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Published online by Cambridge University Press: 15 February 2022
For a certain subset of eminent Beethoven scholars, the celebration of Beethoven's 250th birthday in 2020 represented a challenge. In taking up the opportunity to communicate with a wider population of educated music lovers, the standard vehicle, a Beethoven biography, was off the table for them – because they had already written one. In the three books reviewed here, each author responds to this dilemma by focusing on themes in reception history. I will attempt to clarify their main points, comment on similarities and differences in their approaches, and evaluate how successful each one might be in in making recent Beethoven scholarship more accessible for the general reader. I will argue that all three of these books successfully target the more musically literate segment of lay readers, and that any weak points arise at the intersection between their academic content and the address to these members of their presumed readership.
1 These are Lockwood, Lewis, Beethoven: The Music and the Life (New York: W.W. Norton, 2003)Google Scholar; Mark Evan Bonds, Beethoven: Variations on a Life (New York: Oxford University Press, 2020); and William Kinderman, Beethoven, 2nd edn (Oxford: Oxford University Press, 2009).
2 Lockwood, Beethoven: Music and the Life, xvii–xviii. This quotation is an allusion to the Italian proverb ‘Every painter paints himself’; see Frank Zöllner, ‘“Ogni Pittore Dipinge Sé”: Leonardo da Vinci and “Automimesis”’, in Der Künstler über sich in seinem Werk: Internationales Symposium der Bibliotheca Hertziana, Rom 1989, ed. Matthias Winner (Weinheim: VCH Verlagsgesellschaft MbH, Acta humaniora, 1992): 137–60.
3 Communication to a wider audience has been a concern of Lockwood's throughout his career. In an article published in 1988, he urged his colleagues to produce more content that would appeal ‘to the larger audiences of musicians (including performers and many others), to musically cultivated and educated laymen, and … to the general lay public’; Lewis Lockwood, ‘Communicating Musicology: A Personal View’, College Music Symposium 28 (1988): 7.
4 Lockwood's rating of Immortal Beloved might be classified as ‘one star’; he finds many things to criticize besides its intentional historical inaccuracy. See Lockwood, Lewis, ‘Film Biography as Travesty: Immortal Beloved and Beethoven’, The Musical Quarterly 81/2 (1997): 190–98Google Scholar.
5 The last two decades have yielded much additional information on Thayer's own life, with the publication of Luigi D. Bellofatto's Alexander Wheelock Thayer, the Greatest Biographer of Ludwig van Beethoven: A Study in Nineteenth-Century American Music Criticism (Lewiston, NY: Edwin Mellen Press, 2011), and the more fully documented series of articles by Grant William Cook III in The Beethoven Journal, 2002–2019.
6 Douglas Johnson has isolated the key passages in Nottebohm's writings that discuss their biographical significance as opposed to their usefulness for the analysis of music; see his ‘Beethoven Scholars and Beethoven's Sketches’, 19th-Century Music 2/1 (1978): 4–5. In a response to this article, Sieghard Brandenburg points out that there are many musicological approaches that are not exclusively biographical or music-analytical. See his contribution to Brandenburg, Sieghard, Drabkin, William and Johnson, Douglas, ‘On Beethoven Scholars and Beethoven's Sketches’, 19th-Century Music 2/3 (1979): 270–74CrossRefGoogle Scholar. Lockwood's definition of biography also seems to oppose such a clear opposition between biography and ‘the music itself’.
7 Lockwood refers to Nottebohm's ‘eccentricities’ in his article ‘Nottebohm Revisited’, Current Thought in Musicology, ed. John W. Grubbs (Austin: University of Texas Press, 1976): 187n5. In Beethoven's Lives he calls him ‘a thorny and demanding personality’ (p. 51). Much of Thayer's personal charm is apparent in his music criticism; for a list see Michael Ochs, ‘A. W. Thayer, the Diarist, and the Late Mr. Brown: A Bibliography of Writings in Dwight's Journal of Music’, in Beethoven Essays: Studies in Honor of Elliott Forbes, ed. Lewis Lockwood and Phyllis Benjamin (Cambridge, MA: Harvard University Press, 1984): 78–95. The picture is filled out in the writings of Bellofatto and Cook, particularly Cook, Grant William III, ‘“I Was Now in the Birthplace of Beethoven”: The First European Research Expedition of Alexander Wheelock Thayer, 1849–1851’, The Beethoven Journal 31/2 (2016): 71–82Google Scholar, and ‘“Mr. Dwight's Indefatigable Diarist” and London's “Literary Lion”’, The Beethoven Journal 34/2 (2019): 57–68. These two articles illustrate both Thayer's ease in social situations and how meetings with many of his contacts often opened up new Beethoven-related connections for him.
