This book is a survey of the critical reaction to Beethoven's music as it appeared in the major musical journals, French as well as German, of his day, and represents the first book-length history of Beethoven reception. The author discusses the philosophical and analytical implications of these reviews - by, among others, Hoffmann, A. B. Marx and Berlioz - and reassesses what has come to be the accepted view of a nineteenth- century musical aesthetics rooted in Romantic Idealism. Wallace sees Beethoven's critics as in fact providing a link between two apparently antithetical approaches to music: the eighteenth-century emphasis on expression and extra-musical interpretation and the nineteenth-century emphasis on absolute' music and formal analysis. This book thus provides, in addition to a carefully documented study of Beethoven's critical reception, a re-evaluation of his oeuvre and its significance in music history. An index of all reviews cited is provided, and a further appendix contains the quoted material in its original language. 'Robin Wallace's book is an important addition to the literature in the field, providing a detailed, yet concisely presented examination of the critical reception of Beethoven in contemporary musical periodicals.' -- Music and Letters 'Beethoven's Critics contains a wealth of fascinating information about the ways in which the composer's contemporaries and the following generation performed, heard, studied and evaluated his music.' -- Classical MusicThis book is a survey of the critical reaction to Beethoven's music as it appeared in the major musical journals, French as well as German, of his day, and represents the first book-length history ofBeethoven reception. The author discusses the philosophical and analytical implications of these reviews - by, among others, Hoffmann, A. B. Marx and Berlioz - and reassesses what has come to be the accepted view of a nineteenth- century musical aesthetics rooted in Romantic Idealism. Wallace sees Beethoven's critics as in fact providing a link between two apparently antithetical approaches to music: the eighteenth-century emphasis on expression and extra-musical interpretation and the nineteenth-century emphasis on absolute' music and formal analysis. This book thus provides, in addition to a carefully documented study of Beethoven's critical reception, a re-evaluation of his oeuvre and its significance in music history. An index of all reviews cited is provided, and a further appendix contains the quoted material in its original language. 'Robin Wallace's book is an important addition to the literature in the field, providing a detailed, yet concisely presented examination of the critical reception of Beethoven in contemporary musical periodicals.' -- Music and Letters 'Beethoven's Critics contains a wealth of fascinating information about the ways in which the composer's contemporaries and the following generation performed, heard, studied and evaluated his music.' -- Classical Music

We're all familiar with the image of a fierce and scowling Beethoven, struggling doggedly to overcome his rapidly progressing deafness. That Beethoven continued to play and compose for more than a decade after he lost his hearing is often seen as an act of superhuman heroism. But the truth is that Beethoven's response to his deafness was entirely human. And by demystifying what he did, we can learn a great deal about Beethoven's music. Perhaps no one is better positioned to help us do so than Robin Wallace, who not only has dedicated his life to the music of Beethoven but also has close personal experience with deafness. One day, Wallace's late wife, Barbara, found she couldn't hear out of her right ear-the result of radiation administered to treat a brain tumor early in life. Three years later, she lost hearing in her left ear as well. Over the eight and a half years that remained of her life, despite receiving a cochlear implant, Barbara didn't overcome her deafness or ever function again like a hearing person. Wallace shows here that Beethoven didn't do those things, either. Rather than heroically overcoming his deafness, Beethoven accomplished something even more challenging: he adapted to his hearing loss and changed the way he interacted with music, revealing important aspects of its very nature in the process. Wallace tells the story of Beethoven's creative life, interweaving it with his and Barbara's experience to reveal aspects that only living with deafness could open up. The resulting insights make Beethoven and his music more accessible and help us see how a disability can enhance human wholeness and flourishing.