The Symphony in Vienna and Abroad around 1800
Publication Date
6-4-2020
Document Type
Contribution to a Book
Publication Title
The Cambridge Companion to the Eroica Symphony
Editor
Nancy November
DOI
10.1017/9781108524995.004
First Page
43
Last Page
60
Abstract
Viennese courtly Kapellen were in decline by the time Beethoven began his career as a symphonist, with the result that one of the most important contexts for eighteenth-century symphonies was no longer available to the young generation of composers. This decline, along with various other developments in Viennese musical life during Beethoven’s lifetime, led to a reconfiguration of the symphony’s role. Public, rather than private concerts became the main platform for symphonic performance in Vienna and abroad by 1800. The organisation of Vienna’s concert life meant that symphonies were increasingly conceived as grand, individualistic works, rather than routine household entertainment music. Furthermore, select members of the Viennese aristocracy, including some of Beethoven’s supporters, continued to cultivate symphonies, with the result that Beethoven was better placed than some of his contemporaries for securing the performance and subsequent publication of symphonies. This chapter contextualises Beethoven’s first three symphonies within the broader culture of symphonic composition and performance at the turn of the nineteenth century.
Keywords
Beethoven, symphony, Vienna, eighteenth-century, nineteenth-century, music publishing, concert life, patronage
Department
Music and Dance
Recommended Citation
Erica Buurman. "The Symphony in Vienna and Abroad around 1800" The Cambridge Companion to the Eroica Symphony (2020): 43-60. https://doi.org/10.1017/9781108524995.004
