Footnotes

1. Antony Hopkins, The Seven Concertos of Beethoven (Vermont: Ashgate, 1996) 58.
2. The distinction made here (i.e. factual history) is necessary in that often cases of folklore, myth, and legend are taken to be historical.
3. Mark Evan Bonds, A History of Music in Western Culture (New Jersey: Prentice Hall, 2003) 382.
4. Lewis Lockwood, Beethoven: The Music & the Life (New York: Norton, 2003) 248.
5. Robert Layton, A Guide to the Concerto (Oxford: Oxford UP, 1996) 128.
6. Joseph Kerman, and Alan Tyson, "Beethoven: 1809-1812," Grove Music Online 2005. 1 Mar. 2006 <http://www.grovemusic.com>.
7. Leon Plantinga, Beethoven's Concertos: History, Style Performance (New York: Norton, 1999) 252.
8. Plantinga 255-56.
9. For example, the Eroica symphony, or the Op.2 no.3 piano sonata in C major, which includes a fairly expanded exposition.
10. Lockwood 249.
11. Plantinga 294.
12. Plantinga 290.
13. Plantinga 290.
14. David Ledbetter, and Peter Williams, "Basso continuo: Development," Grove Music Online 2005. 1 Mar. 2006 <http://www.grovemusic.com>.
15. Friedrich Kerst, Beethoven: the man and the artist, as revealed in his own words (New York: Dover, 1964).

© 2008 Andrew Schartmann