LEADER 04306nam 2200613 450 001 9910463592703321 005 20210429220205.0 010 $a0-520-96097-1 024 7 $a10.1525/9780520960978 035 $a(CKB)2670000000606637 035 $a(EBL)1882083 035 $a(SSID)ssj0001460271 035 $a(PQKBManifestationID)12567903 035 $a(PQKBTitleCode)TC0001460271 035 $a(PQKBWorkID)11465464 035 $a(PQKB)10278840 035 $a(StDuBDS)EDZ0001193117 035 $a(MiAaPQ)EBC1882083 035 $a(OCoLC)905854782 035 $a(MdBmJHUP)muse47159 035 $a(DE-B1597)518940 035 $a(DE-B1597)9780520960978 035 $a(Au-PeEL)EBL1882083 035 $a(CaPaEBR)ebr11036439 035 $a(CaONFJC)MIL759393 035 $a(EXLCZ)992670000000606637 100 $a20150411h20152015 uy 0 101 0 $aeng 135 $aur|nu---|u||u 181 $ctxt 182 $cc 183 $acr 200 10$aWagner, Schumann, and the lessons of Beethoven's Ninth /$fChristopher Alan Reynolds 210 1$aOakland, California :$cUniversity of California Press,$d2015. 210 4$dİ2015 215 $a1 online resource (227 p.) 300 $aDescription based upon print version of record. 311 0 $a0-520-28556-5 311 0 $a1-336-28107-3 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tContents --$tPreface --$tAcknowledgments --$tIntroduction --$tChapter 1. Wagner's Faustian Understanding of Beethoven's Ninth --$tChapter 2. The Impact of Beethoven's Ninth on The Flying Dutchman --$tChapter 3. Wagner, Thematic Dispersion, and Contrary Motion --$tChapter 4. Schumann, Thematic Dispersion, and Contrary Motion --$tChapter 5. Late Schumann, Wagner, and Bach --$tChapter 6. Brahms's Triple Response to the Ninth --$tChapter 7. Wagner and Schumann --$tAppendix 1. Citations of Wagner's Possible Allusions and Influences in The Flying Dutchman --$tAppendix 2. Contrary Motion Counterpoint in the First Movement of Beethoven's Ninth Symphony --$tAppendix 3. Contrary Motion Counterpoint in The Flying Dutchman --$tAppendix 4. Contrary Motion Counterpoint in the Fourth Movement of Schumann's Second Symphony --$tAppendix 5. Contrary Motion Counterpoint in the First Movement of Brahms's First Symphony --$tAbbreviations --$tNotes --$tWorks Cited --$tIndex 330 $aIn this original study, Christopher Alan Reynolds examines the influence of Beethoven's Ninth Symphony on two major nineteenth-century composers, Richard Wagner and Robert Schumann. During 1845-46 the compositional styles of Schumann and Wagner changed in a common direction, toward a style that was more contrapuntal, more densely motivic, and engaged in processes of thematic transformation. Reynolds shows that the stylistic advances that both composers made in Dresden in 1845-46 stemmed from a deepened understanding of Beethoven's techniques and strategies in the Ninth Symphony. The evidence provided by their compositions from this pivotal year and the surrounding years suggests that they discussed Beethoven's Ninth with each other in the months leading up to the performance of this work, which Wagner conducted on Palm Sunday in 1846. Two primary aspects that appear to have interested them both are Beethoven's use of counterpoint involving contrary motion and his gradual development of the "Ode to Joy" melody through the preceding movements. Combining a novel examination of the historical record with careful readings of the music, Reynolds adds further layers to this argument, speculating that Wagner and Schumann may not have come to these discoveries entirely independently of each other. The trail of influences that Reynolds explores extends back to the music of Bach and ahead to Tristan and Isolde, as well as to Brahms's First Symphony. 606 $aSymphonies$y19th century$xAnalysis, appreciation 608 $aElectronic books. 615 0$aSymphonies$xAnalysis, appreciation. 676 $a780.943/09034 700 $aReynolds$b Christopher A.$0297234 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910463592703321 996 $aWagner, Schumann, and the lessons of Beethoven's Ninth$92466347 997 $aUNINA