Customer Reviews

Late Beethoven: Music, Thought, Imagination

5 star:		(3)
4 star:		(2)
3 star:		(1)
2 star:		(2)
1 star:		(0)

 

 

Maynard Solomon has followed-up his distinguished biography of Beethoven (rev.ed. 1998)with an outstanding study of the music of Beethoven's third period and of the intellectual and emotional changes in Beethoven's outlook that likely contributed to Beethoven's late masterworks. These works include the Ninth Symphony, the Missa Solemnis, the Diabelli Variations, the final string quartets, including the great fugue, and the final five piano sonatas.

Solomon's biography of Beethoven was both notable and controversial for its psychoanalytical approach. I find that approach mostly lacking here. For his approach to Beethoven's inner life and development, Solomon draws extensively on Beethoven's Tagebuch, which Solomon describes as "the intimate diary [Beethoven] kept between 1812 and 1818 to which he confided his innmost feelings and desires" (p.2). Solomon finds a "sea change" (as he titles his Prologue) in Beethoven's system of belief beginning in about 1810. Following Beethoven's comparatively fallow period as a composer between 1812-1816, this change in Beethoven's beliefs bore its consequences in the works of his final maturity. In general, Solomon finds Beethoven's beliefs changed from the rational, enlightment, classical thought that characterized, for Solomon, the first and second period works, to a more romantic belief system that focused on inwardness, theology, (I found it fascinating that Beethoven showed awareness of and interest in Eastern thought in the Tagebuch), nature, and imagination. In sum, Beethoven in his final period came more under the influence of romanticism (whatever that notoriously vague term might mean) than is sometimes realized. Furthermore, with his nearly total deafness and the failure of his attempts to establish a lasting relationship with a woman, Beethoven tried mightily to devote his life to the pursuit of his art rather than to his own personal, less exalted ends.

The book consists of twelve chapters, some of which were earlier published, which Solomon has worked into a coherent whole. Of the twelve chapters, seven are examinations of the sources of Beethoven's thought and deal in broad concepts. Thus two chapters explore the relationship between concepts of classicism and romanticism -- highly slippery concepts as Solomon realizes-- and argue that Beethoven's final work and thought show an increased romantic influence -- particularly in its transcendent element. Two chapters discuss the possible influence of Freemasonry upon Beethoven while an additional chapter discusses the increased religious dimension in Beethoven's final works, including the influence of Eastern thought.

The remaining five chapters focus on individual works. The Diabelli Variations receive two detailed chapters. The first of them explores Diabelli's waltz theme and the attraction it might have had for Beethoven while the second is a detailed analysis of the pattern of each of the 33 variations, including copious musical illustrations. There is an outstanding chapter on Beethoven's opus 96 violin sonata and its source in pastorale. There is a chapter on the seventh symphony (not usually considered a late work) and on the influence it shows of Greek poetical meters, and a thorough chapter on the Ninth Symphony. This description only briefly touches the scope of the book as Solomon has provocative things to say about the last quartets, particularly on the opus 130 quartet and on the question of its two finales: the grosse fugue and the much simpler rondo which Beethoven substituted for it. And, as I mentioned, Solomon says much about the last piano sonatas, the Missa Solemnis and about the song cycle "An die Ferne Geliebte" even though these works do not have a specific chapter devoted to them.

I found it a joy to read this book. It combines a love and emotional understanding of Beethoven's music with deep erudition and a love of learning. Beethoven's music and intellectual development are well-discussed even if the reader finds himself not agreeing with all Solomon's arguments. The book is full of detailed consisderation of specific works including quotations from Beethoven's scores. It is probably a book that will be most appreciated by those who have some familiarity with Beethoven's music, particularly the works of the third period, rather than by those coming to the music for the first time.

This is a difficult, challenging, and revealing study of late Beethoven combining scholarship, philosophical thinking, and a love and understanding of Beethoven's music.

Maynard Solomon is probably the most important Beethoven biographer of modern times. His book is essential research for serious musicians and composers who wish to gain insight into late Beethoven. Solomon's writing is dense; every word and paragraph count. Many, many musical examples, so the ability to read music (and knowledge of music theory) is a must. This is not a casual book, but if you are up for it, it is among the most rewarding Beethoven studies around.

Richard Russell

[...]

After reading Maynard Solomon's very interesting and illuminating biography of Beethoven, I decided to pick up the more recent "Late Beethoven", which is really a collection of re-worked essays around a central theme. Let me begin by highlighting some strong points, where Solomon has carefully researched key issues and generated interesting points:

1) Solomon takes on the topic of whether Beethoven is fundamentally a "classical" or a "romantic" composer, a debate which has existed since the 1820s. Of course, the answer is that he lies between those two poles, so the question is really a matter of emphasis - which side matters more to Beethoven's art? Solomon goes back to contemporary reactions to Beethoven's music and forcefully underlines how his contemporaries viewed him as a wild innovator and explorer of new terrain. This casts doubt on the position that Beethoven is a follower of the classical tradition. The riposte is sure to follow from the musicological community, but this is a solid, thought-provoking piece of research.

