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Ignition: Beethoven
- Reception Documents from the Paul Sacher Foundation
- Edited by Felix Meyer, Simon Obert
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- Published by:
- Boydell & Brewer
- Published online:
- 14 June 2023
- Print publication:
- 27 November 2020
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This book accompanies the Paul Sacher Foundation's exhibition at the Bonn Beethovenhaus. In the twentieth and twenty-first centuries, composers have referred to Beethoven in their music. The volume explores this subject and illustrates it with documents from the Foundation's archives in Basel.
4 - Distortion – Dismantlement
- Edited by Felix Meyer, Simon Obert
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- Book:
- Ignition: Beethoven
- Published by:
- Boydell & Brewer
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- 14 June 2023
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- 27 November 2020, pp 138-183
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Summary
A first version of this essay was written in Paris in January 2020, a few weeks before the brutal disruption of everyday life caused by the coronavirus pandemic. This is how it began:
Like most commemorations of long-dead composers, the two-hundred-fiftieth anniversary of the birth of Ludwig van Beethoven in 2020 will entail massive amounts of repetition. All his symphonies, all his piano sonatas, all his concertos, all his string quartets: in any genre you care to name, myriad venues all over the world will perform Beethoven's music over and over again. By the same token, audio and visual recordings of earlier performances will also be heard, thus turning earlier repetitions of this music into new objects of perception. Similar pronouncements on this cultural hero will be uttered by musicians, organizers, journalists, politicians, and audiences, including pronouncements which for two centuries have raised the hermeneutic issue of “Beethoven and Us” in ever new historical situations. To say this is not to suggest that things could or should be otherwise. Indeed, this essay is also about the issue of “Beethoven and Us,” and also intends to propose some new answers to it.
Predictions are always risky, be they grounded on science, on belief, or on tradition. They are especially risky for historians, who are supposed to be experts on the past, or rather, on a small part of it. On the other hand, the future tense in these opening sentences did not indicate an exercise in prophecy or in phenomenological protention, but a trivial reality of cultural life, namely, the fact that a commemoration of this kind always follows a long pre-established program.
For humanity, the sudden cancellation of Beethoven concerts, exhibitions, and conferences looks insignificant compared to so many catastrophes. Yet it is as good a spot as any to take the pulse of the random and dangerous reformatting of historicity in which humans are presently engaged. As the present second version of this essay is being written, in May 2020, some scholarly events are going virtual, and most concerts are being rescheduled. If this pattern holds, the disruption might eventually boil down to a chronological anomaly, with 2021 doubling for 2020.
Preface
- Edited by Felix Meyer, Simon Obert
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- Ignition: Beethoven
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- Boydell & Brewer
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- 14 June 2023
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- 27 November 2020, pp 8-9
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Summary
The present publication was designed to accompany an exhibition mounted by the Paul Sacher Foundation at the invitation of the Beethoven-Haus in Bonn. As the Foundation's research archive centers on music of the twentieth and twenty-first centuries, and as its holdings largely comprise collections and posthumous estates from composers (plus a few performer collections), it was logical to focus on the reception of Beethoven among composers of the last one-hundred-twenty years. The book thus deals with the manner in which artists have engaged creatively with Beethoven – with his music, his ideas, and everything his name has stood and continues to stand for. In contrast, the other two principal modes of musical reception – analysis and performance – are touched on only peripherally, the first in the form of a few verbal documents from composers, the latter in the form of sources for a Beethoven adaptation by Cathy Berberian. Although both these areas are represented in the Foundation's holdings by quite interesting manuscripts and recordings, they do scant justice to the wide-ranging spectrum of recent Beethoven interpretations and performance traditions. Another reason for limiting ourselves to the reception of Beethoven by composers was that the spatial restrictions at the Beethoven-Haus made it clear from the outset that ours would be a smallscale showcase exhibition.
Even within these limitations, however, the subject still remains vast. Although Beethoven's impact was most immediate in the nineteenth century, countless composers of the twentieth and twenty-first centuries have grappled with him in a great many ways. It is all the more striking, then, that the subject is not nearly as well-researched as one might expect. True, much has been written about the verbal and imaginative ties to Beethoven, our changing image of Beethoven, and the various ways in which he has been politically and ideologically co-opted. We need only mention three earlier “classics”: Arno Schmitz's monograph on the Romantic image of Beethoven, Leo Schrade's study of Beethoven in France, and Hans Heinrich Eggebrecht's exhaustive investigation of writings on Beethoven. But to the present day, only halting attempts have been made to produce a broad-based study of Beethoven's reception among twentieth- and twenty-first-century composers that goes beyond isolated figures or pieces.
Nor does our book, being limited to the archival holdings of the Paul Sacher Foundation, seek to create such a larger picture.
