The "Coletânea Internacional Ludwig van Beethoven - Sonata Poética da Liberdade" (Ludwig van Beethoven International Collection - Poetic Sonata of Freedom) is a Tribute to Beethoven in the celebrations of the 250th jubilee of his birth. The work was conceived, produced and organized by the Brazilian journalist and writer Élle Marques, who brought 90 guest authors together. It is a poetic composition that harmonizes around the Conductor's legacy. The authors reinterpret feelings such as "eternal love" and the value of creatures and nature. It is the first international collective poetic work in the world dedicated to the memory of the great German composer. The Poetic Sonata of Freedom was originally produced in Portuguese. English version: Hudson Ribeiro. Mundo Cultural World publishing house, 2021. Contributors: Aldir Carvalho Filho, Silvio Fergon, Amauri Queiroz, Gui Kallifer, Khathleen Evelyn Müller, Ana Paula Cunha, Eduardo Souza, Fábio Roberto

Over the last two centuries, Beethoven's music has been synonymous with the idea of freedom, in particular a freedom embodied in the heroic figure of Prometheus. This image arises from a relatively small circle of heroic works from the composer's middle period, most notably the Eroica Symphony. However, the freedom associated with the Promethean hero has also come under considerably critique by philosophers, theologians and political theorists; its promise of autonomy easily inverts into various forms of authoritarianism, and the sovereign will it champions is not merely a liberating force but a discriminatory one. Beethoven's freedom, then, appears to be increasingly problematic; yet his music is still employed today to mark political events from the fall of the Berlin Wall to the attacks of 9/11. Even more problematic, perhaps, is the fact that this freedom has shaped the reception of Beethoven music to such an extent that we forget that there is another kind of music in his oeuvre that is not heroic, a music that opens the possibility of a freedom yet to be articulated or defined. By exploring the musical philosophy of Theodor W. Adorno through a wide range of the composer's music, Beethoven and Freedom arrives at a markedly different vision of freedom. Author Daniel KL Chua suggests that a more human and fragile concept of freedom can be found in the music that has less to do with the autonomy of the will and its stoical corollary than with questions of human relation, donation, and a yielding to radical alterity. Chua's work makes a major and controversial statement by challenging the current image of Beethoven, and by suggesting an alterior freedom that can speak ethically to the twenty-first century.

What is a sonata? Literally translated, it simply means 'instrumental piece'. It is the epitome of instrumental music, and is certainly the oldest and most enduring form of 'pure' and independent instrumental composition, beginning around 1600 and lasting to the present day. Schmidt-Beste analyses key aspects of the genre including form, scoring and its social context - who composed, played and listened to sonatas? In giving a comprehensive overview of all forms of music which were called 'sonatas' at some point in musical history, this book is more about change than about consistency - an ensemble sonata by Gabrieli appears to share little with a Beethoven sonata, or a trio sonata by Corelli with one of Boulez's piano sonatas, apart from the generic designation. However, common features do emerge, and the look across the centuries - never before addressed in a single-volume survey - opens up new and significant perspectives.

"Is there a moment in history when a work receives its ideal interpretation? Or is negotiation always required to preserve the past and accommodate the present? The freedom of interpretation, Charles Rosen suggests in these sparkling explorations of music and literature, exists in a delicate balance with fidelity to the identity of the original work. Rosen cautions us to avoid doctrinaire extremes when approaching art of the past. To understand Shakespeare only as an Elizabethan or Jacobean theatergoer would understand him, or to modernize his plays with no sense of what they bring from his age, deforms the work, making it less ambiguous and inherently less interesting. For a work to remain alive, it must change character over time while preserving a valid witness to its earliest state.

Gillespie discusses 350 composers and their works for harpsichord and piano, including Bach, Handel, Mozart, Beethoven, and Debussy. Includes 116 musical examples, illustrations, and a glossary of musical terms.

This volume was first published in 1927, on the centenary of Beethoven’s death, as part of the Masters of Music series. The author was an established biographer of organ composers, such as The Organ Works of Bach. Attributing Beethoven’s disagreeable demeanour to his childhood, the author embarks on a passionate defence of Beethoven’s essential nobility of character, hoping to assuage the then-prevalent anti-Beethoven chill and to encourage readers to discover Beethoven anew. The volume covers an overview of Beethoven’s life, followed by his personality and an assessment of his works in an exploration of the most important characteristics of Beethoven’s works and their influence on his successors.

