The Invention of Beethoven and Rossini - Title page

pp iii-iii

Copyright page

pp iv-iv

Contents

pp v-vi

Figures

pp vii-viii

Contributors

pp ix-xi

Acknowledgements

pp xii-xii

Abbreviations

pp xiii-xiv

Introduction: Pleasure in history

pp 1-12

Part I - The age of Beethoven and Rossini?

pp 13-120

1 - Dahlhaus’s Beethoven-RossiniStildualismus: lingering legacies of the text-event dichotomy

pp 15-48

2 - Beethoven, Rossini – and others

pp 49-65

3 - Heilige Trias, Stildualismus, Beethoven: on the limits of nineteenth-century Germanic music historiography

pp 66-95

4 - Rossini and Beethoven in the reception of Schubert

pp 96-120

Part II - Senses of place

pp 121-194

5 - Two styles in 1830s London: “The form and order of a perspicuous unity”

pp 123-138

6 - Looking north: Carlo Soliva and the two styles south of the Alps

pp 139-158

7 - “More German than Beethoven”: Rossini’sZelmiraand Italian style

pp 159-177

8 - On being there in 1824

pp 178-194

Part III - Rehearings

pp 195-262

9 - Making overtures

pp 197-209

10 - Beethoven dances: Prometheus and his creatures in Vienna and Milan

pp 210-235

11 - Rossinian repetitions

pp 236-262

Part IV - Crossing musical cultures

pp 263-354

12 - Very much of this world: Beethoven, Rossini, and the historiography of modernity

pp 265-282

13 - Schopenhauer and Rossinian universality: on the Italianate in Schopenhauer’s metaphysics of music

pp 283-304

14 - Elements of disorder: appealingBeethoven vs. Rossini

pp 305-332

15 - Rolereversal: Rossini and Beethoven in early biopics

pp 333-354

List of works cited

pp 355-380

Index

pp 381-384