No CrossRef data available.
We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
Published online by Cambridge University Press: 04 February 2010
A centenary celebration raises various questions and prompts some warnings. Any nostalgic gesture is suspect: there is never any compulsion to think back. A calendar-based revival must justify itself by the sort of recognized central appeal that conditions a case for amplitude. This granted, and performances organized, the questions arise as to what the artist signified in his time and immediately after it, and what attention he can command in the context of present events. There was, for instance, never any doubt about the demand for Beethoven in 1970 by almost every variety of audience and performing body. Even the neglected early cantatas were found acceptable in what was a well-nigh routine acknowledgement across the board. Nor had the cult of Beethoven's art needed much more than time and personal advocacy to spread from Austria abroad, as a priority for orchestras and pianists, as the outstanding embodiment of resolute musical thought and as a triumph of evolution with unparalleled influence on the future of music.
page 3 note 1 See my article in Music Review, May 1972.Google Scholar
page 5 note 1 I am indebted for these cross-references to Mr. Christopher Wintle of Reading University Music Department.Google Scholar
page 5 note 2 Soundings No. 4 (1974)Google Scholar
page 6 note 1 So far tributes to Hoist have consisted mainly of performances of Savitri and The Wandering Scholar, with the Choral Symphony at the Maltings. But B.B.C. programmes included Savitri and the Hymn of Jesus (July), The Planets, the Moorside Suite for brass band and all twelve of the Humbert Wolfe settings (August), the Hymn of Jesus, The Planets and the Double Violin Concerto (25 September) and The Perjcct Fool, with some of the Canons for equal voices and the piano music (late September).Google Scholar