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Giorgio Pestelli examines one of the crucial periods of musical history, from the middle of the eighteenth century to the era of Beethoven. This was a time of great cultural, technical and social changes. The free professional composer, in direct contact with the wide musical public, replaced the dependent court musician. Instrumental music became the centre of new developments, and sonata form, the cornerstone of nineteenth-century musical architecture, dominated its language. With the decrease in private patronage came the birth of the public concert; there was a vast increase in music publishing, and important developments were made in instrumental techniques, the dominant feature being the rise of the piano. Standing out from this common background are three major figures; Haydn, Mozart and Beethoven, whose specific characteristics are discussed in detail, along with their links with many other musicians. Dr Pestelli also emphasizes general lines of development: the galant style, the passion for antiquity and curiosity for the exotic, the debate over 'literary' opera, the Sturm und Drang movement, the influence of the French Revolution and the Restoration, and the origins of romanticism. The originality of the book arises from the fact that it views the music against the background of social, political, philosophical and cultural trends of the time, rather than relying on detailed analyses of specific works.
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Robert Hunter
reviewed The age of Mozart and Beethoven on July 06, 2019 The age of Mozart and Beethoven
I have not yet finished this book, but so far, it is fascinating. As a fourteen-year musician and a lifelong lover of books and words, I find this book wonderful. I have loved Jane Austen for many years, and picked this book up as a supplement to a class on Jane Austen, and, to my delight, it has addressed many of my questions about comparing two artists of different mediums who lived countries apart.
Part of the reason for my interest is that I came to notice that Jane Austen and the Classical composers are a perfect fit. In fact, stylistically, they are extremely similar. I had to ask; how can this be? In a nutshell, art reflects culture, but Robert K. Wallace, the author of this book, takes extreme care to detail all of the different aspects in which they are similar. In addition, he compares Jane Austen and Mozart (or the Classical artists) to artists of the Romantic period, such as the Bronte sisters (of Wuthering Heights and Jane Eyre), Beethoven, Liszt, and Tchaikovsky. I am finding his analyses of the various art forms to be incredibly perceptive. I have learned so much, and I am only reading Chapter II!
I will try to update when I have finished the book, but right now, I would definitely recommend this to anyone interested in literature and music of the late 18th century. In addition, I think that all Jane Austen fans and musicians should read this if they can get their hands on it. Although it has a lot of technical language, Wallace does try to make sure that his readers know what he is talking about, and even if he does not always succeed in this, the book has so much wonderful information that readers will learn a lot anyway.
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