After Beethoven: Imperatives of Originality in the Symphony  

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A Scheme for abolishing all Words is one of the wittiest and smartest comments on semantics. (Illustration: extreme close-up from the movie "The Big Swallow" (1901), produced and directed by James Williamson (1855-1933)
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A Scheme for abolishing all Words is one of the wittiest and smartest comments on semantics. (Illustration: extreme close-up from the movie "The Big Swallow" (1901), produced and directed by James Williamson (1855-1933)

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, http://www.artsjournal.com/ideas/redir/20030109-14749.html

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