{"id":29,"date":"2022-07-28T00:40:57","date_gmt":"2022-07-28T00:40:57","guid":{"rendered":"http:\/\/beethovenscholar.com\/?page_id=29"},"modified":"2023-03-22T18:17:49","modified_gmt":"2023-03-23T01:17:49","slug":"selected-essays","status":"publish","type":"page","link":"https:\/\/beethovenscholar.com\/index.php\/selected-essays\/","title":{"rendered":"Selected Essays"},"content":{"rendered":"\n<div class=\"wp-block-uagb-container uagb-block-89670936 default uagb-is-root-container\">\n<div class=\"wp-block-uagb-container uagb-block-f98673cf\">\n<div class=\"wp-block-uagb-container uagb-block-4f45039e\">\n<div class=\"wp-block-uagb-image uagb-block-83fde9e9 wp-block-uagb-image--layout-default wp-block-uagb-image--effect-static wp-block-uagb-image--align-none\"><figure class=\"wp-block-uagb-image__figure\"><a class=\"\" href=\"https:\/\/beethovenscholar.com\/wp-content\/uploads\/2023\/01\/RR-auction.jpg\" target=\"\" rel=\"noopener\"><img decoding=\"async\" src=\"https:\/\/beethovenscholar.com\/wp-content\/uploads\/2023\/01\/RR-auction-719x1024.jpg\" alt=\"\" class=\"uag-image-347\" width=\"\" height=\"\" title=\"\" loading=\"lazy\" \/><\/a><figcaption class=\"uagb-image-caption\">Ad for the sale of a lock of hair claimed to be cut by Luigi Cramolini. The slip of paper containing the notes, allegedly for Beethoven\u2019s funeral procession, was given to the Ira F. Brilliant Center for Beethoven Studies; some of the hair was tested for the genome project and found to be inauthentic, the remainder is owned by the American Beethoven Society members who purchased it.<\/figcaption><\/figure><\/div>\n\n\n\n<div class=\"wp-block-uagb-image uagb-block-56856b44 wp-block-uagb-image--layout-default wp-block-uagb-image--effect-static wp-block-uagb-image--align-none\"><figure class=\"wp-block-uagb-image__figure\"><a class=\"\" href=\"https:\/\/beethovenscholar.com\/wp-content\/uploads\/2023\/01\/Cramolini-image.jpg\" target=\"\" rel=\"noopener\"><img decoding=\"async\" src=\"https:\/\/beethovenscholar.com\/wp-content\/uploads\/2023\/01\/Cramolini-image-1024x768.jpg\" alt=\"\" class=\"uag-image-348\" width=\"\" height=\"\" title=\"\" loading=\"lazy\" \/><\/a><figcaption class=\"uagb-image-caption\">Strands of the \u201cCramolini\u201d Lock, which are not authentic (see the genome paper)<\/figcaption><\/figure><\/div>\n\n\n\n<div class=\"wp-block-uagb-image uagb-block-baf2af8c wp-block-uagb-image--layout-default wp-block-uagb-image--effect-static wp-block-uagb-image--align-none\"><figure class=\"wp-block-uagb-image__figure\"><a class=\"\" href=\"https:\/\/beethovenscholar.com\/wp-content\/uploads\/2023\/01\/Russian-postcard.jpg\" target=\"\" rel=\"noopener\"><img decoding=\"async\" src=\"https:\/\/beethovenscholar.com\/wp-content\/uploads\/2023\/01\/Russian-postcard-799x1024.jpg\" alt=\"\" class=\"uag-image-349\" width=\"\" height=\"\" title=\"\" loading=\"lazy\" \/><\/a><figcaption class=\"uagb-image-caption\">Russian postcard showing the cast of Beethoven\u2019s skull (from the collection of William Meredith). (Photo credit: William Meredith)<\/figcaption><\/figure><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-uagb-container uagb-block-37afe705\">\n<p class=\"wp-block-paragraph\">\u201cThe History of \u2018Beethoven\u2019s\u2019 Skull Fragments: Part Two,\u201d <em>The Beethoven Journal<\/em> 30, no. 1 (2015): 25-29.<br><a href=\"https:\/\/beethovenscholar.com\/wp-content\/uploads\/2023\/01\/Skull-Fragments-part-2.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">Skull Fragments pt. 2.pdf<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator has-text-color has-alpha-channel-opacity has-background is-style-wide\" style=\"background-color:#abb7c242;color:#abb7c242\"\/>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cWhat Did Beethoven Really Say about the Mozart Requiem? Mozart\u2019s and Cherubini\u2019s Requiems; Beethoven\u2019s, Holz\u2019s, and Seyfried\u2019s Views.\u201d <em>The Beethoven Journal<\/em> 29 (2014): 34-39.<br><a href=\"https:\/\/beethovenscholar.com\/wp-content\/uploads\/2023\/01\/Beethoven-and-the-Mozart-Requiem.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">Beethoven and the Mozart Requiem.pdf<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator has-text-color has-alpha-channel-opacity has-background is-style-wide\" style=\"background-color:#abb7c242;color:#abb7c242\"\/>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;\u201cCramolini\u2019s Lock of Beethoven\u2019s Hair and a Translation of the Account of Beethoven\u2019s Funeral by Ignaz Ritter von Seyfried in Haslinger\u2019s First Edition of \u2018Beethoven\u2019s Begr\u00e4bniss\u2019 (1827).\u201d Translation by William Meredith with assistance from Uwe Wrede. <em>The Beethoven Journal <\/em>27 (2012): 96-99.