Exhibits
- Edited by Felix Meyer, Simon Obert
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- Ignition: Beethoven
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- Boydell & Brewer
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- 14 June 2023
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- 27 November 2020, pp 184-185
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Contents
- Edited by Felix Meyer, Simon Obert
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- Ignition: Beethoven
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- Boydell & Brewer
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- 14 June 2023
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- 27 November 2020, pp 7-7
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3 - Strategies of Reference
- Edited by Felix Meyer, Simon Obert
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- Ignition: Beethoven
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- 14 June 2023
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- 27 November 2020, pp 92-137
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Some 150 years lie between Johannes Brahms's quip to conductor Hermann Levi – “You can't have any idea what it's like always to hear such a giant marching behind you!”– and John Adams's confession: “Having Beethoven in the car while you are driving is exhilarating and terrifying and very humbling.” And yet, Franz Schubert's famous question notwithstanding (“[W]ho can do anything after Beethoven?”), generations of composers have done one thing above all else: they have composed music, even and especially if it meant engaging with Beethoven. The reasons why his music has been so uniquely important to subsequent generations is neatly summarized by Claus-Steffen Mahnkopf: “In each of his major works, Beethoven invents new categories of music altogether. We find novel and previously unknown procedures and approaches whose ground-breaking qualities came to fruition only in the heyday of modern music […]. There is hardly anything that Beethoven hasn't already considered, hardly any problems whose solution his music hasn't already prefigured.”
If Beethoven can function as a point of reference on such a scale for almost any form of composition in the twentieth and twenty-first centuries, the range of strategies for referring to his music is virtually limitless. Almost every compositional technique could be shown in one way or another to derive from Beethoven, and the only way to refer to him explicitly would be through titles, explanatory notes, documented quotations, or the like. Beethoven is omnipresent, all-powerful, almost inescapable. To quote Steffen Schleiermacher, any attempt to approach a “great composer from the past is always a difficult business. Today, if you want to rise above blatant quotation and avoid the absurd temptation to compose ‘… in the style of …’, you quickly reach your limits as a composer. […] On the other hand, perhaps the most honest way of approaching the great composer– simply writing the best piece you can and dedicating it to him– is unavailable owing to the danger of arbitrariness. So how to proceed?”
Contributors
- Edited by Felix Meyer, Simon Obert
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- Ignition: Beethoven
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- Boydell & Brewer
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- 14 June 2023
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- 27 November 2020, pp 186-186
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Dedication
- Edited by Felix Meyer, Simon Obert
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- Ignition: Beethoven
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- 27 November 2020, pp 6-6
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2 - Idealizations
- Edited by Felix Meyer, Simon Obert
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- Ignition: Beethoven
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- Boydell & Brewer
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- 14 June 2023
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- 27 November 2020, pp 50-91
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Summary
Reception mechanisms more than a century old cannot be switched off overnight. If Beethoven's music already bore a heavy ideological burden in the nineteenth century, myriad twentieth-century attempts to free his sounds from these fetters miscarried. Claude Debussy's early critique of 1901 was, for example, itself not free of ideological taints. Writing in a concert review of the Ninth, the sharp-tongued French composer stated that it “has long been surrounded by a haze of adjectives.” It goes so far, he continued, that one marvels that the work had not been buried long ago beneath the avalanche of prose. Explaining that Beethoven's thought was entirely musical, he attempted to divest it of the “stupid comments” that the work has excited. Yet his line of argument ended in the conclusion that an “excess of humanity” has burst the conventional bounds of the symphony, which sprang from a soul “drunk with the idea of freedom.” His attempt to break away from the reception tradition thus perpetuates one of its powerful topoi: the Ninth as a monument to liberty. In short, the attribution of ideas to Beethoven's works continues stubbornly apace. Nor are the attributions limited to verbal discussion: they equally mark the music's performance and find reflection in the visual depiction of Beethoven and his music. Even composers fall under their spell, either strengthening or interrogating them by their references to Beethoven.
If the tradition of ideological attributions can't be easily dispensed with, the things attributed are at once constant and variable: some cliches, such as romanticized heroism or the narrative of overcoming adversity, have been stubbornly perpetuated since the dawn of Beethoven reception; other attributions emerge from specific historical contexts, receive contradictory interpretations, and are often short-lived for that very reason. The constants seem to appeal to general needs for understanding, whereas the variables offer a broad range of possibilities for political, cultural, or philosophical appropriation. Perpetuations and reinterpretations form part of a complex system of meaning.3 By being endlessly repeated, they impart recognizability while broadening the spectrum of musings on “the Beethoven myth.”4 The constants will be briefly presented below with a backward glance at the nineteenth century. Then, proceeding from four documents on reception, the interplay of variable interpretations will be discussed insofar as they clarify specific twentieth-century Beethoven labels: the humanist, the revolutionary, the patriot, and the virile male.
