Beethoven and Greco-Roman Antiquity

Chapter 1 Introduction

1.1 Aims and Objectives

1.2 The Quest for Bildung

1.3 Scholarly Writing

1.4 Method and Structure

Chapter 2 Influences I: Bonn

2.1 Bonn Politics

2.2 The French Revolution and Ancient Rome

2.3 Brutus and Republicanism

2.4 The Czerny Enigma

2.5 Nepos

2.6 Cicero and Feder

2.7 German Grossmannsucht

2.8 The Creed of the Illuminati: 'Read the Ancients'

2.9 Summary

Chapter 3 Influences II: Vienna

3.1 Winckelmann and German Classicism

3.2 Goethe and Schiller

3.3 Ancient Texts Available in German

3.4 Educational Material

3.5 Antiquity in Opera

3.6 Painting and Sculpture

3.7 Summary

Chapter 4 Greek Literature I: Homer

4.1 The Translations by Johann Heinrich Voss

4.2 References in Primary Sources

4.3 The Canon in Egerton 2795

4.4 Nephew Karl's Studies

4.5 Beethoven's Copy of the Odyssey

4.6 Passages that Caught Beethoven's Eye

4.7 The Role of Schindler

4.8 Summary

4.9 Appendix: Markings in Homer's Odyssey

Chapter 5 Greek Literature II: Xenophon, Euripides, and Greek Poetry

5.1 Xenophon and Platonism

5.2 Euripides

5.3 The Greek Anthology

5.4 Summary

Chapter 6 Literature from Imperial Rome: Plutarch, Horace, and Tacitus

6.1 The Schirach Edition

6.2 References in the Sources

6.3 Plutarch's Characters

6.4 Some Effects on Beethoven

6.5 Horace

6.6 Tacitus

6.7 Summary

Chapter 7 The Role of Hellenistic Philosophy

7.1 Platonism and Stoicism

7.2 Beethoven's Reading

7.3 Passions

7.4 Moral Issues

7.5 Summary

Chapter 8 Antiquity in Beethoven's Music

8.1 A Survey of the Works

8.2 Bacchus

8.3 Unresolved Dissonances

8.4 Other Opera Plans

8.5 Socrates

8.6 The Problem of Der Sieg des Kreuzes

Chapter 9 Closing Observations

9.1 Overview and Analysis of the Findings

9.2 Implications of the Source Findings

9.3 Possible Ramifications for the Music

9.4 Conclusions and Recommendations