<br><a href=\"https:\/\/beethovenscholar.com\/wp-content\/uploads\/2023\/01\/Cramolinis-Beethoven-Hair.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">Cramolini\u2019s Beethoven Hair.pdf<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator has-text-color has-alpha-channel-opacity has-background is-style-wide\" style=\"background-color:#abb7c242;color:#abb7c242\"\/>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThe Westerby-Meredith Hypothesis: The History of the <em>Eroica<\/em> Variations and Daniel Steibelt\u2019s Fortepiano Quintet, Opus 28, no. 2.\u201d <em>The Beethoven Journal<\/em> 27 (2012): 26-44.<br><a href=\"https:\/\/beethovenscholar.com\/wp-content\/uploads\/2023\/01\/Westerby-Meredith-Hypothesis.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">Westerby Hypothesis.pdf<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator has-text-color has-alpha-channel-opacity has-background is-style-wide\" style=\"background-color:#abb7c242;color:#abb7c242\"\/>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;\u201cBettina Brentano, The Immortal Beloved, and Beethoven Historiography,\u201d Introduction to Edward Walden, <em>Beethoven\u2019s Immortal Beloved: Solving the Mystery<\/em> (Lanham: Scarecrow Press, 2011), ix-xxxiv.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-text-color has-alpha-channel-opacity has-background is-style-wide\" style=\"background-color:#abb7c242;color:#abb7c242\"\/>\n\n\n\n<p class=\"wp-block-paragraph\">Essay-Review: \u201cMichaelis\u2019 Schulz, Schulz\u2019s Beethoven, and the Construction of Biography.\u201d <em>The Beethoven Journal<\/em> 23 (2008): 79-91.<br><a href=\"https:\/\/beethovenscholar.com\/wp-content\/uploads\/2023\/01\/Michaelis-Schulz.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">Michaelis\u2019 Schulz.pdf<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator has-text-color has-alpha-channel-opacity has-background is-style-wide\" style=\"background-color:#abb7c242;color:#abb7c242\"\/>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThe History of Beethoven\u2019s Skull Fragments.\u201d <em>The Beethoven Journal<\/em> 20 (2005): 2-46.<br><a href=\"https:\/\/beethovenscholar.com\/wp-content\/uploads\/2023\/01\/Skull-Fragments-pt.-1.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">Skull Fragments part 1.pdf<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator has-text-color has-alpha-channel-opacity has-background is-style-wide\" style=\"background-color:#abb7c242;color:#abb7c242\"\/>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cBeethoven\u2019s Sonata in A-flat Major, Opus 110.\u201d <em>The Beethoven Journal<\/em> 17, no. 1 (Summer 2002): 14-29.<br><a href=\"https:\/\/beethovenscholar.com\/wp-content\/uploads\/2023\/01\/Beethovens-Opus-110.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">Beethoven\u2019s Opus 110.pdf<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator has-text-color has-alpha-channel-opacity has-background is-style-wide\" style=\"background-color:#abb7c242;color:#abb7c242\"\/>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cMortal Musings: Testing the Candidacy of Almerie Esterh\u00e1zy against the Antonie Brentano Theory.\u201d <em>The Beethoven Journal<\/em> 15 (2000): 42-47.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-text-color has-alpha-channel-opacity has-background is-style-wide\" style=\"background-color:#abb7c242;color:#abb7c242\"\/>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThe Origins of Beethoven\u2019s Op. 109.\u201d <em>The Musical Times<\/em> 126, no. 1714 (December 1985): 713-16.<br><a href=\"https:\/\/beethovenscholar.com\/wp-content\/uploads\/2023\/01\/Musical-Times-article.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">Musical Times article.pdf<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>\u201cThe History of \u2018Beethoven\u2019s\u2019 Skull Fragments: Part Two,\u201d The Beethoven Journal 30, no. 1 (2015): 25-29.Skull Fragments pt. 2.pdf \u201cWhat Did Beethoven Really Say about &hellip; <\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"nf_dc_page":"","_uag_custom_page_level_css":"","footnotes":""},"class_list":["post-29","page","type-page","status-publish","hentry","latest_post"],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v27.6.1 (Yoast SEO v28.7) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>Selected Essays | William Meredith<\/title>\n<meta name=\"description\" content=\"Selected Essays | The Beethoven Journal | Beethoven\u2019s Immortal Beloved: Solving the Mystery | The Musical Times\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/beethovenscholar.com\/index.php\/selected-essays\/\" \/>\n<meta property=\"og:locale\" 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