1 - Learning and Teaching Through Beethoven
- Edited by Felix Meyer, Simon Obert
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- Book:
- Ignition: Beethoven
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- 14 June 2023
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- 27 November 2020, pp 10-49
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Summary
The music of Ludwig van Beethoven is considered to have been a driving force behind a fundamental change in listening expectations between the late eighteenth and the nineteenth centuries. In this period, we have been told again and again, the listeners’ attention was increasingly directed toward teleological progress and the seamless unifying development of musical processes in accordance with “unalterable rational laws.” Until well into the twentieth century Beethoven's music was a major field of activity for music historians and educators. Accordingly, the ideas ascribed to it were also transferred from the world of aesthetics to everyday existence: no other music, it was argued, was better suited to give cultural credence to the guiding economic principles of the modern era, such as labor and rationalization, development and growth. Whether this view can be accounted for primarily by the quality of Beethoven's music, the ease with which it can be taught, or simply by the ideology of “aggressive nationalism” eludes an easy answer. But there can be no doubt that it resulted in the establishment of a long-lasting “Beethoven paradigm” for the whole of Western musical thought, a paradigm with a powerful impact on compositional technique and aesthetics.
Traces of this epochal breech around 1800, between a seemingly natural “sense of tradition” and a newly fertile “awareness of the past,” were already evident during Beethoven's lifetime. The associated loss of a “self-evident bidirectional gaze” at past and present already appeared in the way contemporaries dealt with the unique phenomenon of Beethoven. At an early date disconcerted critics spoke of the “dark artificiality or […] artificial darkness” of Beethoven's piano sonatas, uncomfortably accentuating their artistry and deliberateness. A few decades later, on the other hand, criticism had turned positive and established the “paradigm”: all composition textbooks that touched on Beethoven now praised the deliberate balance he struck between uniqueness and convention, originality and accessibility.
One of the foundational documents of the “Beethoven paradigm” is the well-known adage that Count Ferdinand von Waldstein entered in the young composer's album: “With the help of unceasing diligence you will receive the spirit of Mozart from the hands of Haydn.” Its binding character led not only to a far-reaching battle for Beethoven's legacy between the New German School and the circles associated with Johannes Brahms and Joseph Joachim, but also to profound changes in the field of music theory.
Index
- Edited by Felix Meyer, Simon Obert
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- Ignition: Beethoven
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- Boydell & Brewer
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- 14 June 2023
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- 27 November 2020, pp 187-191
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Frontmatter
- Edited by Felix Meyer, Simon Obert
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- Ignition: Beethoven
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- Boydell & Brewer
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- 14 June 2023
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- 27 November 2020, pp 1-5
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9 - Left by the wayside:
- from Part III - Sketch studies
- Edited by Marguerite Boland, Australian National University, John Link, William Paterson University, New Jersey
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- Elliott Carter Studies
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- 05 September 2012
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- 26 July 2012, pp 217-235
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Contributors
- Edited by Marguerite Boland, Australian National University, John Link, William Paterson University, New Jersey
