By Donald Francis, Sir Tovey
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Additional resources for A Companion to Beethoven's Pianoforte Sonatas: Complete Analyses
Consider Lully’s ‘‘Sommes-nous pas trop heureux’’ (no. 3 on my ‘‘not like the other’’ list): if our friend the Lowland gentleman knew this tune, he might have attached any of several authorial names to it. For example, in one famous Scottish lute manuscript of the time,26 two versions of the tune 24 25 26 Hesse, ‘‘Authorship in Revolutionary France,’’ 111. The Statute of Anne was not even officially applied to music until the close of J. C. Bach’s case in 1777. On differences between musical and literary copyright law and practice in the eighteenth century, see David Hunter, ‘‘Musical Copyright in Britain to 1800,’’ Music and Letters 67 (1986), 269–82, esp.
With England’s early dissolution of absolutist monarchy encouraging cultural identity rather than divine allegiance, and its advanced trading and colonial conquests bringing its large middle classes into frequent contact with outsiders, national consciousness gained some critical mass there by the later seventeenth 34 35 36 summary on 139–43; Kohn, Idea of Nationalism, esp. Introduction; Benedict Anderson, Imagined Communities: Reflections on the Origin and Spread of Nationalism, rev. edn (New York: Verso, 1991), esp.
This will be picked up in Chapter 2. 59 As a summary of this first chapter, we can trace the first part of this saga, in which national-geographical concerns come to the fore. 58 59 See William Donaldson, The Jacobite Song: Political Myth and National Identity (Aberdeen: Aberdeen University Press, 1988). When Claire Nelson and I became acquainted, we realized that both of our projects contained sections on changing myths of origin for Scottish music, conceived separately. Despite this coincidence, we have different focuses in these sections, so they ought to remain complementary (see ‘‘Scotland in London’s Musical Life,’’ 74–89).
A Companion to Beethoven's Pianoforte Sonatas: Complete Analyses by Donald Francis, Sir Tovey