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- W247683106 abstract "The Northwest Symposium on Beethoven's orchestral music, held at the University of Victoria on March 21-23 and announced in the last issue of The Beethoven Newsletter (vol. 1 no. 1, pp. 1-3), attracted scholars from Canada, the United States, England, Scotland and East Germany. Planned and organized mainly by William Kinderman, it was originally intended to focus on Beethoven's orchestral music, so as to complement the 1984 Bonn conference on the chamber music; but in the event the topic was somewhat broadened to include certain other aspects of the composer's life and output. The first session was devoted to critical and analytical studies and included three papers. William Caplin (McGiIl University) examined the second-subject groups in several of Beethoven's symphonies, concentrating in particular on harmonic progressions, cadences, and phrase structures rather than motivic content; he demonstrated the means by which Beethoven achieved structural expansion in a part of the movement that analysts often neglect. Next, Geoffrey Block (Univ. of Puget Sound) discussed the sources of Beethoven's first two piano concertos and considered the question of Mozart's influence on them; and the session ended with a paper by the East Berlin scholar Harry Goldschmidt (a last-minute replacement for Sieghard Brandenburg), who said very little about the orchestral music but concentrated instead on the song An die Hoffnung, Opus 32, and suggested that the rhythm of the words O Hoffnung formed the basis for most of the musical material in the song (although not everybody in the audience was convinced by his arguments). The second session, on the relationship of Beethoven to other composers, was begun with a very elegantly delivered paper by Philip Downs (Univ. of Western Ontario) on Beethoven and Haydn, in which the speaker put forward some new and highly plausible hypotheses on this much debated subject. Beethoven's Ninth Symphony, as someone pointed out, was the most influential symphony in the whole of the nineteenth century, and its influence on two later works - Schubert's Great C major Symphony and Liszt's Dante Sonata - was examined in two papers by John Glofcheskie (Brock Univ.) and Joan Backus (Univ. of Victoria) respectively; the audience was then treated to a powerful rendition of the Dante Sonata, played by Bruce Vogt. The following session was concerned with Beethoven's compositional process, a subject which has been much studied in recent years but which continues to provide plenty of scope for further research. Barry Cooper (Univ. of Aberdeen) showed how knowledge of Beethoven's customary working methods can suggest new ways of approaching the tangle of sketches for the Egmont Overture. William Meredith (San Jose State Univ.) covered a lot of ground in his examination of the structure and composition of the variation movements in the symphonies, i.e., the finales of nos. 3 and 9 and the slow movements of nos. 5,7 and 9, although apart from No. 5 the sketches were not discussed in any great detail. William Drabkin (Univ. of Southhampton) tackled the formidable task of sorting out the sketches for the Agnus Dei in the Missa solemnis, which survive in sufficient quantity for him to have been able to build up a much fuller and more coherent picture of the growth of the movement than was previously considered possible, even though there are inevitable gaps in the source material. The final paper in this session was given by Lewis Lockwood (Harvard Univ.), who discussed the compositional genesis of the finale of the Eroica, on the basis of the sketches he concluded that Beethoven thought of the movement as being in a type of variation form with insertions, two of the insertions (bars 175-206 and 257-276) being made only at a fairly late stage in the evolution of the movement. …" @default.
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- W247683106 date "1986-07-01" @default.
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- W247683106 title "Northwest Beethoven Symposium" @default.
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