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- Elliott Carter Studies
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- 05 September 2012
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- 26 July 2012, pp viii-viii
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Contributors
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- By Rose Teteki Abbey, K. C. Abraham, David Tuesday Adamo, LeRoy H. Aden, Efrain Agosto, Victor Aguilan, Gillian T. W. Ahlgren, Charanjit Kaur AjitSingh, Dorothy B E A Akoto, Giuseppe Alberigo, Daniel E. Albrecht, Ruth Albrecht, Daniel O. Aleshire, Urs Altermatt, Anand Amaladass, Michael Amaladoss, James N. Amanze, Lesley G. Anderson, Thomas C. Anderson, Victor Anderson, Hope S. Antone, María Pilar Aquino, Paula Arai, Victorio Araya Guillén, S. Wesley Ariarajah, Ellen T. Armour, Brett Gregory Armstrong, Atsuhiro Asano, Naim Stifan Ateek, Mahmoud Ayoub, John Alembillah Azumah, Mercedes L. García Bachmann, Irena Backus, J. Wayne Baker, Mieke Bal, Lewis V. Baldwin, William Barbieri, António Barbosa da Silva, David Basinger, Bolaji Olukemi Bateye, Oswald Bayer, Daniel H. Bays, Rosalie Beck, Nancy Elizabeth Bedford, Guy-Thomas Bedouelle, Chorbishop Seely Beggiani, Wolfgang Behringer, Christopher M. Bellitto, Byard Bennett, Harold V. Bennett, Teresa Berger, Miguel A. Bernad, Henley Bernard, Alan E. Bernstein, Jon L. Berquist, Johannes Beutler, Ana María Bidegain, Matthew P. Binkewicz, Jennifer Bird, Joseph Blenkinsopp, Dmytro Bondarenko, Paulo Bonfatti, Riet en Pim Bons-Storm, Jessica A. Boon, Marcus J. Borg, Mark Bosco, Peter C. Bouteneff, François Bovon, William D. Bowman, Paul S. Boyer, David Brakke, Richard E. Brantley, Marcus Braybrooke, Ian Breward, Ênio José da Costa Brito, Jewel Spears Brooker, Johannes Brosseder, Nicholas Canfield Read Brown, Robert F. Brown, Pamela K. Brubaker, Walter Brueggemann, Bishop Colin O. Buchanan, Stanley M. Burgess, Amy Nelson Burnett, J. Patout Burns, David B. Burrell, David Buttrick, James P. Byrd, Lavinia Byrne, Gerado Caetano, Marcos Caldas, Alkiviadis Calivas, William J. Callahan, Salvatore Calomino, Euan K. Cameron, William S. Campbell, Marcelo Ayres Camurça, Daniel F. Caner, Paul E. Capetz, Carlos F. Cardoza-Orlandi, Patrick W. Carey, Barbara Carvill, Hal Cauthron, Subhadra Mitra Channa, Mark D. Chapman, James H. Charlesworth, Kenneth R. Chase, Chen Zemin, Luciano Chianeque, Philip Chia Phin Yin, Francisca H. Chimhanda, Daniel Chiquete, John T. Chirban, Soobin Choi, Robert Choquette, Mita Choudhury, Gerald Christianson, John Chryssavgis, Sejong Chun, Esther Chung-Kim, Charles M. A. Clark, Elizabeth A. Clark, Sathianathan Clarke, Fred Cloud, John B. Cobb, W. Owen Cole, John A Coleman, John J. Collins, Sylvia Collins-Mayo, Paul K. Conkin, Beth A. Conklin, Sean Connolly, Demetrios J. Constantelos, Michael A. Conway, Paula M. Cooey, Austin Cooper, Michael L. Cooper-White, Pamela Cooper-White, L. William Countryman, Sérgio Coutinho, Pamela Couture, Shannon Craigo-Snell, James L. Crenshaw, David Crowner, Humberto Horacio Cucchetti, Lawrence S. Cunningham, Elizabeth Mason Currier, Emmanuel Cutrone, Mary L. Daniel, David D. Daniels, Robert Darden, Rolf Darge, Isaiah Dau, Jeffry C. Davis, Jane Dawson, Valentin Dedji, John W. de Gruchy, Paul DeHart, Wendy J. Deichmann Edwards, Miguel A. De La Torre, George E. Demacopoulos, Thomas de Mayo, Leah DeVun, Beatriz de Vasconcellos Dias, Dennis C. Dickerson, John M. Dillon, Luis Miguel Donatello, Igor Dorfmann-Lazarev, Susanna Drake, Jonathan A. Draper, N. Dreher Martin, Otto Dreydoppel, Angelyn Dries, A. J. Droge, Francis X. D'Sa, Marilyn Dunn, Nicole Wilkinson Duran, Rifaat Ebied, Mark J. Edwards, William H. Edwards, Leonard H. Ehrlich, Nancy L. Eiesland, Martin Elbel, J. Harold Ellens, Stephen Ellingson, Marvin M. Ellison, Robert Ellsberg, Jean Bethke Elshtain, Eldon Jay Epp, Peter C. Erb, Tassilo Erhardt, Maria Erling, Noel Leo Erskine, Gillian R. Evans, Virginia Fabella, Michael A. Fahey, Edward Farley, Margaret A. Farley, Wendy Farley, Robert Fastiggi, Seena Fazel, Duncan S. Ferguson, Helwar Figueroa, Paul Corby Finney, Kyriaki Karidoyanes FitzGerald, Thomas E. FitzGerald, John R. Fitzmier, Marie Therese Flanagan, Sabina Flanagan, Claude Flipo, Ronald B. Flowers, Carole Fontaine, David