects. Not only did Beethoven depend on patrons, performers, publishers, critics, and audiences to earn a living, but he also tailored his compositions to suit particular sensibilities, proclivities, and technologies.
Mark Ferraguto teaches undergraduate and graduate music history at the Pennsylvania State University. His research areas include the music and culture of 18th- and early 19th-century Europe, historical performance practices, and music and politics.
Acknowledgments
List of Figures
List of Tables
List of Music Examples
List of Appendices
Introduction
1 After Leonore
2 Music for a Virtuoso: Opuses 58 and 61
3 Music for a Diplomat: Opus 59
4 Music for a Culture Hero: Opus 60
5 Music for a French Piano: WoO 80
6 Music for a Playwright: Opus 62
Conclusion: "Everyday" Beethoven
Selected Bibliography
Index
