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The scholar who wanders beyond his own field must, like Blanche DuBois, depend upon the kindness of strangers. Conversations with Martin Jay, Robert Holub, James Sheehan, and Michael P. Steinberg eased the passage into German history and literature. Thomas Laqueur and the fellows of the Doreen B. Townsend Center for the Humanities at the University of California, Berkeley, also lent valuable interdisciplinary perspectives. Mary Francis provided judicious advice on revisions, guiding the book effortlessly through the editorial process. I would like to thank these scholars for sharing their expertise, while absolving them from any shortcomings in my own understanding. This book has benefited from the example and insights of countless musicologists , among whom Daniel Heartz, James Hepokoski, Anthony Newcomb, Susan McClary, and Peter Mercer-Taylor stand out. I owe special thanks to RichardTaruskin,who read several drafts and provided unflagging support from the beginning. Professor Taruskin’s own research first aroused my interest in music and politics and has continued to serve as a scholarly ideal. Without his kind encouragement I surely would not have completed this book. Finally, I gladly acknowledge an enormous debt to Joseph Kerman, a wonderful advisor, mentor, and friend. This study, like all Beethoven scholarship today, basks in the afterglow of his magisterial criticism. If I have profited even a little from his acute ear and nonpareil eloquence, I will have done very well indeed. ix Acknowledgments This page intentionally left blank ...

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