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Education » Literary
The Creation of Beethoven's Nine Symphonies screenshot
English | 2024 | ISBN: 1783277912 | 320 Pages | PDF | 10 MB
Beethoven's nine symphonies are a cornerstone of Western classical music and have revolutionised it. Composers succeeding Beethoven found their output measured against this master's work. But how did his symphonies come into being and how did they reach their final form? These are the questions this book seeks to answer. Barry Cooper has been one of the leading advocates of the need for extensive studies of Beethoven's sketches, and we see him here applying his usual investigative rigour to the study of the symphonies.

For most of the symphonies the sketches have not previously been fully examined. In contrast, Cooper's book provides a much deeper exploration of these sketches, along with autograph scores, corrected copies and first editions, while the Beethoven correspondence offers additional information on the first publication and performances of the symphonies. The result is a clear overview of the creation of each symphony in turn, placed within the context of musical life in Beethoven's Vienna. Another strand of the investigation covers Beethoven's unfinished symphonies and how they helped to provide the fertile soil from which the finished ones grew. Most of those did not progress beyond a few bars, but two, known as No. 0 and No. 10, were sketched extensively. This book therefore offers a unique investigation of the composition of the entire corpus of Beethoven's symphonies, reconstructing their creation from Beethoven's rather than posterity's viewpoint.

Author / Editor information
Cooper Barry A.R. :

Barry Cooper is Professor of Music at the University of Manchester and is known worldwide for his knowledge of the Beethoven sketchbooks.
He is the editor of the complete edition of the Beethoven Piano Sonatas for ABRSM, and his books include Beethoven and the Creative Process and his biography of the composer for the Oxford Master Musicians series.


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Always welcome books. Barry Cooper is a great musician, and his books are amazing.

Beethoven concludes his last 9th symphony and for the first time in the history of music he uses singing and a giant choir. Only decades later Brahms risks composing giant symphonies, but he never imitated his idol Beethoven.

But, I need to take advantage of this space that will also be read by many people outside of audioz, about "I.A Beethoven's fake 10th symphony" Hearing that makes me sick, something so disgusting.

I am familiar with these symphonies conducted by various maestros, particularly the esteemed 'Herbert Von Karajan'. Any composer who attempted to imitate Beethoven, even during his era, has been largely forgotten.

Kuhlau imitating Beethoven:

Kuhlau, for instance, fled Germany to Denmark to escape comparisons, yet even his piano compositions bear the influence of this great master.

It is impressive that Kuhlau's (1786-1832) "Sonatina Op.88" is a variation on 'Für Elise'.

And in his "Sonatina Op.60 No. 1, in F Major", for Piano he draws on his idol Beethoven's 'Waldstein' sonata'.

Even his "concerto Op.7" of 1810 is a formal copy of Beethoven's 'Piano Concerto No. 1 in C Major Op.15'.


Recently, however, I was appalled to discover that artificial intelligence was employed to recreate 'fake Beethoven's 10th symphony'. Hearing the initial monotonous repetitions was disheartening; such redundancy was never characteristic of Beethoven, whose variations were always designed to maintain interest. My dismay deepened upon learning that the project involved not only AI but also contributions from other composers. It is naïve to assert that Beethoven had begun his 10th symphony; he merely kept a notebook filled with ideas, sketches, and notes. While some speculate that these last scribbles might have hinted at a future symphony, such conjecture remains unfounded, since he never even began the first page of the score.

Listening to this synthetic symphony was exhausting. Although its orchestration draws on Beethoven's work, the musical flow lacks his essence. Immediately, one can detect Mozartian mannerisms, which is strikingly evident. Beethoven was meticulous in establishing his unique identity, and certain passages awkwardly echo his 5th symphony, which is quite absurd. The introduction of an organ nearly compelled me to stop listening altogether, as Beethoven was never adept at writing for the organ or opera.

In essence, this composition resembles a haphazard collage, lacking coherence and musical taste. Beethoven never repeated elements across his works; each of his 32 sonatas and symphonies is distinctly unique.

Ironically, this piece was performed in Bonn, Beethoven's birthplace. It struck me that Beethoven left this city and never returned. The citizens of Bonn ought to honor his legacy by rejecting such poorly executed tributes. After Beethoven, the Romantic composers struggled to find their footing in the shadow of his monumental 9th symphony, which seamlessly integrated choral elements. It seems fitting that Beethoven concluded his symphonic journey with the 9th, as any further contributions should rightfully come from him—not from misguided attempts or what I term "artificial stupidity" that relies on recycled elements crafted by exceptional human beings.

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