8 Lockwood, Beethoven: Music and the Life, xvi.
9 Brahms to J. M. Rieter-Biedermann, quoted in Lockwood, Beethoven's Lives, 50. An English translation of the full letter is given in Styra Avins, ed., Johannes Brahms: Life and Letters (Oxford: Oxford University Press, 1997): 415–16; this book, a combination of biography and selected correspondence, also discusses other dimensions of the Brahms–Nottebohm relationship.
10 The website link, www.wwnorton.com/trade/lockwood (accessed 18 November 2021) is available at two locations in Lockwood, Beethoven: Music and the Life, xi, xvi.
11 Lewis Lockwood, Beethoven's Symphonies: An Artistic Vision (New York: W.W. Norton, 2015).
12 From a letter from Wagner to Theodor Winkler; see Klaus Kropfinger, ‘The Romantic Background and Beethoven Biography’, Chap. 3 in Wagner and Beethoven: Richard Wagner's Reception of Beethoven, trans. Peter Palmer (Cambridge: Cambridge University Press, 1991): 61–67. I cite Lockwood's translation here rather than Palmer's.
13 Kropfinger, ‘The Romantic Background’, 66. Also closer to Kropfinger's view are Thomas S. Grey, Wagner's Musical Prose: Texts and Contexts (Cambridge: Cambridge University Press, 1995): 54–8; Knittel, K.M., ‘Pilgrimages to Beethoven: Reminiscences by His Contemporaries’, Music & Letters 84/1 (2003): 35–38CrossRefGoogle Scholar; and Sanna Pederson, ‘Music History’, in The Cambridge Wagner Encyclopedia, ed. Nicholas Vazsonyi (Cambridge: Cambridge University Press, 2013): 332–5.
14 Nicholas Vazsonyi, ‘Image’, Chap. 1 in Richard Wagner: Self-Promotion and the Making of a Brand (Cambridge: Cambridge University Press, 2010): 31–45.
15 On Schenker's use of Nottebohm's publications and private notes, see Ian Bent and William Drabkin, ‘Die letzten fünf Sonaten von Beethoven (Erläuterungsausgabe)’, Schenker Documents Online, https://schenkerdocumentsonline.org/profiles/work/entity-001733.html (accessed 24 October 2021).
16 Lockwood's reflections are found in the last section of Beethoven's Symphonies, ‘Epilogue’, 221–30.
17 Cases referred to specifically in Beethoven's Lives are Ludwig Schiedermair at the Beethoven-Haus Bonn (pp. 106–7) and Erich Schenk at the University of Vienna (p. 110).
18 David B. Dennis, Beethoven in German Politics, 1870–1989 (New Haven: Yale University Press, 1996); Pamela M. Potter, Most German of the Arts: Musicology and Society from the Weimar Republic to the End of Hitler's Reich (New Haven: Yale University Press, 1998); and Elaine Kelly, Composing the Canon in the German Democratic Republic: Narratives of Nineteenth-Century Music (New York: Oxford University Press, 2014).
19 This was the 1977 Beethoven conference in Vienna sponsored by the Österreichische Gesellschaft für Musik; see Lockwood, Beethoven's Lives, 111–12. The proceedings were published as Rudolf Klein, ed., Beethoven-Kolloquium 1977: Dokumentation und Aufführungspraxis (Kassel: Bärenreiter, 1978).
20 Writing in 1997, Trommler pointed to the Eichmann and Auschwitz trials in the 1960s as events which made it impossible for German writers to ignore the past; see his ‘What Should Remain? Exploring the Literary Contributions in Postwar German History’, in Beyond 1989: Re-reading German Literary History Since 1945, ed. Keith Bullivant (Providence: Berghahn Books, 1997): 167–72. Trommler wrote several articles in the 1970s, in the same decade as the Beethoven conferences, that characterized the immediate post-war period as one of continuity with conservative or apolitical views in the German intelligentsia before the rise of Hitler; see, for instance, his ‘Emigration und Nachkriegsliteratur. Zum Problem der geschichtlichen Kontinuität’, in Exil und innere Emigration: Third Wisconsin Workshop, ed. Reinhold Grimm and Jost Hermand (Frankfurt: Athenäum, 1972): 173–97.
