Combining musical insight with the most recent research, William Kinderman's Beethoven is both a richly drawn portrait of the man and a guide to his music. Kinderman traces the composer's intellectual and musical development from the early works written in Bonn to the Ninth Symphony and the late quartets, looking at compositions from different and original perspectives that show Beethoven's art as a union of sensuous and rational, of expression and structure. In analyses of individual pieces, Kinderman shows that the deepening of Beethoven's musical thought was a continuous process over decades of his life. In this new updated edition, Kinderman gives more attention to the composer's early chamber music, his songs, his opera Fidelio, and to a number of often-neglected works of the composer's later years and fascinating projects left incomplete. A revised view emerges from this of Beethoven's aesthetics and the musical meaning of his works. Rather than the conventional image of a heroic and tormented figure, Kinderman provides a more complex, more fully rounded account of the composer. Although Beethoven's deafness and his other personal crises are addressed, together with this ever-increasing commitment to his art, so too are the lighter aspects of his personality: his humor, his love of puns, his great delight in juxtaposing the exalted and the commonplace.

This anthology to accompany Gateways to Understanding Music is comprised of musical "texts." These broadly defined texts-primarily musical scores-facilitate the integration of score study and music theory into the ethno/musicology curriculum, a necessary focus in the training of the professional musician. As posed by the textbook, the last question in each modular "gateway" is "Where do I go from here?" This resource provides one more opportunity to go beyond the textbook to examine music scores and texts in even greater depth. This anthology is a combination of primary sources for study: musical scores and music transcriptions, along with a few primary source documents and musical exercises.

This book takes advantage of new and often surprising biographical research on the Loder family as a whole and its four main figures, using them to illustrate aspects of music history in the 19th century. Musicians of Bath and Beyond: Edward Loder (1809-1865) and his Family illuminates three areas that have recently attracted much interest: the musical profession, music in the British provinces and colonies, and English Romantic opera. The Loder family was pre-eminent in Bath's musical world in the early nineteenth century. John David Loder (1788-1846) led the theatre orchestra there from 1807, and later the Philharmonic orchestra and Ancient Concerts in London; he also wrote the leading instruction manual on violin playing and taught violin at the Royal Academy of Music. His son Edward James (1809-65) was a brilliant but underrated composer of opera, songs, and piano music. George Loder (1816-68) was a well-known flautist and conductor who made a name in New York and eventually settled in Adelaide, where he conducted the Australian premieres of Les Huguenots, Faust, and other important operas. Kate Fanny Loder (1825-1904) became a successful pianist and teacher in early Victorian London, and she is only now getting her due as a composer. This book takes advantage of new and often surprising biographical research on the Loder family as a whole and its four main figures. It uses them to illustrate several aspects of music history: the position of professional musicians in Victorian society; music in the provinces, especiallyBath and Manchester; the Victorian opera libretto; orchestra direction; violin teaching; travelling musicians in the US and Australasia; opera singers and companies; and media responses to English opera. The concluding section isan intense analysis and reassessment of Edward Loder's music, with special emphasis on his greatest work, the opera Raymond and Agnes. NICHOLAS TEMPERLEY is Professor Emeritus of Musicology at the University ofIllinois at Urbana-Champaign and is a leading authority on Victorian music. CONTRIBUTORS: Stephen Banfield, David Chandler, Andrew Clarke, Liz Cooper, Therese Ellsworth, David J. Golby, Andrew Lamb, Valerie Langfield, Alison Mero, Paul Rodmell, Matthew Spring, Julja Szuster, Nicholas Temperley

Daniels' Orchestral Music is the gold standard for all orchestral professionals--from conductors, librarians, programmers, students, administrators, and publishers, to even instructors--seeking to research and plan an orchestral program, whether for a single concert or a full season. This sixth edition, celebrating the fiftieth anniversary of the original edition, has the largest increase in entries for a new edition of Orchestral Music: 65% more works (roughly 14,050 total) and 85% more composers (2,202 total) compared to the fifth edition. Composition details are gleaned from personal inspection of scores by orchestral conductors, making it a reliable one-stop resource for repertoire. Users will find all the familiar and useful features of the fifth edition as well as significant updates and corrections. Works are organized alphabetically by composer and title, containing information on duration, instrumentation, date of composition, publication, movements, and special accommodations if any. Individual appendices make it easy to browse works with chorus, solo voices, or solo instruments. Other appendices list orchestral works by instrumentation and duration, as well as works intended for youth concerts. Also included are significant anniversaries of composers, composer groups for thematic programming, a title index, an introduction to Nieweg charts, essential bibliography, internet sources, institutions and organizations, and a directory of publishers necessary for the orchestra professional. This trusted work used around the globe is a must-have for orchestral professionals, whether conductors or orchestra librarians, administrators involved in artistic planning, music students considering orchestral conducting, authors of program notes, publishers and music dealers, and instructors of conducting.