2) Solomon has also engaged in solid source research on Beethoven's relationship to Freemasonry, taking the position that Beethoven was sympathetic and influenced by the movement without being an actual lodge member. Numerous texts are analyzed for their Masonic content, most interestingly Schiller's poem "Ode to Joy," of course used in the finale of the 9th symphony. This research has limited application to musical analysis (I find it doubtful that the opening of the Missa solemnis, with its three chords, refers to the Masonic lodge knock rather than the Trinity), but it's a new light on Beethoven's intellectual history.

3)Most interestingly, Solomon's interprets the fact that Beethoven was willing to dismember three of his major late works - the Op. 106 Hammerklavier sonata, the Missa Solemnis and the 9th symphony (Beethoven apparently strongly considered disposing of the choral finale entirely!) - as evidence that the supposed organic, fully-worked-out features of the forms of these pieces does not reflect the composer's opinion. He argues instead that Beethoven was constantly revising the forms of his works and believed they could be completed in many ways. Just a great argument and one that could re-shape the critical view of Beethoven. (Assuming a critical view will still exist given the meltdown of classical music in the present day.)

That said, here are some flaws:

1)I found the book overwritten - too many references, too many lists, filled with academic jargon. Bad writing often dilutes Solomon's meaning and makes the book sometimes just tedious to read.

2)Solomon's musical analysis in the older Beethoven biography was very undeveloped. He has obviously worked hard to upgrade that part of his research, but I am underwhelmed by the results. I find the reading of the Diabelli Variations as a spiritual journey an over-earnest view of a playful, undirectional work. The reading of the Op. 96 G-major violin sonata as a pastoral strikes me as unsupported, either by documentation or the musical analysis. And the application of poetic meters to the 7th symphony was stretched and unilluminating. That some of the motivic kernels of the 7th are somewhat related to poetic meters isn't surprising. Whether Beethoven related poetic meters to the composition of the 7th is unproven by either analysis or primary historical research.

So I give "Late Beethoven" three stars. Some very solid primary research is diluted by plodding writing and unconvincing musical analysis. It's not recommended for the casual reader and is written for an academic audience. Those who would benefit need to be familiar both with Beethoven and music history to enjoy the work.

It should be made clear that this book is more about Beethoven's philosophy, than about his music. There are two chapters devoted entirely to his relationship with Free Masonry, a good few chapters of rather speculative interpretation of the Diabelli Variations, and very little on the late quartets (what little there is remains characteristically speculative.)

I can honestly say that condition of this book is quite better than new. It has a meticulous dust jacket and shows no sign of wear at all. The book is a masterpiece of biography, and it is grand to see it presented in so handsome a volume.

Very disappointing. I expected this book to help me enjoy late Beethoven by illuminating aspects of his music either through analysis of the music itself, relationships with other compositions, or interesting events in Beethoven's life at the time. Instead, the book seems to be a collection of rather academic essays on trends in Beethoven's thinking about religion, romanticism, Masonic beliefs, and so forth. We learn about his passing interest in Egyptian mystery cults (for example), but little if any of this is convincingly related to his actual music.

Quite a bit of the more technical analysis relates to pieces from an earlier period. We learn that most rhythms in the 7th Symphony are analogous to ancient Greek meters, the dactyl for instance. But, given the extensive dictionary of meters given on page 105, we may be excused for asking -- what musical rhythms are not? One whole chapter is given to the Op. 96 violin sonata, again not a later period work.

Example passage: "We are swept into an irreconcilable dialectic between striving for individual autonomy and powerful regressive pulls toward fusion and oblivion..." If this sort of thing helps you understand and enjoy music, you may like this book. Otherwise, you probably won't.

For Beethoven beginners just getting into his symphonies, one book I can heartily recommend is Grove's "Beethoven and his Nine Symphonies." This 1903 book is only available used (and very costly) at Amazon, so check your library. It's way out of date and lacks the benefit of a century of additional research, but it's still the best and most entertaining introduction to the subject I've ever read. In short, it's everything I had hoped that Solomon's work would be, and isn't.

Sounds banal but this is really a good read on late Beethoven.

Soloman's done his homework and he writes a nice, clear, subtly postmodern criticism.

Especially fine is his discussion of Romanticism.

I got this book and read through some chapters, and thought that the book gives some good or objective views on late Beethoven. But for some reason, I don't quite agree with some parts of book when author quoted references and associated Beethoven with some sort of religion or political believes. Although I do know there're some transcendental spirits, sublimity and profundity in Beethoven's late music, in his sonatas, string quartets, Diabelli variation among others, he is not religious even till the end but perhaps the greatest music genius and artist. Author also explored Romanism in late Beethoven, which I took less pleasure in reading. I found it less interesting with some of his writing style, when he quoted poems or others words and let reader go with him on some sort of purposeless or boring ride. But overall it is good book on late Beethoven, especially the chapter on Diabelli variations.