CHAPTER 2 THE BOY FROM BONN
1 Quoted in Marion M. Scott, Beethoven (J. M. Dent, 1951), p. 18.
2 Quoted in Joseph Kerman and Alan Tyson, The New Grove Beethoven (Macmillan, 1987), p. 3.
3 Scott, pp. 22–3.
4 See Alexander L. Ringer, ‘Clementi and the Eroica’, Musical Quarterly 47/4 (October 1961).
5 Katharine Thomson, ‘Mozart and Freemasonry’, Music and Letters 57/1 (January 1976), p. 25.
6 Scott, p. 31.
7 H. C. Robbins Landon, Beethoven: A Documentary Study (Thames and Hudson, 1970), p. 57.
8 Ludwig van Beethoven’s Stammbuch, facsimile edition with comments by Dr Hans Gerstinger (Bielefeld-Leipzig, 1927).
CHAPTER 3 VIENNA
1 Scott, p. 112.
2 See Fan S. Noli, Beethoven and the French Revolution (Tirana, 1991), p. 110.
3 H. C. Robbins Landon, The Mozart Compendium (Schirmer, 1990), p. 68.
4 ‘Verflucht, verdammt, vermaledeites, elendes Wienerpack!’ (Letter to Joseph Carl Bernard, 15 September 1819).
5 ‘Elender Schuft und gemeiner Lumpenkerl!’ (quoted in Noli, p. 92).
6 Anton Schindler, Biography of Ludwig van Beethoven, 2nd edition (Aschendorff, 1845), p. 56.
7 Noli, p. 77.
8 Jan Swafford, Beethoven (Faber & Faber, 2014), p. 204.
9 For a comprehensive collection of this music, see Constant Pierre, Musique des fêtes et cérémonies de la révolution française (Paris, 1899).
10 Letter to Franz Anton Hoffmeister, 15 January 1801.
CHAPTER 4 PROMETHEUS
1 Quoted in H. C. Robbins Landon, Haydn: The Late Years, 1801–1809 (Thames & Hudson, 1977), p. 32.
2 Ibid., p. 33.
3 Slightly edited from Wayne M. Senner, The Critical Reception of Beethoven’s Compositions by his German Contemporaries (University of Nebraska Press, 1999), pp. 190–95.
CHAPTER 5 CONSTRUCTING A SYMPHONY
1 Hoffman, ‘Beethoven’s Instrumental-Musik’, in E. T. A. Hoffmann’s sämtliche Werke, vol. 1, edited by C. G. von Maassen, translated by Bryan R. Simms (G. Müller, 1908).
2 Scott, p. 99.
3 F. G. Wegeler and Ferdinand Ries, Biographische Notizen über Beethoven (K. Bädeker, Koblenz, 1838), pp. 77ff.
4 George Grove, Beethoven and his Nine Symphonies (Novello and Co., London, 1896), p. 77.
CHAPTER 6 WHO WAS THE REAL HERO OF THE ‘EROICA’?
1 John Clubbe, ‘Beethoven, Byron, and Bonaparte’ (n.d.), www.napoleon.org/en/reading_room/articles/files/clubbe_beethoven_byron.asp (accessed 27 April 2016).
2 Quoted in Maynard Solomon, Beethoven (Schirmer Trade Books, New York, 1998), p. 173.
3 See Peter Schleuning, Beethoven 1800–1806 (Frankfurt/Main 1989), pp. 66–79.
4 Ibid.
5 Grove, p. 54
CHAPTER 7 THE RECEPTION OF THE ‘EROICA’
1 Scott, p. 52.
2 Allgemeine musikalische Zeitung, vol. VII (13 February 1805), p. 321.
3 Joseph d’Ortigue, ‘George Onslow’, Révue de Paris, 1ère série, LVI (Novembre 1833), p. 154.
4 Quoted in Grove, p. 93.
5 The Glenn Gould Reader, edited by Tim Page (Vintage, 1988), p. 50.
6 Quoted in Ned Rorem, The Nantucket Diary (North Point Press, 1987), p. 580.
7 Tim Page, Music from the Road (OUP, 1992), p. 102.
8 Murray Schafer, British Composers in Interview (Faber & Faber, 1963).
9 Harrison Birtwistle, Wild Tracks, edited by Fiona Maddocks (Faber & Faber, 2014), p. 21.
CHAPTER 8 THE SYMPHONIC IDEAL
1 Kerman and Tyson, pp. 109–10.
2 Charles Rosen, The Classical Style (Faber & Faber, 1971), p. 98.
CHAPTER 9 AFTER ‘EROICA’
1 Thomas Hardy, The Dynasts, Part 3, Act Seventh, Scene IX.
2 See Alex Ross, ‘Deus ex Musica’, The New Yorker, 20 October 2014.
3 Hoffmann, op. cit.
4 See William Weber, The Great Transformation of Musical Taste: Concert Programming from Haydn to Brahms (CUP, 2009).
5 Ross, op. cit.