With 45 songs by 22 composers, this is the most comprehensive single volume of art songs composed by women ever published. It includes biographical information about the composers and historical information about each song, with songs in English, French, German and Italian.

Between early 1806 and early 1807, Ludwig van Beethoven completed a remarkable series of instrumental works. But critics have struggled to reconcile the music of this banner year with Beethoven's "heroic style," the paradigm through which his middle-period works have typically been understood. Drawing on theories of mediation and a wealth of primary sources, Beethoven 1806 explores the specific contexts in which the music of this year was conceived, composed, and heard. As author Mark Ferraguto argues, understanding this music depends on appreciating the relationships that it both creates and reflects. Not only did Beethoven depend on patrons, performers, publishers, critics, and audiences to earn a living, but he also tailored his compositions to suit particular sensibilities, proclivities, and technologies.

Philosophy of music has flourished in the last thirty years, with great advances made in the understanding of the nature of music and its aesthetics. Peter Kivy has been at the centre of this flourishing, and now offers his personal introduction to philosophy of music, a clear and lively explanation of how he sees the most important and interesting philosophical issues relating to music. Anyone interested in music will find this a stimulating introduction to some fascinating questions and ideas.

The Ashgate Research Companion to Johann Sebastian Bach provides an indispensable introduction to the Bach research of the past thirty-fifty years. It is not a lexicon providing information on all the major aspects of Bach's life and work, such as the Oxford Composer Companion: J. S. Bach. Nor is it an entry-level research tool aimed at those making a beginning of such studies. The valuable essays presented here are designed for the next level of Bach research and are aimed at masters and doctoral students, as well as others interested in coming to terms with the current state of Bach research. Each author covers three aspects within their specific subject area; firstly, to describe the results of research over the past thirty-fifty years, concentrating on the most significant and controversial, such as: the debate over Smend's NBA edition of the B minor Mass; Blume's conclusions with regard to Bach's religion in the wake of the 'new' chronology; Rifkin's one-to-a-vocal-part interpretation; the rediscovery of the Berlin Singakademie manuscripts in Kiev; the discovery of hitherto unknown manuscripts and documents and the re-evaluation of previously known sources. Secondly, each author provides a critical analysis of current research being undertaken that is exploring new aspects, reinterpreting earlier assumptions, and/or opening-up new methodologies. For example, Martin W. B. Jarvis has suggested that Anna Magdalena Bach composed the cello suites and contributed to other works of her husband - another controversial hypothesis, whose newly proposed forensic methodology requires investigation. On the other hand, research into Bach's knowledge of the Lutheran chorale tradition is currently underway, which is likely to shed more light on the composer's choices and usage of this tradition. Thirdly, each author identifies areas that are still in need of investigation and research.

This collection is a compilation of many of the paths taken by scholars in their pursuit of knowledge about Schumann over the last half-century. Selected for their topical breadth and quality, the writings showcase different points of departure as well as their authors' allegiance to diverse methods of investigation.

The Craft of Tonal Counterpoint is an introduction and workbook for the analysis and composition of tonal counterpoint. Tonal counterpoint is the basis of all classical music composition; students of music theory and composition are all required to take a course on this topic. Using examples from the music of J.S.Bach - the master of this style - the author takes students through a series of carefully graded, cumulative exercises that stress both analysis and writing. Benjamin covers chromaticism and fugal writing in exceptional detail. The exercises cover a wide range of formats, including error detection, liner pitch reduction, analysis and composition. The book also incorporates a 100-page anthology of scores and compositional models.

Since the bicentennial of Mozart's death in 1991, the principal concern of much Mozart research has been to situate the composer and his music in increasingly well informed biographical, historical, critical and analytical contexts. The contributors to Mozart Studies share this desire to paint ever-more rounded, focused and sensitive pictures of the composer by drawing upon wide-ranging historical materials and critical tools, and to project scholarly understandings considerably beyond the narrow frames of reference that traditionally characterised Mozart research. While chapters are grouped according to the principal areas and topics covered, it is intended that other thematic links between chapters will also emerge, drawing scholars' attention to areas primed for future investigation. In the best traditions of Mozart research, it is hoped that these essays will collectively affirm the vitality of Mozart scholarship and the significant role that this scholarship continues to play in defining and re-defining musicological priorities.

This book examines two notable forms of chamber music involving piano and strings. Smallman surveys the development of these genres from their origins in the mid-eighteenth century to the present day.

Of the few composers who possessed an intrinsic mastery of the string quartet, Haydn was the first and, Hans Keller argues, the greatest. This seminal study of forty-five quartets by one of the leading music critics of his day provides an extraordinarily deep understanding of Haydn's methods and genius.

