No description available.

The Epic is situated between history and the myth. It is a tribute to the entire cultural experience of a society to one character who has made a mark on their time, and derives all past, present, and future values of that society from this character thus rendering the epic a source of identity serving to distinguish itself from others. And of all the places in the world there is no place I would rather be. From the mind of the critically acclaimed visionary who brought you illuminazioni, Non Worldwide and Paradiso, Comes part one of An earth shattering Epic Globalist Thriller, Introducing : ONTICIDE 1 A new novel by Chino Amobi

This study argues that the dialectic and the metamorphosis of the basso del tema and tema in Beethoven’s Eroica Variations, Op. 35 mirror the stages of the philosophical thought of German Idealism. The philosophical systems of the post-Kantian generation were housed in the values of the Goethezeit, in which the concept of self was regarded as fundamental for the worldview. In Germany these systems generated a new intellectual ethos that merged cultural nationalism with the glorification of the self (Burnham). Beethoven’s music gave reliable expression to the values of the Goethezeit, depicting the self as a spiritual entity with a constitutive autonomy, a possibility for self-transcendence, and a fundamental condition of struggle for freedom. While research has focused on Beethoven’s heroic style (Broyles) and the philosophy of his music (Adorno), there is very little literature on the relationship between Beethoven’s music and the philosophical thought of the time. In 1930 Schenker discussed the use of the Eroica theme in the Eroica Variations (Marston): first, the material is stated in its simple form; then, rhythmic structure, dynamics, tempo, texture, and key transform it. Schenker considers the large-movement form rather than the theme, giving emphasis to the basso del tema. This study proposes an analysis of Op. 35–focusing first on the first fourteen variations and then on the fifteenth variation and on the fugue individually–as the musical statement of the philosophical thought of the Goethezeit and offers a discussion on the historical perspectives in Op. 35. Then, the study applies the proposed philosophical and historical analysis of the Eroica Variations to explain how an interpretation based on critical theory can help concert performers develop a deeper understanding of such a demanding piece of repertoire. Finally, the study examines the Eroica Variations as one of the most substantial concert pieces for piano by Beethoven and of the beginning of the nineteenth century, and offers suggestions on how to meet the musical and technical challenges of the piece. / Music Performance

No description available.

No description available.

Au début du XIXe siècle, le paysage socio-politique européen est dominé par les bouleversements en provenance de France. Réagissant à ceux-ci, l’empereur Franz I restreint les libertés individuelles des sujets du Saint Empire Romain, tandis qu’au sein de l’aristocratie se trouvent au contraire des adeptes de l’Aufklärung, défenseurs de liberté et de tolérance. C’est dans ce contexte que Beethoven compose sa troisième symphonie en 1803-1804. Solomon (2004) a démontré que le compositeur a fréquenté sa vie durant des adhérents aux principes de l’Aufklärung, dont plusieurs francs-maçons. Des symboles maçonniques de sa main ornent d’ailleurs une page d’esquisses pour l’Eroica (Lockwood, 2013). Il semble donc naturel d’explorer cette œuvre sous cet angle. Une analyse formelle de l’Allegro con brio, la première selon la méthode de Caplin (1998), permet de faire ressortir une récurrence marquée du chiffre 3 à travers plusieurs paramètres (tonalité, métrique, rythme, forme, instrumentation). De plus, les trois étapes du rite initiatique (mort, enterrement et résurrection) sont représentées dans les trois premiers mouvements, tandis qu’on retrouve dans les trois derniers mouvements des évocations de la devise française Liberté, Égalité, Fraternité Cette relecture sous l’angle d’une interprétation maçonnique d’une œuvre fondamentale du canon symphonique apporte une contribution inédite à l’historiographie sur Beethoven ainsi qu’à l’histoire de la pensée et des sociétés. / At the beginning of the 19th century, the changes coming from France dominate the European sociopolitical landscape. In reaction to these, Franz I restricts individual freedom of the subjects of the Holy Roman Empire, while within the aristocracy, the numbers of adepts of the Aufklärung movement and believers in freedom and tolerance are growing. It is in this context that Beethoven composes his Third Symphony in 1803-104. Solomon (2004) has demonstrated that his whole life, the composer was surrounded with members of the Aufklärung, many of them also freemasons. Masonic symbols in Beethoven’s hand are even to be found on a page of his sketchbook for the Eroica (Lockwood, 2013). Therefore, it only seems logical to analyse the symphony from the angle of a masonic interpretation. A formal analysis of the first movement according to Caplin’s method (1998), the first of its kind to be applied to a whole movement from a Beethoven symphony, brings to the fore a marked recurrence of the number three throughout numerous parameters (tonality, measure, rhythm, form, instrumentation). Furthermore, all three steps of the masonic initiation rite (death, burial and resurrection) are represented in the first three movements, whereas one also finds references to the French motto of Liberté, Égalité, Fraternité in the last three. This new reading of a fundamental work of the symphonic canon represents a novel contribution to the historiography of Beethoven.