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• W3206785539 abstract "Reviewed by: Beethoven: A Life by Jan Caeyers, and: Die zwei Leben des Ludwig van Beethoven by Ulrich Drüner, and: Beethoven: A Political Artist in Revolutionary Times by William Kinderman Sandi-Jo Malmon, Colin Coleman, and Barry A.R. Cooper Beethoven: A Life. By Jan Caeyers, trans. Brent Annable. Oakland, CA: University of California Press, 2020. [xxiv, 630 p. ISBN 978-0-520-34354-2. $34.95] Die zwei Leben des Ludwig van Beethoven. By Ulrich Drüner. Munich: Blessing, 2020. [525 p. ISBN 978-3-89667-633-7. €24] Beethoven: A Political Artist in Revolutionary Times. By William Kinderman. Chicago and London: University of Chicago Press, 2020. [x, 256 p. ISBN 978-0-226-66905-2. $35] The year 2020 marked the 250th anniversary of Beethoven’s birth, and although government restrictions due to the coronavirus pandemic forced the cancellation of most live performances, they did not prevent the publication of substantial books on the composer. The three reviewed here all concentrate on biography rather than analysis of his music, and the question is how much new material, commentary, or interpretation they contain. Jan Caeyers is a conductor as well as a musicologist, and although he has produced little original research on Beethoven, his large-scale biography of the composer was widely welcomed when it was published in Dutch in 2009, prompting this translation into English, with revisions. The first surprise in the book is that Beethoven’s father is consistently referred to as Jean, not Johann, ‘because he went by “Jean” his entire life and since it was the name used on all official documents . . . [and] the original name given to him in Mechelen’ (p. 544). This is certainly a new interpretation, but unfortunately it is not entirely accurate: in the numerous documents cited in Thayer’s standard biography, the father is referred to variously as Joan, Johan, Joannes, Johann, Joann, and even Giovanni, but the French form ‘Jean’ is fairly infrequent. As for Mechelen, Caeyers offers no evidence that Johann was ever there, let alone that he acquired his name there: his father Louis left Mechelen and moved to Bonn several years before Johann’s birth, and a document from the period states that Johann was born in Bonn. The book as a whole is divided into fifty-nine short chapters. Though mostly biographical, the narrative mentions Beethoven’s main compositions in appropriate places, sometimes offering brief comments on the musical content, complete with the occasional music example. Each chapter add-resses a particular theme, such as ‘Salieri’s Opera Lessons’, ‘The Golden Years’, and ‘Post-Congress Vienna’. This approach results in a rather convoluted chronology at times, especially as some of the themes are quite loose. At one point, for example, a discussion of Beethoven’s friendship with Bettina Brentano in 1810–1812 is immediately followed by a discussion of the ‘Appassionata’ Sonata (1804– 1806), since both are rather tenuously related to his friendship with Josephine Deym in 1804–1807. The story of Beethoven’s life is engagingly and vividly recounted and includes all the main details as well as many interesting facts that will be new to most readers, extracted from letters, conversation books, reminiscences, and elsewhere. For example, we are told that Antonie Brentano, one of two candidates considered here as Beethoven’s ‘Immortal Beloved’, was the daughter of Johann Melchior von Birkenstock (1738–1809), who was an advisor to Empress Maria Theresa, brother-in-law of Johann Sonnenfels, and a noted education reformer. The ‘Ode to Joy’ was first set by Christian Gottfried Kӧrner, who belonged to the Freemasons lodge Zu den drei Schwerten in Dresden. In mid-September 1807, Beethoven knocked at Josephine Deym’s door, hoping to persuade her to marry him—or so it is claimed. After the unfortunate misunderstanding with ‘Jean van Beethoven’, however, one is never quite certain whether to believe what is stated. Often no source is given for the information, though material taken from letters is well-documented. Any such misgivings are well-justified. During [End Page 273] a perceptive appraisal of Beethoven’s folksong settings, which are all too often disregarded in biographies (including the other two reviewed here), we are told that..." @default.
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• W3206785539 title "Beethoven: A Life by Jan Caeyers, and: Die zwei Leben des Ludwig van Beethoven by Ulrich Drüner, and: Beethoven: A Political Artist in Revolutionary Times by William Kinderman" @default.
• W3206785539 doi "https://doi.org/10.1353/fam.2021.0023" @default.
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