Ford, Mary Ford, Stephanie A. Ford, Jim Forest, William Franke, Robert M. Franklin, Ruth Franzén, Edward H. Friedman, Samuel Frouisou, Lorelei F. Fuchs, Jojo M. Fung, Inger Furseth, Richard R. Gaillardetz, Brandon Gallaher, China Galland, Mark Galli, Ismael García, Tharscisse Gatwa, Jean-Marie Gaudeul, Luis María Gavilanes del Castillo, Pavel L. Gavrilyuk, Volney P. Gay, Metropolitan Athanasios Geevargis, Kondothra M. George, Mary Gerhart, Simon Gikandi, Maurice Gilbert, Michael J. Gillgannon, Verónica Giménez Beliveau, Terryl Givens, Beth Glazier-McDonald, Philip Gleason, Menghun Goh, Brian Golding, Bishop Hilario M. Gomez, Michelle A. Gonzalez, Donald K. Gorrell, Roy Gottfried, Tamara Grdzelidze, Joel B. Green, Niels Henrik Gregersen, Cristina Grenholm, Herbert Griffiths, Eric W. Gritsch, Erich S. Gruen, Christoffer H. Grundmann, Paul H. Gundani, Jon P. Gunnemann, Petre Guran, Vidar L. Haanes, Jeremiah M. Hackett, Getatchew Haile, Douglas John Hall, Nicholas Hammond, Daphne Hampson, Jehu J. Hanciles, Barry Hankins, Jennifer Haraguchi, Stanley S. Harakas, Anthony John Harding, Conrad L. Harkins, J. William Harmless, Marjory Harper, Amir Harrak, Joel F. Harrington, Mark W. Harris, Susan Ashbrook Harvey, Van A. Harvey, R. Chris Hassel, Jione Havea, Daniel Hawk, Diana L. Hayes, Leslie Hayes, Priscilla Hayner, S. Mark Heim, Simo Heininen, Richard P. Heitzenrater, Eila Helander, David Hempton, Scott H. Hendrix, Jan-Olav Henriksen, Gina Hens-Piazza, Carter Heyward, Nicholas J. Higham, David Hilliard, Norman A. Hjelm, Peter C. Hodgson, Arthur Holder, M. Jan Holton, Dwight N. Hopkins, Ronnie Po-chia Hsia, Po-Ho Huang, James Hudnut-Beumler, Jennifer S. Hughes, Leonard M. Hummel, Mary E. Hunt, Laennec Hurbon, Mark Hutchinson, Susan E. Hylen, Mary Beth Ingham, H. Larry Ingle, Dale T. Irvin, Jon Isaak, Paul John Isaak, Ada María Isasi-Díaz, Hans Raun Iversen, Margaret C. Jacob, Arthur James, Maria Jansdotter-Samuelsson, David Jasper, Werner G. Jeanrond, Renée Jeffery, David Lyle Jeffrey, Theodore W. Jennings, David H. Jensen, Robin Margaret Jensen, David Jobling, Dale A. Johnson, Elizabeth A. Johnson, Maxwell E. Johnson, Sarah Johnson, Mark D. Johnston, F. Stanley Jones, James William Jones, John R. Jones, Alissa Jones Nelson, Inge Jonsson, Jan Joosten, Elizabeth Judd, Mulambya Peggy Kabonde, Robert Kaggwa, Sylvester Kahakwa, Isaac Kalimi, Ogbu U. Kalu, Eunice Kamaara, Wayne C. Kannaday, Musimbi Kanyoro, Veli-Matti Kärkkäinen, Frank Kaufmann, Léon Nguapitshi Kayongo, Richard Kearney, Alice A. Keefe, Ralph Keen, Catherine Keller, Anthony J. Kelly, Karen Kennelly, Kathi Lynn Kern, Fergus Kerr, Edward Kessler, George Kilcourse, Heup Young Kim, Kim Sung-Hae, Kim Yong-Bock, Kim Yung Suk, Richard King, Thomas M. King, Robert M. Kingdon, Ross Kinsler, Hans G. Kippenberg, Cheryl A. Kirk-Duggan, Clifton Kirkpatrick, Leonid Kishkovsky, Nadieszda Kizenko, Jeffrey Klaiber, Hans-Josef Klauck, Sidney Knight, Samuel Kobia, Robert Kolb, Karla Ann Koll, Heikki Kotila, Donald Kraybill, Philip D. W. Krey, Yves Krumenacker, Jeffrey Kah-Jin Kuan, Simanga R. Kumalo, Peter Kuzmic, Simon Shui-Man Kwan, Kwok Pui-lan, André LaCocque, Stephen E. Lahey, John Tsz Pang Lai, Emiel Lamberts, Armando Lampe, Craig Lampe, Beverly J. Lanzetta, Eve LaPlante, Lizette Larson-Miller, Ariel Bybee Laughton, Leonard Lawlor, Bentley Layton, Robin A. Leaver, Karen Lebacqz, Archie Chi Chung Lee, Marilyn J. Legge, Hervé LeGrand, D. L. LeMahieu, Raymond Lemieux, Bill J. Leonard, Ellen M. Leonard, Outi Leppä, Jean Lesaulnier, Nantawan Boonprasat Lewis, Henrietta Leyser, Alexei Lidov, Bernard Lightman, Paul Chang-Ha Lim, Carter Lindberg, Mark R. Lindsay, James R. Linville, James C. Livingston, Ann Loades, David Loades, Jean-Claude Loba-Mkole, Lo Lung Kwong, Wati Longchar, Eleazar López, David W. Lotz, Andrew Louth, Robin W. Lovin, William Luis, Frank D. Macchia, Diarmaid N. J. MacCulloch, Kirk R. MacGregor, Marjory A. MacLean, Donald MacLeod, Tomas S. Maddela, Inge Mager, Laurenti Magesa, David G. Maillu, Fortunato Mallimaci, Philip Mamalakis, Kä Mana, Ukachukwu Chris Manus, Herbert Robinson Marbury, Reuel Norman Marigza, Jacqueline Mariña, Antti Marjanen, Luiz C. L. Marques, Madipoane Masenya (ngwan'a Mphahlele), Caleb J. D. Maskell, Steve Mason, Thomas Massaro, Fernando Matamoros Ponce, András