21 The major collections are in Berlin, Bonn, Kraków, London, Paris and Vienna, according to Douglas Johnson, Alan Tyson and Robert Winter, The Beethoven Sketchbooks: History, Reconstruction, Inventory (Berkeley: University of California Press: 1985): 599. In 1988, Lockwood recalled that ‘these were years of postwar optimism; of restabilization; of the exploration of newly reopened European libraries; of the forging of new forms of international cooperation’; Lockwood, ‘Communicating Musicology’, 2.
22 For instance, Reinhold Brinkmann and Christoph Wolff, Driven Into Paradise: The Musical Migration From Nazi Germany to the United States (Berkeley: University of California Press, 1999); Melina Gehring, Alfred Einstein: Ein Musikwissenschaftler im Exil (Hamburg: von Bockel, 2007); and Matthias Pasdzierny, ‘Exilforschung in der (west)deutschen Musikwissenschaft: Zwischen Vergangenheitspolitik und Erinnerungskultur’, in Belastete Beziehungen: Studien zur Wirkung von Exil und Remigration auf die Wissenschaften in Deutschland nach 1945, ed. Kirsten Heinsohn und Rainer Nicolaysen (Göttingen: Wallstein, 2021): 148–73.
23 Joseph Kerman, Contemplating Music: Challenges to Musicology (Cambridge, MA: Harvard University Press, 1985).
24 Much of Kerman's work on Beethoven is listed in ‘Comment & Chronicle: Joseph Kerman’, 19th-Century Music 7/3 (1984): 189–98; this issue serves as a Festschrift for Kerman's sixtieth birthday. Lockwood's disagreements with Kerman centred around the importance of traditional source studies in musicology, see Lockwood, ‘Communicating Musicology’, 5–6; and Lockwood, Lewis, ‘On Current Trends in Musicology: Some Informal Reflections’, Il Saggiatore musicale 6 (1999): 219–21Google Scholar.
25 Neighbour, Oliver, ‘Alan Walker Tyson 1926–2000’, Proceedings of the British Academy 115 (2002): 367–82Google Scholar. Available at www.thebritishacademy.ac.uk/publishing/memoirs/1/tyson-alan-walker-1926-2000/ (accessed 15 November 2021).
26 Haberl, Dieter, ‘Beethovens erste Reise nach Wien. Die Datierung seine Schülerreise zu W. A. Mozart’, Neues musikwissenschaftliches Jahrbuch 14 (2006): 215–55Google Scholar. See Beethoven's Lives, 152–3 regarding Wilson's research in progress; Lockwood's summary is based partially upon personal communications.
27 This resemblance struck me even before I noticed that Bonds explicitly invokes Thomas Kuhn's The Structure of Scientific Revolutions, 3rd edn (Chicago: University of Chicago Press, 1996) in the conclusion to The Beethoven Syndrome (p. 198).
28 ‘Critics took palpable pleasure in regarding Beethoven's life as a nonfictional Bildungsroman, a record of personal growth and development audible in his compositions’; Bonds, Beethoven Syndrome, 120.
29 For a good overview see David Clarke et al., ‘Forum: Defining Twentieth- and Twenty-First-Century Music’, Twentieth-Century Music 14/3 (2017): 411–62.
30 Lenneberg, Hans, ‘Classic and Romantic: The First Usage of the Terms’, The Musical Quarterly 78/3 (1994): 621CrossRefGoogle Scholar.
31 See Mark Evan Bonds, ‘Aesthetic Amputations: Absolute Music and the Deleted Endings of Hanslick's Vom Musikalisch-Schönen’, 19th-Century Music 36/1 (2012): 3–23. Bonds connects Hanslick with Romantic conceptions of ‘the infinite’ through the first edition of Vom Musikalisch-Schönen (1854), with its invocation of ideas from Romantic Naturphilosophie.
32 Mark Evan Bonds, After Beethoven: Imperatives of Originality in the Symphony (Cambridge, MA: Harvard University Press, 1996).
33 For the philosophical definition, see Frederick C. Beiser, German Idealism: The Struggle against Subjectivism, 1781–1801 (Cambridge, MA: Harvard University Press, 2002): vii; for the literary definition, see Ernst Behler, German Romantic Literary Theory (Cambridge: Cambridge University Press, 1993): 33–54; for an alternative literary definition, see Eric A. Blackall, The Novels of the German Romantics (Ithaca, NY: Cornell University Press, 1983): 7.
