- The Oxford Handbook of the New Cultural History of Music
- Introduction: Defining the New Cultural History of Music, Its Origins, Methodologies, and Lines of Inquiry
- Gender, Performativity, and Allusion in Medieval Services for the Consecration of Virgins
- Music, Violence, and the Stakes of Listening
- Music and Pain
- “The Road into the Open”: From Narrative Closure to the Endless Performance of Subjectivity in Mahler and Freud at the Turn of the Century
- Understanding Schoenberg as Christ
- The Strange Landscape of Middles
- The Genre of National Opera in a European Comparative Perspective
- Cosmopolitan, National, and Regional Identities in Eighteenth-Century European Musical Life
- Mendelssohn on the Road: Music, Travel, and the Anglo-German Symbiosis
- “Shooting the Keys”: Musical Horseplay and High Culture
- Yvette Guilbert and the Revaluation of the <i>Chanson Populaire</i> and <i>Chanson Ancienne</i> during the Third Republic, 1889–1914
- Remembrance of Jazz Past: Sidney Bechet in France
- An Evening at the Opera in Seventeenth-Century Venice
- Josquin des Prez, Renaissance Historiography, and the Cultures of Print
- From “the Voice of the Maréchal” to Musique Concrète: Pierre Schaeffer and the Case for Cultural History
- A Matter of Style: State Sacrificial Music and Cultural-Political Discourse in Southern Song China (1127–1279)
- <i>Ernani</i> Hats: Italian Opera as a Repertoire of Political Symbols during the Risorgimento
- Modalities of National Identity: Sibelius Builds a First Symphony
- Beethoven, Napoleon, and Political Romanticism
- Translating Herder Translating: Cultural Translation and the Making of Modernity
- The Eye of the Needle: Music as History after the Age of Recording
- Afterword: Whose Culture? Whose History? Whose Music?
Abstract and Keywords
This article discusses the influence of Napoleon on the works of Beethoven. It begins by describing how the conflict between Napoleon and the Austrians interrupted Beethoven's career as a composer. It then examines the role Napoleon had in Beethoven's political and philosophical outlook. This is followed by a study of the Landsberg 5, one of the compositions Beethoven was working on during Napoleon's invasion. The article introduces the concept of political romanticism and shows that Napoleon's meteoric rise served as an inspiration and a threat to Beethoven's musical career.
Leon Plantinga served on the Yale faculty from 1963 until his retirement in 2005. For six years in the 1990s he was the director of the Division of the Humanities. After retirement, Plantinga spent a year at the Princeton Institute for Advanced Study and is currently interim director of the Yale Collection of Musical Instruments. He has written widely on music of the later eighteenth and the nineteenth centuries, including Beethoven's Concertos: History, Style, Performance (1999) and the text book Romantic Music (1984).
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