Máté-Tóth, Odair Pedroso Mateus, Dinis Matsolo, Fumitaka Matsuoka, John D'Arcy May, Yelena Mazour-Matusevich, Theodore Mbazumutima, John S. McClure, Christian McConnell, Lee Martin McDonald, Gary B. McGee, Thomas McGowan, Alister E. McGrath, Richard J. McGregor, John A. McGuckin, Maud Burnett McInerney, Elsie Anne McKee, Mary B. McKinley, James F. McMillan, Ernan McMullin, Kathleen E. McVey, M. Douglas Meeks, Monica Jyotsna Melanchthon, Ilie Melniciuc-Puica, Everett Mendoza, Raymond A. Mentzer, William W. Menzies, Ina Merdjanova, Franziska Metzger, Constant J. Mews, Marvin Meyer, Carol Meyers, Vasile Mihoc, Gunner Bjerg Mikkelsen, Maria Inêz de Castro Millen, Clyde Lee Miller, Bonnie J. Miller-McLemore, Alexander Mirkovic, Paul Misner, Nozomu Miyahira, R. W. L. Moberly, Gerald Moede, Aloo Osotsi Mojola, Sunanda Mongia, Rebeca Montemayor, James Moore, Roger E. Moore, Craig E. Morrison O.Carm, Jeffry H. Morrison, Keith Morrison, Wilson J. Moses, Tefetso Henry Mothibe, Mokgethi Motlhabi, Fulata Moyo, Henry Mugabe, Jesse Ndwiga Kanyua Mugambi, Peggy Mulambya-Kabonde, Robert Bruce Mullin, Pamela Mullins Reaves, Saskia Murk Jansen, Heleen L. Murre-Van den Berg, Augustine Musopole, Isaac M. T. Mwase, Philomena Mwaura, Cecilia Nahnfeldt, Anne Nasimiyu Wasike, Carmiña Navia Velasco, Thulani Ndlazi, Alexander Negrov, James B. Nelson, David G. Newcombe, Carol Newsom, Helen J. Nicholson, George W. E. Nickelsburg, Tatyana Nikolskaya, Damayanthi M. A. Niles, Bertil Nilsson, Nyambura Njoroge, Fidelis Nkomazana, Mary Beth Norton, Christian Nottmeier, Sonene Nyawo, Anthère Nzabatsinda, Edward T. Oakes, Gerald O'Collins, Daniel O'Connell, David W. Odell-Scott, Mercy Amba Oduyoye, Kathleen O'Grady, Oyeronke Olajubu, Thomas O'Loughlin, Dennis T. Olson, J. Steven O'Malley, Cephas N. Omenyo, Muriel Orevillo-Montenegro, César Augusto Ornellas Ramos, Agbonkhianmeghe E. Orobator, Kenan B. Osborne, Carolyn Osiek, Javier Otaola Montagne, Douglas F. Ottati, Anna May Say Pa, Irina Paert, Jerry G. Pankhurst, Aristotle Papanikolaou, Samuele F. Pardini, Stefano Parenti, Peter Paris, Sung Bae Park, Cristián G. Parker, Raquel Pastor, Joseph Pathrapankal, Daniel Patte, W. Brown Patterson, Clive Pearson, Keith F. Pecklers, Nancy Cardoso Pereira, David Horace Perkins, Pheme Perkins, Edward N. Peters, Rebecca Todd Peters, Bishop Yeznik Petrossian, Raymond Pfister, Peter C. Phan, Isabel Apawo Phiri, William S. F. Pickering, Derrick G. Pitard, William Elvis Plata, Zlatko Plese, John Plummer, James Newton Poling, Ronald Popivchak, Andrew Porter, Ute Possekel, James M. Powell, Enos Das Pradhan, Devadasan Premnath, Jaime Adrían Prieto Valladares, Anne Primavesi, Randall Prior, María Alicia Puente Lutteroth, Eduardo Guzmão Quadros, Albert Rabil, Laurent William Ramambason, Apolonio M. Ranche, Vololona Randriamanantena Andriamitandrina, Lawrence R. Rast, Paul L. Redditt, Adele Reinhartz, Rolf Rendtorff, Pål Repstad, James N. Rhodes, John K. Riches, Joerg Rieger, Sharon H. Ringe, Sandra Rios, Tyler Roberts, David M. Robinson, James M. Robinson, Joanne Maguire Robinson, Richard A. H. Robinson, Roy R. Robson, Jack B. Rogers, Maria Roginska, Sidney Rooy, Rev. Garnett Roper, Maria José Fontelas Rosado-Nunes, Andrew C. Ross, Stefan Rossbach, François Rossier, John D. Roth, John K. Roth, Phillip Rothwell, Richard E. Rubenstein, Rosemary Radford Ruether, Markku Ruotsila, John E. Rybolt, Risto Saarinen, John Saillant, Juan Sanchez, Wagner Lopes Sanchez, Hugo N. Santos, Gerhard Sauter, Gloria L. Schaab, Sandra M. Schneiders, Quentin J. Schultze, Fernando F. Segovia, Turid Karlsen Seim, Carsten Selch Jensen, Alan P. F. Sell, Frank C. Senn, Kent Davis Sensenig, Damían Setton, Bal Krishna Sharma, Carolyn J. Sharp, Thomas Sheehan, N. Gerald Shenk, Christian Sheppard, Charles Sherlock, Tabona Shoko, Walter B. Shurden, Marguerite Shuster, B. Mark Sietsema, Batara Sihombing, Neil Silberman, Clodomiro Siller, Samuel Silva-Gotay, Heikki Silvet, John K. Simmons, Hagith Sivan, James C. Skedros, Abraham Smith, Ashley A. Smith, Ted A. Smith, Daud Soesilo, Pia Søltoft, Choan-Seng (C. S.) Song, Kathryn Spink, Bryan Spinks, Eric O. Springsted, Nicolas Standaert, Brian Stanley, Glen H. Stassen, Karel Steenbrink, Stephen J. Stein, Andrea Sterk, Gregory E. Sterling, Columba Stewart, Jacques Stewart, Robert