Examines how Nietzschean ideas influenced the composition of Mahler's first four, so-called Wunderhorn, symphonies. Gustav Mahler and Friedrich Nietzsche both exercised a tremendous influence over the twentieth century. All the more fascinating, then, is Mahler's intellectual engagement with the writings of Nietzsche. Given the limited and frequently cryptic nature of the composer's own comments on Nietzsche, Mahler's specific understanding of the elusive thinker is achieved through the examination of Nietzsche's reception amongst the people who introduced composer to philosopher: members of the Pernerstorfer Circle at the University of Vienna. Mahler's Nietzsche draws on a variety of primary sources to answer two key questions. The first is hermeneutic: what do Mahler's allusions to Nietzsche mean? The second is creative: how can Mahler's own characterization of Nietzsche as an "epoch-making influence" be identified in his compositional techniques? By answering these two questions, the book paints a more accurate picture of the intersections of the arts, philosophy and politics in fin-de-siecle Vienna. Mahler's Nietzsche will be required reading for scholars and students of nineteenth and early twentieth century German music and philosophy.

Nicholas Medtner (1880-1951) has always been a neglected figure in the history of Russian music, and yet his friend Rachmaninoff considered him the greatest of contemporary composers. He wrote three fine piano concertos, more than one hundred solo piano compositions, including a cycle of fourteen sonatas fully worthy to be set alongside those of Scriabin and Prokofiev, and many beautiful songs. He was also a great pianist. Leaving Russia after the Bolshevik Revolution, Medtner lived for a time in Germany and France before finally settling in London, where he passed the final sixteen years of his life. The present work is the first to tell the full story of his eventful life and to consider in turn each of his compositions. The author has drawn on Medtner's own correspondence and writings and collected the reminiscences of those who knew him personally to build a comprehensive picture of a great, if still largely unrecognised, musician.

Recomposing the Past is a book concerned with the complex but important ways in which we engage with the past in modern times. Contributors examine how media on stage and screen uses music, and in particular early music, to evoke and recompose a distant past. Culture, popular and otherwise, is awash with a stylise - sometimes contradictory - musical history. And yet for all its complexities, these representations of the past through music are integral to how our contemporary and collective imaginations understand history. More importantly, they offer a valuable insight into how we understand our musical present. Such representative strategies, the book argues, cross generic boundaries, and as such it brings together a range of multimedia discussion on the subjects of film (Lord of the Rings, Dangerous Liasions), television (Game of Thrones, The Borgias), videogame (Dragon Warrior, Gauntlet), and opera (Written on Skin, Taverner, English 'dramatick opera'). This collection constitutes a significant, and interdisciplinary, contribution to a growing literature which is unpacking our ongoing creative dialogue with the past. Divided into three complementary sections, grouped not by genre or media but by theme, it considers: 'Authenticity, Appropriateness, and Recomposing the Past', 'Music, Space, and Place: Geography as History', and 'Presentness and the Past: Dialogues between Old and New'. Like the musical collage that is our shared multimedia historical soundscape, it is hoped that this collection is, in its eclecticism, more than the sum of its parts.

The experimental composer John Cage (1912-1992) is best known for his works in percussion, prepared piano and electronic music, but he is also acknowledged to be one of the most significant figures in 20th century theatre. In Cage's theatre composition there is a blurring of the distinctions between music, dance, literature, art and everyday life. Here, William Fetterman examines the majority of those compositions by Cage which are audial as well as visual in content, beginning with his first work in this genre in 1952 and continuing through to 1992. Information for this study has come from material discovered among the unpublished scores and notes of Cage and his frequent collaborator David Tudor, as well as the author's interviews with Cage and individuals associated with his work, including Merce Cunningham, Bonnie Bird, Caroline Richards, and Ellsworth Snyder. The book also contains notation and illustrations of performances of Cage's work.

In his 1985 book The Idea of Music: Schoenberg and Others, Peter Franklin set out a challenge for musicology: namely, how best to talk and write about the music of modern European culture that fell outside of the modernist mainstream typified by Schoenberg, Berg, and Webern? Thirty years on, this collected volume of essays by Franklin's students and colleagues returns to that challenge and the vibrant intellectual field that has since developed. Moving freely between insights into opera, Volksoper, film, festival, and choral movement, and from the very earliest years of the twentieth century up to the 1980s, its authors listen with a 'critical ear': they site these musical phenomena within a wider web of modern cultural practices - a perspective, in turn, that enables them to exercise a disciplinary self-awareness after Franklin's manner.

