Book contents
- The Cambridge Companion to the Eroica Symphony
- Cambridge Companions to Music
- The Cambridge Companion to the Eroica Symphony
- Copyright page
- Contents
- Illustrations
- Musical Examples
- Notes on Contributors
- Eroica Chronology, 1770–2020
- Acknowledgements
- Introduction
- Part I Context and Genesis
- Part II Analytical Approaches
- Part III Reception
- Further Reading
- General Index
Introduction
Published online by Cambridge University Press: 04 June 2020
- The Cambridge Companion to the Eroica Symphony
- Cambridge Companions to Music
- The Cambridge Companion to the Eroica Symphony
- Copyright page
- Contents
- Illustrations
- Musical Examples
- Notes on Contributors
- Eroica Chronology, 1770–2020
- Acknowledgements
- Introduction
- Part I Context and Genesis
- Part II Analytical Approaches
- Part III Reception
- Further Reading
- General Index
Summary
Eroica endures. This fact, discussed at some length in the final chapter of this book, was brought home strongly to me as I edited this volume. Escaping briefly from Eroica, or so I thought, after a day of proofreading, I turned to YouTube. Using a Google search with keyword ‘Agatha Christie’, I chanced upon a 1984 TV drama, Second Sight – A Love Story, starring Elizabeth Montgomery. The similarities to Beethoven’s biography can be seen in the main character’s stubborn and somewhat difficult temperament, and the painful irony that the sense that she most prizes and needs (sight) should be taken away from her. With hindsight – and with the help of this book’s chapters on reception – it was clear that the choice of the Eroica finale for this movie’s opening credits (fading in at bar 449) is overdetermined.
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- Information
- The Cambridge Companion to the Eroica Symphony , pp. 1 - 4Publisher: Cambridge University PressPrint publication year: 2020