B. Stewart, Cynthia Stokes Brown, Ken Stone, Anne Stott, Elizabeth Stuart, Monya Stubbs, Marjorie Hewitt Suchocki, David Kwang-sun Suh, Scott W. Sunquist, Keith Suter, Douglas Sweeney, Charles H. Talbert, Shawqi N. Talia, Elsa Tamez, Joseph B. Tamney, Jonathan Y. Tan, Yak-Hwee Tan, Kathryn Tanner, Feiya Tao, Elizabeth S. Tapia, Aquiline Tarimo, Claire Taylor, Mark Lewis Taylor, Bishop Abba Samuel Wolde Tekestebirhan, Eugene TeSelle, M. Thomas Thangaraj, David R. Thomas, Andrew Thornley, Scott Thumma, Marcelo Timotheo da Costa, George E. “Tink” Tinker, Ola Tjørhom, Karen Jo Torjesen, Iain R. Torrance, Fernando Torres-Londoño, Archbishop Demetrios [Trakatellis], Marit Trelstad, Christine Trevett, Phyllis Trible, Johannes Tromp, Paul Turner, Robert G. Tuttle, Archbishop Desmond Tutu, Peter Tyler, Anders Tyrberg, Justin Ukpong, Javier Ulloa, Camillus Umoh, Kristi Upson-Saia, Martina Urban, Monica Uribe, Elochukwu Eugene Uzukwu, Richard Vaggione, Gabriel Vahanian, Paul Valliere, T. J. Van Bavel, Steven Vanderputten, Peter Van der Veer, Huub Van de Sandt, Louis Van Tongeren, Luke A. Veronis, Noel Villalba, Ramón Vinke, Tim Vivian, David Voas, Elena Volkova, Katharina von Kellenbach, Elina Vuola, Timothy Wadkins, Elaine M. Wainwright, Randi Jones Walker, Dewey D. Wallace, Jerry Walls, Michael J. Walsh, Philip Walters, Janet Walton, Jonathan L. Walton, Wang Xiaochao, Patricia A. Ward, David Harrington Watt, Herold D. Weiss, Laurence L. Welborn, Sharon D. Welch, Timothy Wengert, Traci C. West, Merold Westphal, David Wetherell, Barbara Wheeler, Carolinne White, Jean-Paul Wiest, Frans Wijsen, Terry L. Wilder, Felix Wilfred, Rebecca Wilkin, Daniel H. Williams, D. Newell Williams, Michael A. Williams, Vincent L. Wimbush, Gabriele Winkler, Anders Winroth, Lauri Emílio Wirth, James A. Wiseman, Ebba Witt-Brattström, Teofil Wojciechowski, John Wolffe, Kenman L. Wong, Wong Wai Ching, Linda Woodhead, Wendy M. Wright, Rose Wu, Keith E. Yandell, Gale A. Yee, Viktor Yelensky, Yeo Khiok-Khng, Gustav K. K. Yeung, Angela Yiu, Amos Yong, Yong Ting Jin, You Bin, Youhanna Nessim Youssef, Eliana Yunes, Robert Michael Zaller, Valarie H. Ziegler, Barbara Brown Zikmund, Joyce Ann Zimmerman, Aurora Zlotnik, Zhuo Xinping
- Edited by Daniel Patte, Vanderbilt University, Tennessee
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- Book:
- The Cambridge Dictionary of Christianity
- Published online:
- 05 August 2012
- Print publication:
- 20 September 2010, pp xi-xliv
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Pump Wavelength Tuning of Optical Pumping Injection Cavity Lasers for Enhancing Mid-Infrared Operation
- Todd C. McAlpine, Katherine R. Greene, Michael R. Santilli, Linda J. Olafsen, William W. Bewley, Christopher L. Felix, Igor Vurgaftman, Jerry R. Meyer, M. J. Yang, Hao Lee, Ramon U. Martinelli
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- Journal:
- MRS Online Proceedings Library Archive / Volume 799 / 2003
- Published online by Cambridge University Press:
- 01 February 2011, Z4.7
- Print publication:
- 2003
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Recent efforts to improve the performance of mid-infrared antimonide-based semiconductor lasers have focused on enhancing the absorption of the pump beam to maximize power conversion efficiencies and minimize threshold intensities. One successful approach has been the optical pumping injection cavity (OPIC) laser, in which a type-II W active region is enclosed between distributed Bragg reflector (DBR) mirrors in order to achieve multiple passes of the pump beam and thereby to enhance absorption.
Previously, fixed wavelength sources have been used for optical pumping of OPIC laser structures, with limited tuning available by adjusting the incident angle. By tuning the pump wavelength using an optical parametric oscillator, we demonstrate minimum threshold intensities and maximum slope efficiencies at the resonance of the DBR cavity surrounding the active region, further demonstrating the potential of OPIC lasers. A 3.2 μm OPIC laser operated at 350 K in pulsed mode (at the highest operating temperature of the dewar), with a characteristic temperature of 50 K. The power conversion efficiency for a single facet at 300 K was the highest ever observed in the mid-IR, at approximately 4%.