34 Bonds considers their remarks on instrumental music as part of the rhetorical tradition in his Wordless Rhetoric: Musical Form and the Metaphor of the Oration (Cambridge, MA: Harvard University Press, 1991): pp. 166–9, 174–80. In Chapter 1 of his Music as Thought: Listening to the Symphony in the Age of Beethoven (Princeton, NJ: Princeton University Press, 2006), they are often referred to as the ‘early Romantics’ and discussed in connection with Kant, Herder, Moritz and Schiller; their chief contribution is a unified conception of music and philosophy that is already in place by the time of E.T.A. Hoffmann's review of Beethoven's Fifth Symphony (1810). In his Absolute Music: The History of an Idea (New York: Oxford University Press, 2014), they are discussed in Chapter 7, ‘Disclosiveness’, for the period around 1800, mainly to make the point that these authors saw music as especially suited to convey meaning inexpressible in words.
35 There are other sources but it is sufficient to cite Bonds, Mark Evan, ‘Irony and Incomprehensibility: Beethoven's “Serioso” String Quartet in F Minor, Op. 95, and the Path to the Late Style’, Journal of the American Musicological Society 70/2 (2017): 306CrossRefGoogle Scholar.
36 According to Rumph, Stephen C., ‘A Kingdom Not of This World: The Political Context of E. T. A. Hoffmann's Beethoven Criticism’, 19th-Century Music 19/1 (1995): 52CrossRefGoogle Scholar, Hoffmann was most active as a musician in 1806–1814, years in which he was forbidden to practice law for political reasons. He reviewed five works by Beethoven between 1810 and 1813: the Symphony No. 5 in 1810, the Overture to Coriolan in 1812, and the two Piano Trios, Op. 70, the music to Goethe's Egmont, and the Mass in C in 1813. See Wayne M. Senner, Robin Wallace and William Meredith, eds., The Critical Reception of Beethoven's Compositions by His German Contemporaries, vol. 2 (Lincoln: University of Nebraska Press, 2001): 6, 72–79, 95–112, 149–170; and Robin Wallace, trans. and ed., The Critical Reception of Beethoven's Compositions by His German Contemporaries, Op. 73 to Op. 85 (Boston: Center for Beethoven Research, Boston University, 2018): 44–51, 44n1, and The Critical Reception of Beethoven's Compositions by His German Contemporaries, Op. 86 to Op. 91 (Boston: Center for Beethoven Research, Boston University, 2020): 8–19; both at https://www.bu.edu/beethovencenter/publications-by-the-center/ (accessed 19 November 2021).
37 ‘Die weite, sich über mehr als ein Jahrhundert erstreckende Verwendung von “romantisch” und “Romantik” in der Musik trennt demnach die Begriffe vom Gebrauch in Literatur- und Kunstwissenschaft, so daß sie nicht mehr in gleicher Bedeutung als historischer Begriff benutzbar sind’; Gerhard Schulz, Romantik: Geschichte und Begriff, 2nd edn (Munich: C.H. Beck, 2002): 80. For Dahlhaus, see Carl Dahlhaus, ‘Neo-romanticism’, in Between Romanticism and Modernism: Four Studies in the Music of the Later Nineteenth Century, trans. Mary Whittall (Berkeley: University of California Press, 1980): 1–18; also the sections ‘Music and Romanticism’ and ‘The Metaphysic of Instrumental Music’ in his Nineteenth-Century Music, trans. J. Bradford Robinson (Berkeley: University of California Press, 1989): 15–26, 88–96.
38 Peter Uwe Hohendahl's history of literary criticism in Germany places Die Grenzboten squarely within his chapter ‘Literary Criticism in the Epoch of Liberalism, 1820–1870’, while Romanticism is treated in a separate chapter by Jochen Schulte-Sasse, ‘The Concept of Literary Criticism in German Romanticism, 1795–1810’, both in A History of German Literary Criticism, 1730–1980, ed. Peter Uwe Hohendahl (Lincoln: University of Nebraska Press, 1988): 179–276, 99–177. On Die Grenzboten in particular, see ibid., 214–7, 255–76. Schmidt was primarily interested in literature, not music, but became involved in mid-century music-aesthetic debates because of Wagner. See Chapter 5, ‘Music and the Politics of Post-revolutionary Culture’, in James Garratt, Music, Culture and Social Reform in the Age of Wagner (Cambridge: Cambridge University Press, 2010): 156–77.
