After Beethoven: Imperatives of Originality in the Symphony
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In After Beethoven: Imperatives of Originality in the Symphony, Mark Evan Bonds argues that as recently as the mid-1700s, "music was generally viewed as a commodity, and composers as craftsmen." Less than a century later, with Beethoven's enormous shadow looming over his successors, "it (originality) had become a sine qua non of artistic integrity." Mendelssohn, Brahms, Mahler and many symphonists to follow felt its force. --Steven Winn, [1]
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