The Sunday Times bestseller You know the music... but do you know the man? Ludwig van Beethoven is one of the world's best loved and most influential composers. His life - its dramas, conflicts, loves and losses - is played out in his music. Now John Suchet shows us the man behind the music in this compelling biography of a musical genius. He reveals a difficult and complex character, struggling to continue his profession as musician despite increasing deafness, alienating friends with unprovoked outbursts of anger one moment, overwhelming them with excessive kindness and generosity the next, living in a city in almost constant disarray because of war with France. This is the real Beethoven, and Suchet brings him faithfully and vividly to life.

Published to coincide with the 200th anniversary of Mozart's death in 1791, this book is designed to be a guide to the composer's works and is aimed at the music-lover who wishes to read something informative about any particular piece. Although there are many books which deal with the handful of famous operas, symphonies, concertos, or string quartets upon which Mozart's reputation rests, this collection contains in a single volume details about any work composed by Mozart and where, when and why he wrote it, what it is like, and what special significance it may have.

This ambitious study offers a panoramic survey of musical thought in the eighteenth century and, at the same time, a close analysis of the important theoretical topics of the period. The result is the most comprehensive account ever given of the theory behind the music of late Baroque and early Classical composers from Bach to Beethoven. While giving preeminent theorists their due, Joel Lester also examines the works of over one hundred eighteenth- and seventeenth-century writers to show how prominent theories were received and applied in actual teaching situations. Beginning with the influence of Zarlino and seventeenth-century theorists, Lester goes on to focus on central traditions emerging from definitive works in the early eighteenth century: species counterpoint in the writings of Fux; thoroughbass as presented by Niedt and Heinichen; Rameau's harmonic theories and Mattheson's views on melodic structure. The author traces the development and interactions of these traditions over the remainder of the century, through the writings of Albrechtsberger, C. P. E. Bach, Kirnberger, Koch, Marpurg, Martini, Nichelmann, Riepel, and many others. This historical overview is leavened throughout with accounts of individual composers grappling with theoretical issues - Haydn's careful study of Fux's treatise, Mozart's instructions on harmony to his composition students, Beethoven's own student exercises. The links between various theoretical traditions, the pervasive influence of Rameau's harmonic thinking, and the harmonic theories of Koch are just some of the numerous topics given their first full treatment here. Many of the theorists Lester cites are either unknown or often misunderstoodtoday. By bringing their contributions to light and placing them within the context of theoretical tradition, Lester offers a fresh perspective, one that will inform and enhance any future study of this magnificent era in Western music.

Music examples and charts illustrate the analyses, and each essay is fully annotated by the editor. In some cases, the results of the original research by the editor or by others working in the field are published here for the first time. Much of the material has never before appeared in English.

A score embodying the best available musical text.

Historical background what is known of the circumstances surrounding the origin of the work, including (where relevant) original source material.

A detailed analysis of the music, by the editor of the volume or another well-known scholar.

Other significant analytic essays and critical comments, exposing the student to a variety of opinions about the music."

Music examples and charts illustrate the analyses, and each essay is fully annotated by the editor. In some cases, the results of original research by the editor or by others working in the field are published here for the first time. Much of the material has never before appeared in English.

"An opinionated, stimulating account of how classical music failed to establish fruitful roots in America," Classical Music in America chronicles "a cultural attitude that has produced many fine artists and striking moments-but no institutional or intellectual support to sustain them" (Kirkus Reviews, starred review). "An admirable, scholarly volume" (Times Literary Supplement), this "formidable book ... shows how American classical music became a performance culture, ' an ersatz-European showplace for celebrity virtuosos, rather than a native-born genre" (The New Yorker). "As a comprehensive, convincing analysis of the contemporary dilemma" of reconciling European heritage with American vision "and a riveting portrait of the century and a half of events and personalities which brought it about, Mr Horowitz's account would be hard to beat" (The Economist). "Anyone seeking to understand why American classical music has come to so dead an end-and wondering how it might yet escape a final descent into cultural irrelevance-should read Classical Music in America with close attention" (Commentary)."