39 ‘Diese Kunstperiode zu einer kurzen Blüthe prädestinirt war. … [Die Kunst] vertieft sich daher immer mehr in ein Land der Träume’; Julian Schmidt, Geschichte der Deutschen Nationalliteratur im neunzehnten Jahrhundert (Leipzig: F. L. Herbig, 1853): 2: 410.
40 Bonds cites Franz Brendel, ‘Robert Schumann mit Rücksicht auf Mendelssohn-Bartholdy und die Entwicklung der modernen Tonkunst überhaupt’, Neue Zeitschrift für Musik (NZfM) 22/35 (30 April 1845): 145.
41 From Thym's introduction to the second and the fourth parts of Brendel's article, published as Franz Brendel, ‘Robert Schumann with Reference to Mendelssohn-Bartholdy and the Development of Modern Music in General (1845)’, trans. Jürgen Thym, in Schumann and His World, ed. R. Larry Todd (Princeton: Princeton University Press, 1994): 317–18.
42 ‘In Beethoven beherrscht der Inhalt die Form; seine Ausarbeitung ist mehr phantastischer Art, und der Fortgang durch die darzustellende Idee bestimmt. … Beethoven, überwiegend subjectiv, … zog sich immer mehr in das Gebiet des rein Geistigen zurück’; Brendel, ‘Robert Schumann’, NZfM 22/15 (19 February 1845): 67. Brendel's disparagement of ‘content’ and ‘the represented idea’ is consistent with his later characterization of late Beethoven in his Geschichte der Musik in Italien, Deutschland und Frankreich: ‘However, also with Beethoven, in the further progression of his development, the poetic idea increasingly predominates, and confronts the exclusively musical element’ (‘Allerdings ringt sich auch bei Beethoven im weiteren Fortgang seiner Entwicklung immer mehr die poetische Idee heraus, und tritt dem ausschließlich musikalischen Element gegenüber’). Franz Brendel, Geschichte der Musik in Italien, Deutschland und Frankreich. Von den ersten christlichen Zeiten bis auf die Gegenwart, 4th edn (Leipzig: Matthes, 1867): 552.
43 ‘Schumann is a romantic … and his realm of sentiments is therefore closely related to that opened up by the poets of our romantic school. The fantastic opulence of which they dreamed was captured musically by Schumann in his Liederkreis on texts by Eichendorff’. Brendel, ‘Robert Schumann’, trans. Jürgen Thym, 330. Thym's source is Brendel, ‘Robert Schumann’, NZfM 22/29 (9 April 1845): 122.
44 ‘Sympathie mit den Bewegungen der Geschichte, und Vertrautheit mit dem neuen Inhalt, welcher seit 1830 die Welt bewegt’. Brendel, ‘Robert Schumann’, NZfM 22/36 (3 May 1845): 150. For more on Brendel's politics see James Garrett, ‘Radical and Social Aesthetics in the Vormarz’, Chap. 2 of Music, Culture and Social Reform, 54–71. He places him in the category of ‘Left Hegelians’, whose chief concern was ‘the progress of human freedom’ (p. 56). For members of this movement, Romanticism served as ‘a catch-all for the reactionary elements within modernity’ (p. 57). According to Garrett, Brendel employs various strategies to support a Left-Hegelian historical periodization and still present Beethoven as a champion of democracy (p. 63–6). One is to present the Ninth Symphony as the culmination of Beethoven's progress, while seeing ‘a lapse into isolation and self-division’ in the late quartets (p. 65).
45 Richard Taruskin, ‘Chaikovsky and the Human: A Centennial Essay’, Chap. 11 in Defining Russia Musically: Historical and Hermeneutical Essays (Princeton: Princeton University Press, 1997): 263.
46 ‘La ligne, le modelé, la couleur par l'instrumentation … de plus le mouvement’. Camille Saint-Saëns, ‘L'art pour l'art’, in École buissonnière: Notes et souvenirs, (Paris: Lafitte, 1913): 137; translation and discussion in Carlo Caballero, ‘In the Toils of Queen Omphale: Saint-Saëns's Painterly Refiguration of the Symphonic Poem’, in The Arts Entwined: Music and Painting in the Nineteenth Century, ed. Marsha L. Morton and Peter L. Schmunk (New York: Garland Publishing, 2000): 125–7.
