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The Beethoven Violin Sonatas: History, Criticism, Performance, by Lewis Lockwood (Editor), Mark Kroll (Editor)
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Beethoven's ten violin sonatas have long been cornerstones of the chamber music repertoire. The Spring and Kreutzer sonatas are the best known of these works, which stand at the pinnacle of music for violin and piano. Lewis Lockwood and Mark Kroll's volume The Beethoven Violin Sonatas is the first scholarly book in English devoted exclusively to the Beethoven sonatas, and deals with them in unprecedented depth. It presents seven critical and historical essays by some of the most important American and European Beethoven specialists of our time. The authors examine the sonatas within the history of the genre, the social and cultural context in which they were written, their significance within Beethoven's life and works, and the issues they raise regarding performance practices of the period.
- Sales Rank: #1661080 in Books
- Published on: 2004-07-08
- Original language: English
- Number of items: 1
- Dimensions: 10.00" h x 7.25" w x 1.00" l, 1.25 pounds
- Binding: Hardcover
- 176 pages
Review
" ... covers the subject systematically, with the whole repertoire covered, at least to some extent."--Early Music Review, 107 June 2005
About the Author
Lewis Lockwood taught at Princeton and Harvard universities, where he is Fanny Peabody Professor of Music Emeritus. His Beethoven: The Music and the Life was a Pulitzer Prize finalist. He resides in Brookline, Massachusetts.
Mark Kroll is a distinguished performer and scholar, and is a professor emeritus of music at Boston University.
Most helpful customer reviews
6 of 6 people found the following review helpful.
Accolades for Lockwood and crew
By John M. Pendergast
This book is for the fairly serious scholar of music interested in an in-depth examination of Beethoven's Violin Sonatas. It is not for beginners in the study of music history. A high degree of familiarity with music theory and with the works in question, as well as with Beethoven's piano sonatas and many other works, is assumed. In that context, however, the book is a treasure, with a great deal of truly original and captivating insights into these unique and emblematic works. This originality of a necessity creates rather sharp stylistic and theoretical differences among the perspectives of the various authors. Seek the uniform taxonomical approach elsewhere. Musical citations are abundant and beautifully laid out on the page, although occasionally their sheer size demands that they not be placed immediately opposite the relevant text. The notes and bibliographical references are very useful to students seeking further study of the composer and his world.
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