The approach of this book, first published in 1982, is multi-disciplinary. Popular music, it is argued, is not only a musical but also a social phenomenon; the criteria needed to assess it are different from those used in the appreciation of 'classical' music. The first section of this guide is devoted to setting out just what those criteria should be. A second section puts forward bases for course construction that are detailed and flexible. A final section provides a list of further resources.

Music abounds in twentieth- century Irish literature. Whether it be the "thought-tormented" music of Joyce's "The Dead", the folk tunes and opera that resound throughout Ulysses, or the four- part threnody in Beckett's Watt, it is clear that the influence of music on the written word in Ireland is deeply significant. Samuel Beckett arguably went further than any other writer in the incorporation of musical ideas into his work. Musical quotations inhabit his texts, and structural devices such as the da capo are metaphorically employed. Perhaps most striking is the erosion of explicit meaning in Beckett's later prose brought about through an extensive use of repetition, influenced by his reading of Schopenhauer's philosophy of music. Exploring this notion of "semantic fluidity", John McGrath discusses the ways in which Beckett utilised extreme repetition to create texts that operate and are received more like music. Beckett's writing has attracted the attention of numerous contemporary composers and an investigation into how this Beckettian "musicalized fiction" has been retranslated into contemporary music forms the second half of the book. Close analyses of the Beckett- inspired music of experimental composer Morton Feldman and the structured improvisations of avantjazz guitarist Scott Fields illustrate the cross- genre appeal of Beckett to musicians, but also demonstrate how repetition operates in diverse ways. Through the examination of the pivotal role of repetition in both music and literature of the twentieth century and beyond, John McGrath's book is a significant contribution to the field of Word and Music Studies.

This title was first published in 2000. John Ireland (1879-1962) was as elusive as the music that he composed. His music resists easy categorization, in part because it is linked so closely to specific events, places and people in Ireland's personal life. The Music of John Ireland explores the expressive and extramusical qualities of Ireland's compositions and their complex system of personal musical symbols, images and ideas. Fiona Richards interweaves biography and musical analysis in a series of chapters which take their themes from the significant influences in Ireland's life: Anglo-Catholicism, paganism, the countryside, the city, love and war. Ireland emerges as highly individual, struggling with his religious beliefs, his sexuality, and an uncertainty as to his success. His music, often an expression of a state of mind, is given, for the first time, the close investigation that it merits. Ireland preferred to compose on a small scale, showing a masterful command of form and a gift for melody. Richards reveals how the essence of the man shines through in the miniatures that he wrote.

This annotated bibliography uncovers the wealth of resources available on the life and music of John Cage, one of the most influential and fascinating composers of the twentieth-century. The guide will focus on documentary studies, archival resources, scholarly research, and autobiographical materials, and place the composer and his work in a larger context of postmodern philosophy, art and theater movements, and contemporary politics. It will support emerging scholarship and inquiry for future research on Cage, with carefully selected sources and useful annotations.

Australia offers tremendous scope for understanding the relationship between music, spirituality and landscape. This major, generously-illustrated new volume examines, in fifteen chapters, some of the ways in which composers and performers have attempted to convey a sense of the Australian landscape through musical means. The book embraces the different approaches of ethnomusicology, gender studies, musical analysis, performance studies and cultural history. Ranging across the country, from remote parts of the Northern Territory to the bustling east coast cities, from Tasmanian wilderness to tropical Queensland, the book includes references to art and literature as well as music. Issues of national identity, belonging and aboriginalization are an integral part of the book, with indigenous responses to place examined alongside music from the western orchestral, chamber and choral repertories. The book provides valuable insight into a wide range of music inspired by Australia, from the Yanyuwa people to Jewish communities in Victoria; from Peter Sculthorpe's opera Quiros to the work of European expats living in Australia before the Second World War; from historic Ealing film scores to contemporary sound installations. The work of many significant composers is discussed in detail, among them Ross Edwards, Barry Conyngham, David Lumsdaine, Anne Boyd and Fritz Hart. Throughout the book there is a sense of the vibrancy and diversity of the music inspired by the sights and sounds of the Australian landscape.