47 See Carolyn Abbate, ‘Wotan's Monologue and the Morality of Musical Narration’, Chap. 5 in Unsung Voices: Opera and Musical Narrative in the Nineteenth Century (Princeton: Princeton University Press, 1991): 156–205; ‘Metempsychotic Wagner’, Chap. 3 in In Search of Opera (Princeton: Princeton University Press, 2001): 107–44; and ‘Immortal Voices, Mortal Forms’, in Analytical Strategies and Musical Interpretation: Essays on Nineteenth- and Twentieth-Century Music, ed. Craig Ayrey and Mark Everist (Cambridge: Cambridge University Press, 1996): 288–300.
48 For an analysis of these issues, see especially John Daverio, ‘Schumann: Cryptographer or Pictographer’ and ‘Brahms's Musical Ciphers: Acts of Homage and Gestures of Effacement’, Chaps. 3 and 4 in Crossing Paths: Schubert, Schumann, and Brahms (Oxford: Oxford University Press, 2002): 65–124. Also pertinent is Christopher Alan Reynolds, Motives for Allusion: Context and Content in Nineteenth-Century Music (Cambridge, MA: Harvard University Press, 2003).
49 Lockwood, Beethoven's Lives, 132–3; the reference is to Kinderman, Beethoven (2009).
50 Schneider's years in Bonn are discussed in Lockwood, Beethoven: The Music and the Life, 37–8, although Lockwood is less convinced of any sympathy on Beethoven's part for Schneider's more radical views. Kinderman draws upon a recent article by Peter Höyng, ‘“Denn Gehorsam ist die erste Pflicht freier Männer”: Eulogius Schneider as a Paradigm for the Dialectic of Enlightenment’, in The Radical Enlightenment in Germany: A Cultural Perspective, ed. Carl Niekerk (Leiden: Brill Rodopi, 2018): 310–27, for an even-handed discussion of Schneider's activities.
51 Alexander Wheelock Thayer, Ludwig van Beethovens Leben, 2nd edn, vol. 1, trans. and ed. Hermann Deiters (Leipzig: Breitkopf & Härtel, 1901): 274–5. Kinderman reproduces a plate from Schneider's poems, with its list of subscribers including ‘Hr van Bethoven, Hofmus’., in Beethoven, A Political Artist, 15, plate 1.2. On the connection between Beethoven and Schneider, see Höyng, Peter, ‘Mephistopheles’ Flohlied Meets Beethoven's Devilish Sting’, Publications of the English Goethe Society 83/2 (2014): 78–81Google Scholar.
52 Fend, Michael, ‘Romantic Empowerment at the Paris Opera in the 1770s and 1780s’, Music & Letters 94/2 (2013): 263–94CrossRefGoogle Scholar; and ‘An Instinct for Parody and a Spirit for Revolution: Parisian Opera, 1752–1800’, in The Cambridge History of Eighteenth-Century Music, ed. Simon P. Keefe (Cambridge: Cambridge University Press, 2009): 295–330. Kinderman's references to French opera are found in his discussion of Fidelio, 110–13.
53 Beethoven Jubiläums GmbH, Beethoven Pastoral Project, www.bthvn2020.de/en/program/beethoven-pastoral-project (accessed 20 November 2021).
54 Nicholas Mathew, Political Beethoven (Cambridge: Cambridge University Press, 2013); Stephen Rumph, Beethoven after Napoleon: Political Romanticism in the Late Works (Berkeley: University of California Press, 2004); and Daniel K. L. Chua, Beethoven & Freedom (New York: Oxford University Press, 2017); all identified in Kinderman, Beethoven, A Political Artist, 228.
55 For a review of Chua that highlights some of the same themes, see Scott Burnham, review of Beethoven & Freedom, by Daniel K.L. Chua, Music Analysis 39/1 (2020): 128–34. To show how little these groupings cohere, I observe that Chua groups Kinderman, Mathew and Rumph together in one spot as scholars who see Beethoven as political (whether pro- or anti-democratic); otherwise, he cites Kinderman approvingly, especially his article ‘Beethoven's Symbol for the Deity in the Missa solemnis and the Ninth Symphony’, 19th-Century Music 9/2 (1985): 102–18. See Chua, Beethoven & Freedom, 26n6, 48, 191, 202.
56 These reviews of Rumph, Beethoven after Napoleon, are by Barry Cooper, Music & Letters 86/4 (2005): 636–8; Peter Höyng, Journal of the American Musicological Society 60/2 (2007): 431–5; and William Kinderman, Music Library Association. Notes 61/4 (2005): 1010–13.