I’ve got to say up front that this is a book written by a musicologist, and as a layperson, I always struggle with the fact that often – not always, but often – in such books, the most exciting aspects of the music seem to be the key changes.
In some ways, this is to be expected, because – after all – most of Beethoven’s early works were written in the classical music forms of Haydn and Mozart, where transitions between keys, tonics, dominants, sonata forms, etc. were largely what the game was about. But, unless you’re listening along with the music – and even then – it can make for somewhat of a dull read.
I should say, O’Grady started to warm up towards the end when he got into the famous opus 18 string quartets, and those six were a great way to finish the book, because they’re all amazing. But on the whole, especially because I’m not that well-up on music, sevenths and dominants and grace notes all started to blur into one.
But, given that it caused me to listen to nearly all of Beethoven’s early chamber music – much of which is beautiful stuff, even if not as game-changing as his famous works – I was grateful for the tour from O’Grady. If he ever wants to do some of the later chamber music, I’ll be happy to come back and have a read.