Contributors

Matthew Bengtson holds the Doctor of Musical Arts degree from Peabody Conservatory. He teaches piano privately at Haverford and Bryn Mawr Colleges and at the University of Pennsylvania, and is on the staff at the Curtis Institute of Music. He has performed Beethoven's "Diabelli" Variations in Europe and the United States, on both modern and period instruments. Personal website: www.mattbengtson.com.

Daniel K. L. Chua is reader of music theory and analysis, King's College, London, and an editor of the journal Music & Letters. He is the author of The "Galitzin" Quartets of Beethoven (Princeton, 1995) and Absolute Music and the Construction of Meaning (Cambridge, 1999) and is the recipient of the Dent Medal of the Royal Musical Association (2004).

Lawrence Kramer is professor of English and Music at Fordham University and coeditor of 19th-Century Music. The most recent of his many books are Opera and Modern Culture: Wagner and Strauss (2004) and Musical Meaning: Toward a Critical History (2002); his Franz Schubert: Sexuality, Subjectivity, and Song has recently been issued in paperback.

Richard Kramer is Distinguished Professor of Music at the Graduate Center of the City University of New York. His Ludwig van Beethoven: A Sketchbook from the Summer of 1800 (Bonn, 1996) is the latest in the Beethoven-Haus series.

Sanna Pederson is Mavis C. Pitman Professor of Music and associate professor of music history at the University of Oklahoma, specializing in German nineteenth-century music and culture; she is currently working on a book titled Musical Romanticism and Cultural Pessimism: The Impact of the Revolutions of 1848–49 on German Musical Life. She has published articles relating Beethoven and German music to nation building, historiography, masculinity, and anti-Romanticism.

Alexander Rehding is assistant professor of music at Harvard University. He is author of Hugo Riemann and the Birth of Modern Musical Thought (2003) and coeditor of Music Theory and Natural Order from the Renaissance to the Early Twentieth Century (2001). He is currently completing a study of musical monumentality.