Beethoven's many surviving sketchbooks bear witness to the vast creative labor that lay behind the musical masterpieces he left to posterity. Among them, one of the most famous is the ""Eroica"" Sketchbook, containing all the known sketches for the ""Eroica"" Symphony, the ""Waldstein"" Sonata, and other works of 1803-04. These include his first sketches for the opera Leonore (later entitled Fidelio), as well as the unfinished opera Vestas Feuer, the oratorio Christus am Oelberge, the Triple Concerto, songs, keyboard compositions, and early sketches that later bore fruit in the Fourth Piano Concerto and the Fifth and Sixth Symphonies. It also contains ideas for works that were never completed. The ""Eroica"" Sketchbook is essentially a diary of Beethoven's creative work during one of the great turning points in his career. As such, this edition deepens our understanding of Beethoven's creative process, and offers new insights into some of Beethoven's most celebrated works. This edition makes available both a complete facsimile and transcription of the sketchbook for the first time, along with a detailed commentary on the origins, contents, and significance of this vitally important source.

From the series examining the development of music in specific places during particular times, this book looks at the classical period, in Europe and America, from Vienna and Salzburg to the Iberian courts and Philadelphia.

By using different kinds of materials and links between various disciplines and subject areas, this book aims to both explain certain features of Italian historical development and provoke further discussion. Designed as a teaching text around broad thematic chapters - the nation, the state, economy and society, politics - it introduces the reader to historical debates, themes, controversies and arguments. Boxes at the end of each chapter provide useful further information for students.

Music in the Classical World: Genre, Culture, and History provides a broad sociocultural and historical perspective of the music of the Classical Period as it relates to the world in which it was created. It establishes a background on the time span-1725 to 1815-offering a context for the music made during one of the more vibrant periods of achievement in history. Outlining how music interacted with society, politics, and the arts of that time, this kaleidescopic approach presents an overview of how the various genres expanded during the period, not just in the major musical centers but around the globe. Contemporaneous treatises and commentary documenting these changes are integrated into the narrative. Features include the following: A complete course with musical scores on the companion website, plus links to recordings-and no need to purchase a separate anthology The development of style and genres within a broader historical framework Extensive musical examples from a wide range of composers, considered in context of the genre A thorough collection of illustrations, iconography, and art relevant to the music of the age Source documents translated by the author Valuable student learning aids throughout, including a timeline, a register of people and dates, sidebars of political importance, and a selected reading list arranged by chapter and topic A companion website featuring scores of all music discussed in the text, recordings of most musical examples, and tips for listening Music in the Classical World: Genre, Culture, and History tells the story of classical music through eighteenth-century eyes, exposing readers to the wealth of music and musical styles of the time and providing a glimpse into that vibrant and active world of the Classical Period.

Jonathan Keates original biography of Handel was hailed as a masterpiece on its publication in 1985. This fully revised and updated new edition - published to commemorate the 250th anniversary of the composers death - charts in detail Handel's life, from his youth in Germany, through his brilliantly successful Italian sojourn, to the opulence and squalor of Georgian London where he made his permanent home. For over two decades Handel was absorbed in London's heady but precarious operatic world. But even his phenomenal energy and determination could not overcome the public's growing indifference to Italian opera in the 1730s, and he turned finally to oratorio, a genre which he made peculiarly his own and in which he created some of his finest works, such as Saul, Messiah, Belshazzar and Jephtha. Over the last two decades a complete revolution in Handel's status has taken place. He is now seen both as a titanic figure in music, whose compositions have found a permanent place in the international repertoire, and as one of the world's favourite composers, with snatches of his work accompanying weddings, funerals and television commercials the world over. Skillfully interwoven with the account of Handel's life are commentaries on all his major works, as well as many less familiar pieces by this most inventive, expressive and captivating of composers. Handel was an extraordinary genius whose career abounded in reversals that would have crushed anyone with less resilience and will power, and Jonathan Keates writes about his life and work with sympathy and scrutiny.

In 1759 the court of the Italian Duchy of Parma adopted the inspiration of cultural creators who recommended a reform of Italian opera along French lines. These writers favored combining Italian-style music with the wider range of musical genres and scenic variety of French opera. As the prize-winning music critic and commentator George W. Loomis shows in this groundbreaking volume, the young composer Tommaso Traetta was engaged to create new operas responding to these demands. As Loomis deftly demonstrates, Traetta's operas were largely oriented toward the formal aria, a byproduct of making Italian music an essential component of this cross-cultural fusion. Nevertheless, they were strikingly innovative in their use of chorus, integrated dance, and accompanied recitative. Structurally, the operas reflect the French distinction between scenes of action and divertissements. After a brief flowering in the 1760s, the project was abandoned, primarily for lack of interest, but Traetta's Parma operas deserve a previously unrecognized place in the history of Western music for their stimulation of opera seria in Italy and beyond. This included the works of Wolfgang Amadeus Mozart, whose genre-defining Idomeneo (1781) proved a turning point in the development of opera.