Results are presented for two OPIC samples (emitting at ∼3.2 μm and 4.3 μm at high temperature), one of which was designed with a broadened cavity resonance, suitable for pumping with a multi-mode source. Threshold intensities and slope efficiencies measured as a function of pump wavelength demonstrate the strong resonance effect, and that the “broadened OPIC” does in fact manifest a much wider resonance than the non-broadened resonance cavity design.
IV-VI Compound Semiconductor Mid-Infrared Vertical Cavity Surface Emitting Lasers Grown by MBE
- Z. Shi, G. Xu, P.J. McCann, X. M. Fang, N. Dai, W. W. Bewley, C. L. Felix, I. Vurgaftman, J. R Meyer
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- Journal:
- MRS Online Proceedings Library Archive / Volume 607 / 1999
- Published online by Cambridge University Press:
- 10 February 2011, 181
- Print publication:
- 1999
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Mid-infrared vertical cavity surface emitting lasers (VCSELs) using PbSe as the active material and broadband high reflectivity Pb1−xSrxSe/BaF 2 distributed Bragg reflectors (DBR) as bottom and top mirrors were grown by molecular beam epitaxy. By pulsed optical pumping, this first IV-VI semiconductor VCSEL operated up to 290K at a wavelength of 4.5 µm. Further optimization of such VCSELs could lead to room temperature continuos wave operation.
High-Temperature W Diode Lasers Emitting at 3.3µm
- L. J. Olafsen, W. W. Bewley, I. Vurgaftman, C. L. Felix, E. H. Aifer, D. W. Stokes, J. R. Meyer, H. Lee, R. J. Menna, R. U. Martinelli, D. Z. Garbuzov, M. Maiorov, J. C. Connolly, A. R. Sugg, G. H. Olsen
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- Journal:
- MRS Online Proceedings Library Archive / Volume 607 / 1999
- Published online by Cambridge University Press:
- 10 February 2011, 95
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- 1999
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W lasers based on type-II antimonides were recently operated nearly to room temperature under the conditions of cw optical pumping. However, the development of electrically pumped mid-infrared lasers has not yet reached the same level of performance. This is largely related to the more challenging task of simultaneously optimizing the doping/transport and gain/optical properties of the devices. Here we report a demonstration of type-II mid-IR diode lasers employing W active quantum wells. Laser structures with 5 or 10 active periods sandwiched between broadened-waveguide separate confinement regions and quaternary optical cladding layers were processed into 100-µm-wide stripes, cleaved into 1-mm-long cavities, and mounted junction side down. For 0.5-1 µs pulses at a repetition rate of 200 Hz, lasing was obtained up to a maximum operating temperature of 310 K, where the emission wavelength was 3.27 µm. The threshold current densities were 110 A/cm2and 25 kA/cm2 at 78 and 310 K, respectively. The characteristic temperature, To, was 48 K for temperatures between 100 and 280 K. Operation in cw mode was obtained to 195 K, with threshold current densities of 63 A/cm2and 1.4 kA/cm2at 78 and 195 K, respectively, with To = 38 K between 78 and 195 K. Significant further improvements in the operating characteristics are expected once the optimization of the designs and fabrication procedures is complete.
MID-IR Vertical Cavity Surface-Emitting Lasers
- I. Vurgaftman, W. W. Bewley, C. L. Felix, E. H. Aifer, J. R. Meyer, L. Goldberg, D. H. Chow, E. Selvig
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- Journal:
- MRS Online Proceedings Library Archive / Volume 484 / 1997
- Published online by Cambridge University Press:
- 10 February 2011, 95
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- 1997
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An optically pumped mid-infrared vertical-cavity surface-emitting laser based on an active region with a “W” configuration of type-II antimonide quantum wells is reported. The emission wavelength of 2.9 ym has a weak temperature variation (dλ/dT ≈ 0.07 – 0.09 nm/K), and the multimode linewidth is quite narrow (2.5–4 nm). Lasing is observed up to T = 280 K in pulsed mode and up to 160 K cw. Under cw excitation at T = 78 K, the threshold pump power is as low as 4 mW for a 6 am spot, and the differential power conversion efficiency is 4.5%.
IR Sources and Modulators Based on InAs/GaSb/AlSb-Family Quantum Wells
- J. R. Meyer, C. L. Felix, J. I. Malin, I. Vurgaftman, C.-H. Lin, R. Q. Yang, S.-S. Pei, L. R. Ram-Mohan
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- Journal:
- MRS Online Proceedings Library Archive / Volume 450 / 1996
- Published online by Cambridge University Press:
- 10 February 2011, 31
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- 1996
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We review recent applications of wavefunction engineering to the design of antimonide quantum heterostructures with favorable properties for infrared devices. Examples include electro-optical and all-optical modulators based on Г-L intervalley transfer, type-II quantum well lasers with enhanced gain per injected carrier, and type-II interband cascade lasers predicted to combine low thresholds and high output powers.