Why Beethoven A phenomenon in one hundred pieces

Beethoven (1770--1827) was assuredly a master of Western classical music, as this book--a combination of both the composer's biography and a consideration of his works' influence across generations and cultures--demonstrates. Lebrecht (Why Mahler) offers a chatty, albeit discursive and opinionated (with autobiographical notes of his own) accounting of the background behind the legend. Although it includes a QR code that readers can use to access particular performances through slippedisc.com, the presentation's intricacy, for the most part, assumes prior knowledge of professional jargon, making it more appropriate for specialists. In brief chapters, each devoted to one work, the author agrees with the consensus that Beethoven, a determined deaf composer who worked through his disability, was antisocial, slovenly, sedentary, and spiritual (although not religious), and splendidly skilled at music. VERDICT Some readers will enjoy the author's free-ranging, exuberant style. For others, there are more traditional treatments of Beethoven in books such as Beethoven: Anguish and Triumph by Jan Swafford and Beethoven: The Man Revealed by John Suchet.--Frederick J. Augustyn Jr.

A simultaneously entertaining and informative tour of Beethoven's work. Beethoven (1770-1827), who lost his hearing when he was 31, "reached deeper into the human condition than any musician before him." As Lebrecht, the author of Why Mahler, notes, "Mozart writes within the conventions of his time, where Beethoven has one foot way outside of them." In 100 chapters discussing more than 100 musical pieces, Lebrecht explores Beethoven in six parts--as himself, in love, immersed, immured, in trouble, and inspired. In each chapter, the author provides biographical information related to a particular piece of music, his insightful and emotionally charged interpretations, interesting stories related to the piece, and recommended recorded versions. He begins with the 20-minute "Pathétique," one of Beethoven's favorite piano sonatas. Proust called it the "steak and potatoes" of his sonatas. Beethoven's Second Symphony, writes Lebrecht, "lacks nutrients, a tune to whistle all the way home," and the "deceptive" Eighth Symphony is "still pushing out symphonic form, just not quite as far as usual." On some of his variations, "he's like a millennial kid playing spaced out computer games, losing his way back to base." Lebrecht calls Cello Sonata No. 3 "pure pleasure," and he is convincing in his argument that "nobody attempts to match Beethoven at the septet." Regarding Glenn Gould's unique version of the 24th sonata, he writes, "No child learning to play Beethoven should be allowed to hear this; no adult should miss it." Lebrecht quotes E.M. Forster regarding the Fifth Symphony-- the "most sublime noise that has ever penetrated into the ear of man, and he is equally effusive about the Ninth Symphony, a "nuclear chorus" that "claims to speak for the whole of humanity." The author closes with a succinct overview that largely answers his titular question. An ideal guide to the master's wondrous achievements. Copyright (c) Kirkus Reviews, used with permission.