Lauri Suurpaa brings together two rigorous methodologies, Greimassian semiotics and Schenkerian analysis, to provide a unique perspective on the expressive power of Franz Schubert's song cycle. Focusing on the final songs, Suurpaa deftly combines textual and tonal analysis to reveal death as a symbolic presence if not actual character in the musical narrative. Suurpaa demonstrates the incongruities between semantic content and musical representation as it surfaces throughout the final songs. This close reading of the winter songs, coupled with creative applications of theory and a thorough history of the poetic and musical genesis of this work, brings new insights to the study of text-music relationships and the song cycle."

The first volume in Alan Walker's magisterial biography of Franz Liszt.

"You can't help but keep turning the pages, wondering how it will all turn out: and Walker's accumulated readings of Liszt's music have to be taken seriously indeed." D. Kern Holoman, New York Review of Books

"A conscientious scholar passionate about his subject. Mr. Walker makes the man and his age come to life. These three volumes will be the definitive work to which all subsequent Liszt biographies will aspire." Harold C. Schonberg, Wall Street Journal

"What distinguishes Walker from Liszt's dozens of earlier biographers is that he is equally strong on the music and the life. A formidable musicologist with a lively polemical style, he discusses the composer's works with greater understanding and clarity than any previous biographer. And whereas many have recycled the same erroneous, often damaging information, Walker has relied on his own prodigious, globe-trotting research, a project spanning twenty-five years. The result is a textured portrait of Liszt and his times without rival." Elliot Ravetz, Time

"The prose is so lively that the reader is often swept along by the narrative. . . . This three-part work . . . is now the definitive work on Liszt in English and belongs in all music collections." Library Journal"

Rolland's biography attempts to provide an overview of Handel's life and works from his early lessons in music to the classical context in which he is commonly placed. Originally published in English in 1916, Hull's translation gives an insight into biographical facts and the musical pieces composed by Handel including his operas, oratorios and chamber music. This title will be of interest to students of music and musical history.

In this book on Beethoven's Piano Sonata in E, Op. 109, Nicholas Marston combines source studies and a Schenkerian analytical approach to produce one of the most extensive and detailed studies of a Beethoven piano sonata ever published. The study is based on a complete transcription of all the surviving autograph musical sources: the sketches, a fragmentary Urschrift, and the autograph score. Early printed editions and manuscript copies are also discussed and the text is handsomely supported by extensive transcription from the sources. After an introductory chapter in which previous work - notably that of Heinrich Schenker himself - on this sonata is reviewed, chapter 2 draws upon Beethoven's letters, conversation books, sketchbooks, and other sources to build up a detailed 'biography' of Op. 109. The middle chapters form the core of the analytical study: the sketches for each of the three movements are analysed both to reveal aspects of the genesis of the movement and to build up a particular analytical approach to the final version. The discussion embraces all levels of detail; even Beethoven's previously misunderstood notation of final barlines in the autograph score is shown to be musically significant. In the concluding chapter the notion of 'sketch' is extended beyond Op. 109 and the results of the whole study are summarized. The book might be read as a study in the extension of conventional Schenkerian analysis. Marston argues that individual movements of Op. 109 are structurally incomplete and that satisfactory closure is achieved only at the level of the entire work. The concluding theme-and-variation movement is crucial, and Marston offers a rare Schenkerian perspective onlarge-scale coherence in this genre. But in combining these analytical perceptions with an understanding of Beethoven's sketches more as valid proto-compositions in their own right than as wrong turnings en route to a 'perfect' finished work, Marston also offers a unique and compelling interpretation of this profound and beautiful masterpiece of late Beethoven.

Established by musicians in 1813, the Philharmonic is the world's second oldest concert society; only Leipzig is senior. Weber and Mendelssohn were active honorary members; Joachim and Clara Schumann lifelong friends. The list of gold medalists runs from Elgar and Beecham to Sibelius, Rachmaninov, and Tippett. Most instrumentalists and many singers of international repute mounted its platforms. Berlioz, Wagner, Tchaikovsky, Grieg, Dvorak and Strauss came to preside over their music. Celebrating a venerable institution, this history, based upon exhaustive research in the Society's archives, also addresses wider themes, which continue to bear upon concert life: the evolution of repertoire and performance, audience, agent and conductor; networks of recruitment; patronage and the market place; the collective biography and proliferation of London orchestras; the economics of fees and rehearsals. Shaw once claimed that the Philharmonic's generosity towards Beethoven was the only creditable incident in English history, and never mentioned by historians. A leading authority on the economic and social history of music now attempts to repair that omission.