Leo Black, a pupil of Rubbra in the 1950s, presents a full-scale study of his symphonies (the first for twenty years). A biographical sketch throws light on legends about the BBC and Rubbra; there are full programme notes on eachsymphony, with accounts of important non-symphonic works. The music of Edmund Rubbra (1901-1986) has been unjustly neglected - arguably because its wide-ranging nature makes it difficult to categorise. He is perhaps best known as a symphonist; his eleven symphonies covered a period of musical and political upheaval [1934 - 1980], the first four reflecting the uneasy later 1930s, with a second global conflict no longer avoidable. The immediately-post-war ones document new emotional depths and his conversion, whilethe final symphonies show a man still in search of peace and reconciliation, overlooked by the world but certain he was on the right path. Leo Black, a pupil of Rubbra at Oxford in the 1950s, here presents a sympatheticfull-scale study of these works (the first for some twenty years). A succinct biographical sketch throws light on legends about the BBC and Rubbra; there are full programme notes on each symphony, with shorter accounts of important non-symphonic works, in particular a 'triptych' of concertos from the 1950s and major liturgical pieces composed around the time of the Second Vatican Council, after Rubbra's conversion to Catholicism. He also deals with the vexed question of Rubbra's mysticism. LEO BLACK is a former BBC chief producer for music and author of the highly-acclaimed Franz Schubert: Music and Belief [2003].

This title was first published in 2002. Challenging the accepted orthodoxy on Nietzsche's views on art, this book seeks both to challenge and to establish a new set of concerns as far as discourses on Nietzsche's thoughts on aesthetics are concerned, whilst at the same time using such insights to illuminate more central concerns of Nietzsche scholarship, such as the will to power, the illusion/truth question, the eternal return, the death of God, tragedy, Wagner. Following the development of Nietzsche's thoughts on art from his earliest writings to his last, Pothen counters traditionally accepted interpretations by suggesting a need to recognize the deep suspicion and at times hostility that Nietzsche displays towards art and the artist throughout his text by emphasising the philosophical arguments underlying this deep suspicion, and by viewing this tendency as something deeply connected to the other areas of his thought. Readers with interests in Nietzsche studies, aesthetics, German philosophy, and the philosophy of music, will find this a particularly invaluable and distinctive contribution to Nietzsche scholarship.

This collection of eight 'lectures' by internationally acclaimed pianist, Graham Johnson, is based on a series of concert talks given at the Guildhall School of Music and Drama as part of the Benjamin Britten festival in 2001. The focus of the book is on Britten's songs, starting with his earliest compositions in the genre. Graham Johnson suggests that the nature of Britten's creativity is especially apparent in his setting of poetry, that he becomes the poet's alter-ego. A chapter on Britten's settings of Auden and Eliot explores the particular influences these writers brought to bear at opposite poles of the composer's life. The inspiration of fellow musicians is also discussed, with a chapter devoted to Britten's time in Russia and his friendship with the Rostropovitch family. Closer to home, the book places in context Britten's folksong settings, illustrating how he subverted the English folksong tradition by refusing to accept previous definitions of what constituted national loyalty. Drawing on letters and diaries, and featuring a number of previously unpublished photographs, this book illuminates aspects of Britten's songs from the personal perspective of the pianist who worked closely with Peter Pears after Benjamin Britten was unable to perform through illness. Johnson worked with Pears on learning the role of Aschenbach in 'Death in Venice' and was official pianist for the first master class given by Peter Pears at Snape in 1972.

The first book devoted to the composer Charles Villiers Stanford (1852-1924) since 1935, this survey provides the fullest account of his life and the most detailed appraisal of his music to date. Renowned in his own lifetime for the rapid rate at which he produced new works, Stanford was also an important conductor and teacher. Paul Rodmell assesses these different roles and considers what Stanford's legacy to British music has been. Born and brought up in Dublin, Stanford studied at Cambridge and was later appointed Professor of Music there. His Irish lineage remained significant to him throughout his life, and this little-studied aspect of his character is examined here in detail for the first time. A man about whom no-one who met him could feel indifferent, Stanford made friends and enemies in equal numbers. Rodmell charts these relationships with people and institutions such as Richter, Parry and the Royal College of Music, and discusses how they influenced Stanford's career. Perhaps not the most popular of teachers, Stanford nevertheless coached a generation of composers who were to revitalize British music, amongst them Coleridge-Taylor, Ireland, Vaughan-Williams, Holst, Bridge and Howells. While their musical styles may not be obviously indebted to Stanford's, it is clear that, without him, British music of the first half of the twentieth century might have taken a very different course.

