CRISIS AND REACTION

Chapter:

CHAPTER 12 The First Romantics

Source:

MUSIC IN THE SEVENTEENTH AND EIGHTEENTH CENTURIES

Author(s):

Richard Taruskin

The great majority of Beethoven’s works, to the end of the first decade of the new century (that is, up to the time of Hoffmann’s decisively influential critiques), were marked by the new heroic style, whether opera (Leonore, later revised as Fidelio, on a subject supposedly borrowed from an actual incident from French revolutionary history), or symphony, whether chamber music (the three quartets published as op. 59 with a dedication to Count Razumovsky, the Russian ambassador) or piano sonata (the “Waldstein,” op. 53, or especially the “Appassionata,” op. 57).

Citation (MLA):

Richard Taruskin. "Chapter 12 The First Romantics." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 21 Jan. 2025. <https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-12006.xml>.

Citation (APA):

Taruskin, R. (n.d.). Chapter 12 The First Romantics. In Oxford University Press, Music In The Seventeenth And Eighteenth Centuries. New York, USA. Retrieved 21 Jan. 2025, from https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-12006.xml

Citation (Chicago):

Richard Taruskin. "Chapter 12 The First Romantics." In Music In The Seventeenth And Eighteenth Centuries, Oxford University Press. (New York, USA, n.d.). Retrieved 21 Jan. 2025, from https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-12006.xml