Three important works by conductor Felix Weingartner (1863–1942) include a detailed account of performing difficulties and interpretation questions involved in each of Beethoven's symphonies, plus the essays "On Conducting" and "The Symphony Since Beethoven."

The ten essays in this volume explore different aspects of the performance of instrumental works by Beethoven. Each essay discusses performance issues from Beethoven's time to the present, whether the objective be to realise a performance in an historically appropriate manner, to elucidate the interpretation of Beethoven's music by conductors and performers, to clarify transcriptions by editors or to reconstruct the experience of the listener in various different periods. Four contributions focus on the piano music while another group concentrates on Beethoven's music for strings. These chapters are complemented by an examination of Beethoven's exploitation of the developing wind choir, an evaluation of early twentieth-century recordings as pointers to early nineteenth-century performance practice and an historical survey of rescorings in Beethoven's symphonies.

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1907 edition. Excerpt: ...from the similar passage in bar 17 of page 10. I have therefore added the following parts for the horn starting from the bar in question. p cresc. ff This is not absolutely necessary, but it seems rather strange to hear this passage which is raised a tone (ismajor in contradistinction to the preceding D major) without the ring of the horns, and to be forced to say that doubtless it was only a technical hindrance which caused this omission. The artistic conscience of the conductor must be the guide as to whether my suggestion should be adopted or not. Page 14, bars 9--16. For a careful performance I propose the following notation for violas and violins: VC Page 15, bars 4 and 5. The second horn plays the lower D. Page 16, bars 2 and 4. The trill should be taken without grace-note to the second crotchet of the last bar; it stops there, so that this crotchet is played simply, without shake. Page 16, bars 17--19. Second violins and violas come in here as a repeating continuation of the clarinets and bassoons. The following notation is therefore a suitable one: Page 19, bar 12. See page 6, bar 23. Page 22, bars 11 and following. The whole passage would be robbed of its character if it were to be hurried. The first time, taken in an easy manner, should be the standard to the end of the movement. Page 26. The second violins, the violas and the two muted violoncellos are apt to sound too loud in all the passages where they have figurations. The conductor should see that these instruments only form a background which brings into relief the tender light-pictures of the melodic parts. Great care must be taken not to let the time drag. The metronome-mark J = 50 is all that can be desired. Page 27, last bar but one. In order to allow the gently...

A daring composer in his own right, Hector Berlioz made a considerable reputation and a modest living for himself writing about music. This compact volume gathers brief, pithy essays Berlioz wrote on Beethoven's nine symphonies, his opera, Fidelio, and his piano sonatas and trios. Berlioz vividly depicts the salient features of the music with observations that are acute and passionate, as valuable for musicians as for amateurs. Beyond its astute commentary on the music, however, Berlioz's book offers a rare firsthand look at the reception and reputation accorded Beethoven's music in the decades following his death. Berlioz transcribes the comments of amateurs leaving the conservatoire after a performance of Beethoven's Ninth Symphony and provides a mocking glimpse of the French appreciation of the great German composer: What stands in the way of the music of 'Fidelio' as regards the Parisian public is ... the great disdain of the composer for sonorous effects which are not justified. He addresses Beethoven's skillful use of the orchestra as an instrument of drama and the general disapprobation that greeted this approach. He also includes a satirical piece on the fad of calling up the spirit of a composer and transcribing new, posthumous compositions. Berlioz's essays testify to the tumult caused by Beethoven's music in his time and offer ways to approach the music that remain enlightening and fresh.

Ludwig Van Beethoven's nine symphonies stand as towering masterworks at the core of the classical canon. In Beethoven's hands, the symphony expanded dramatically in scope and power in a way that would revolutionise both the form itself and music in general. The impact of Beethoven's nine was such that composers long after him would write their own symphonies in his shadow. In this book, acclaimed Pianist and critic John Bell Young explores each of the nine symphonies, always looking beneath the surface for what makes the music so compelling. He places them in their historical and cultural context, and he describes how the Russian concept of intonatsiia, a way of perceiving relationships "between the notes," can help deepen our appreciation of these pieces. The accompanying CD contains selections from all of the symphonies, each performance conducted by the legendary Wilhelm Furtwangler.