Widely regarded as the greatest composer that ever lived, Ludwig van Beethoven was the principal musical figure in the transitional period between the Classical and Romantic eras. Dominating a period of musical history as no other composer before or since, Beethoven produced monumental works that combine a forceful intensity of feeling with a perfection of design. Delphi’s Great Composers Series offers concise illustrated guides to the life and works of our greatest composers. Analysing the masterworks of each composer, these interactive eBooks include links to popular streaming services, allowing you to listen to the pieces of music you are reading about. Evaluating the masterworks of each composer, you will explore the development of their works, tracing how they changed the course of music history. Whether a classical novice or a cultivated connoisseur, this series offers an intriguing overview of the world’s most famous and iconic compositions. This volume presents Beethoven’s masterworks in succinct detail, with informative introductions, accompanying illustrations and the usual Delphi bonus features. (Version 1) * Concise and informative overview of Beethoven’s masterworks * Learn about the classical pieces that made Beethoven a celebrated composer * Links to popular streaming services (free and paid), allowing you to listen to the masterpieces you are reading about * Features a special ‘Complete Compositions’ section, with an index of Beethoven’s complete works and links to popular streaming services * Includes Beethoven’s letters (translated by Lady Wallace) - spend hours exploring the composer’s personal correspondence * Also features four biographies, including Thayer’s seminal study - explore Beethoven's intriguing musical and personal life Please visit www.delphiclassics.com to browse through our range of exciting eBooks CONTENTS: The Masterworks Cantata on the Death of Emperor Joseph II Piano Concerto No. 2 Piano Sonata No. 8, Pathétique Symphony No. 1 Piano Sonata No. 14, Moonlight Sonata Violin Sonata No. 9, Kreutzer Sonata Symphony No. 3, Eroica Fidelio Violin Concerto in D major Symphony No. 5 Symphony No. 6, Pastoral Egmont Bagatelle No. 25, Für Elise Piano Concerto No. 5, Emperor Concerto Piano Trio No. 7, Archduke Symphony No. 7 Missa solemnis Symphony No. 9 String Quartet No. 14 Complete Compositions Index of Beethoven’s Compositions The Letters Beethoven’s Letters (1790-1826) The Biographies Life of Beethoven by Anton Schindler The Life of Ludwig van Beethoven by Alexander Wheelock Thayer Beethoven: A Memoir by Elliott Graeme Brief Biography: Ludwig van Beethoven by Donald Francis Tovey Please visit www.delphiclassics.com to learn more about our wide range of exciting titles

This book explores the fascinating musical and dramatic elements within Fidelio, Beethoven's only complete opera.

Ludwig van Beethoven (1770-1827), the protagonist of freedom for music, disentangled music from the control of the ruling class. In publishing his music and writing for the rising classes, Beethoven claimed freedom and expressed the emotions of the new rulers, the artists. The Eroica, Fidelio, and the piano works express the emotions of the new rulers - the intense love, the need for companionship of people, the forces that conspired to defeat the artist, and the strength and superiority of the artist in overcoming the weaknesses. The letters of Beethoven are the principal nonmusical expression of his personality in its relationship with the world of his time. In what he called the "dry letters of the alphabet," Beethoven depicted his fears, his loves, and his friendly relations: his fears of deafness and of corrupted texts by pirating printers; his loves, Bettina Brentano and Giulietta Guicciardi; and his friendly relations with Baron Zmeskall, Frau Nannette Streicher, and the music publishers Steiner and Company. He praises the poetry of Goethe and Schiller but condemns Goethe for his obeisance toward royalty. He solicits help during his perpetual trouble with his health and with his servants. He castigates publishers, sets prices for his works, and calculates letters of dedication. He expresses his love for his nephew, Carl, but documents the trouble that Carl was causing him by taking up his precious time. And although Beethoven liked to decorate the letters with musical openings and closings and an occasional song to the receiver, he increasingly signed his letters, "In haste."