First published in 1994. Routledge is an imprint of Taylor & Francis, an informa company.

Known for his orchestral, operatic and choral works, James MacMillan (b. 1959) appeals across the spectrum of contemporary music making. James MacMillan appeals across the spectrum of contemporary music making and is particularly celebrated for his orchestral, operatic and choral pieces. This book, published in time to mark the composer's sixtieth birthday, is thefirst in-depth look at his life, work and aesthetic. From his beginnings in rural Ayrshire and his early work with Sir Peter Maxwell Davies, through the international breakthrough success of The Confession of Isobel Gowdie,the continuing success of works such as the percussion concerto Veni, Veni, Emmaneul and his choral pieces, to his current position as one of the most prominent British composers of his generation, the book explores MacMillan's compositional influences over time. It looks closely at his most significant works and sets them in a wider context defined by contemporary composition, culture and the arts in general. The book also considers MacMillan's strong Catholic faith and how this has influenced his work, along with his politics and his on-going relationship with Scottish nationalism. With the support of the composer and his publisher and unprecedented access to interviews and previously unpublished materials, the book not only provides an appraisal of MacMillan's work but also insights into what it means to be a prominent composer and artist in the twenty-first century. PHILLIP A. COOKE is a Composer and Senior Lecturer and Head of Music at the University of Aberdeen. He has previously co-edited The Music of Herbert Howells for Boydell.

Liverpool-born composer and pianist, John McCabe, established himself as one of Britain's most recorded contemporary composers as well as a celebrated performer and recording artist. This book covers every aspect of his compositions and will help guide both general and specialist listeners and performers through the so-called landscapes of the mind that his music evokes. The title was suggested by McCabe himself and his composing and performing life took him on journeys all over the world through a variety of landscapes, many of which are to be found in essence in his music. The detailed discography will help readers to find recordings of many of the works described in the series of articles written by a collection of experienced critics, performers, broadcasters and reviewers, and the copious illustrations and full pages of musical score provide a variety of insights into McCabe's life and work.

Louis Andriessen is one of the foremost composers in the world today. His music, with its distinctive blend of jazz, minimalism, Stravinsky and the European avant-garde, has attracted wide audiences internationally and made him a sought-after teacher among younger generations of composers. De Staat ('The Republic') brought Andriessen to international attention in 1976, and it remains his best-known work. This book is the first extended, single-author study of Andriessen in any language. It opens with a detailed account of Andriessen's involvement in the political upheavals of the 1960s and 1970s which formed the basis for his later views on instrumentation and musical style. The following chapters assess the principal influences on his music and the musical structure of De Staat. The book closes with an extensive discussion of the meaning of De Staat in the light of the composer's firmly held socio-political views. The downloadable resources include a thrilling live recording of De Staat from the 1978 Holland Festival, plus two earlier works not previously commercially available on compact disc - De Volharding and Il Principe.

Kaikhosru Shapurji Sorabji (1892-1988) was an unusual legend in his own lifetime: a Parsi composer and critic living in England whose compositions are of such length and difficulty that he felt compelled to ban public performances of them. This book, the first devoted to Sorabji, explores his life and character, his music, his articles and letters. It both presents the legend accurately and dispels its exaggerated aspects. The portrait which emerges is not of a crank or eccentric but of a highly original and accomplished musical thinker whom recent performances and recordings confirm as unique and important. Most of the contributors knew Sorabji personally. They have all written about or performed his music, gaining international recognition for their work. Generous quotation of Sorabji's published and unpublished music and prose assists in bringing him and his work strikingly to life. The book also contains the most complete and accurate register of his work ever published.

First Published in 1991. Routledge is an imprint of Taylor and Francis, an informa company.

This is the first book-length study of the genre of 'artist-opera', in which the work's central character is an artist who is uncomfortable with his place in the world. It investigates how three such operas (Pfitzner's Palestrina (1915), Krenek's Jonny spielt auf (1926) and Hindemith's Mathis der Maler (1935)) contributed to the debate in early twentieth-century Germany about the place of art and the artist in modern society, and examines how far the artist-character may be taken as functioning as a persona for the real composer of the work. Because of their concern with the place of art within society, the works are also engaged with inherently political questions, and each opera is read in the light of the political context of its time: conservatism circa World War I, Americanism and democracy, and the rise of National Socialism.

