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Adj.1.Beethovenian - of or relating to Ludwig van Beethoven or his musicBeethovenian - of or relating to Ludwig van Beethoven or his music
References in periodicals archive ?
There was sustained drama in the third movement - not easy to do in a minuet and trio but absolutely right for Beethoven's mood - and they produced some heavy Beethovenian jollity in the finale.
Arranging the overtures on a single disc is a tough nut to crack, particularly given that three of them--My Home, the Hussite and Othello--are based on the model of the classical Beethovenian overture, with a slow introduction, followed by a sonata movement with a bravura coda.
But in true Beethovenian fashion, he devised something on a far greater scale.
The Beethovenian hero seizes its own history as a necessary moment.
In a letter to the Director of Radio Moscow, Nina Niemtchenko, Rolland further explains the rationale behind his choice of the Beethovenian model: "Beethoven: le type le plus haut et le plus complet d'un musicien, chez qui tout est expression directe et precise de la vie interieure.
Even the one thunderstorm was of a sufficiently Beethovenian scale to put the average local downpour to shame.
Straus, in dealing exclusively with instrumental music of the Western classical tradition, continues in the spirit of upending Beethovenian mythology by proposing that "narratives of overcoming--the triumph of the human spirit over adversity" are less numerous than "nuanced tales of accommodation and acceptance of life with a nonnormative body or mind.
The tensions swelled in nifty, escalating tautness - relieved blessedly with those familiar Beethovenian gunshot chords.
In its combination of rhythmic acuity, constant awareness of structural direction, crystalline clarity of chording, embellishments and trills, and in its just balance of intellect and passion, Biss's performance recalled the Beethovenian integrity and enlightenment of the great Rudolf Serkin, all newly minted in Biss's youth.
Hoeckner points out that Liszt's project of the symphonic poem combines the Beethovenian symphonic tradition with the heritage of European literature.
Zehetmair might have called up a little too much from the brass in the Adagio, but the point was well made about those startling Beethovenian contrasts.
Hummel's Trumpet (Concerto, far better known at present than anything else he wrote, is certainly a curious blend: its outer movements rattle along as cheerfully as those of Haydn's piece for the same instrument (intended for the same soloist), but its middle movement is shot through with Beethovenian pathos wholly unlike anything in the Haydn.