Excerpt from On the Performance of Beethoven's Symphonies The secret of the artistic rendering of musical compositions, and hence the secret of the conductor's art, lies in the style. The reproducing artist, in this case the conductor, must have absorbed into himself, so to speak, the peculiarity of each master and each masterpiece, and his rendering must be subordinate to this peculiarity even in the smallest details. As regards the time, the phrasing, the treatment of the sounds in the orchestra and even the technical manipulation, the conductor must assume a different personality according as he is conducting the Eroica or the Pastorale, Tristan or the Meistersinger, according as he is trying to reproduce Haydn or Beethoven, Berlioz or Wagner. I believe I am not going too far when I say that a conductor of genius unites in himself just as many personalities as he reproduces masterpieces. One of the essential conditions of the style of an execution must be clearness, and this is the quality which will occupy us here with regard to Beethoven's Symphonies. This, is precisely the point in which these greatest of all orchestral compositions offer the greatest difficulty, for even a perfectly correct rendering does not always make the intentions of the master as clear as they become by the reading of the score, or even by the playing of the pianoforte extracts. Indeed it must be confessed that many passages awaken a feeling of confusion rather than of pleasure. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

The 1896 corrected and indexed second edition of a classic of musical analysis, exploring this revolutionary body of compositions.

Beethoven's Symphonies Critically Discussed by Alexander Teetgen is a comprehensive analysis of the composer's nine symphonies. It offers detailed musical analysis, from harmonic structure and texture to form and melodic development, as well as musings on Beethoven's style and influence. It is an essential resource for anyone interested in the legendary composer's works.

This is a 1906 guide to the art of performing Beethoven's symphonies written by Austrian conductor, composer and musician?Felix Weingartner.

Excerpt from Beethoven's Ninth Symphony: Choral The Symphony starts in an entirely different man ner from any other of the nine, with a prologue which is not an introduction, properly speaking, and yet introduces the principal subject of the move ment. The tempo is the same from the beginning. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

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...

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Excerpt from Beethoven's Seventh Symphony This noble work Opens with an introduction, Poeo sostemito, far surpassing in dimensions, as well as in breadth and grandeur of style, those of the First, Second, and even Fourth Symphonies, the only oth ers of the immortal nine which exhibit that feature. This introduction is a wonderfully grand, impressive movement, and may be compared to a vast and stately portico or hall, leading to the great galleries, corridors, and apartments of a magnificent palace. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

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."