Caritas relates the 'true', yet largely undocumented story of Christine Carpenter, a 14th-century anchoress who moves towards insanity as her desire for a divine revelation continues to be unfulfilled after a period of three years locked in her cell. Although physically isolated, she is aware of the worldly life and love that she has abandoned. The very essence of the drama is the dogmatic refusal of her Bishop to release her from her vows. Set against the backcloth of the Peasants' Uprising (1381), the libretto/play juxtaposes sacred and secular worlds, the relative power and servitude of rulers and serfs, and the terrifying ordeal of Christine who is caught between the inflexibility of the established church and her personal religious expectations. Such a narrative was to offer rich opportunities for musical characterization and evocation of the historical context of the action, as well as substantial challenges in pacing and integrating the sequence of dramatic 'snap-shots' that culminate in a scene of total despair. The colourful juxtaposition of secular life and that of a recluse in Act One culminates in a Second Act finale of immense dramatic power in which Saxton's vocal and instrumental writing reaches new heights - a landmark both in his output and in late 20th century opera. Caritas - first performed in 1991 - occupies an important position in Robert Saxton's output and, as Thomas argues, in British opera during the closing decades of the 20th century. Thomas provides a detailed contextual setting in which to evaluate Caritas, as well as presenting an analytical commentary on the structure, musical language, instrumentation, staging and production of the opera. Thomas concludes with a reflection on the reception of Caritas as well as looking forward to Saxton's later and future works. A downloadable resource of the first performance is included.

Drawing conceptually and directly on music notation, this book investigates landscape architecture's inherent temporality. It argues that the rich history of notating time in music provides a critical model for this under-researched and under-theorised aspect of landscape architecture, while also ennobling sound in the sensory appreciation of landscape. A Musicology for Landscape makes available to a wider landscape architecture and urban design audience the works of three influential composers - Morton Feldman, Gyoergy Ligeti and Michael Finnissy - presenting a critical evaluation of their work within music, as well as a means in which it might be used in design research. Each of the musical scores is juxtaposed with design representations by Kevin Appleyard, Bernard Tschumi and William Kent, before the author examines four landscape spaces through the development of new landscape architectural notations. In doing so, this work offers valuable insights into the methods used by landscape architects for the benefit of musicians, and by bringing together musical composition and landscape architecture through notation, it affords a focused and sensitive exploration of temporality and sound in both fields.

This title was first published in 2002. Sir Peter Maxwell Davies is one of Britain's most distinguished composers. This source book documents as much of the material on his music as is available to 2001. As Richard McGregor points out in his foreword to the volume, Stewart Craggs has made valuable advances in sorting out the origins of many unknown works and gleaning details of many private compositions. The book also supplies details of those unknown works which haven't appeared in any previous catalogues, including broadcasts of early works from the BBC Archives. With information given on first performances, manuscript locations and recordings, in addition to details of composition dates, authors/librettists, durations, commissions and dedications amongst much else, this book is a key reference source for all those interested in Peter Maxwell Davies and his music.

The Art Songs of Louise Talma presents some of Talma's finest compositions and those most frequently performed during her life. It includes pieces appropriate for beginning, intermediate, and advanced singers and collaborative pianists. The songs include text settings of American, English, and French poets and writers, including Native American poems, works by W. H. Auden, Elizabeth Barrett Browning, Emily Dickinson, e. e. cummings, John Donne, Gerald Manley Hopkins, William Shakespeare, and Wallace Stevens, as well as poems from medieval France and religious texts. Because of the popularity of Talma's choral works and the fact that her works for voice and piano were performed often, this sourcebook will be useful to singers at all stages of their careers, as well as scholars of twentieth-century music as a whole. The diversity of compositional approaches Talma used provides a snapshot of American trends in composition during the twentieth century; during the course of her career, Talma moved from neo-classicism to serialism and finally to non-strict serial-derived atonality in her works. Inclusion of performance and reception histories of the songs helps trace changing public taste in American art song and the repertoire of performers, particularly those interested in contemporary music.