This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

Born in Prague, pianist and composer Ignaz Moscheles (1794-1870) studied in Vienna and rapidly became a central figure in European musical life. He lived and worked in London for twenty-five years, leaving in 1846 to become principal professor of piano at the Leipzig Conservatoire at the invitation of his great friend Mendelssohn. As a pianist, he was renowned for his incisive technique rooted in the tradition of Clementi, and also much admired for his extempore performances. As a composer his output was mainly for the piano, and his studies are still in use today. First published in 1872-3, this lively biography, compiled from his diaries and letters by his wife Charlotte, records his dealings with and feelings about many great musicians of the nineteenth century. Reissued here is the 1873 English translation by Arthur Duke Coleridge, founder of the Bach Choir. Volume 1 covers the years up to 1836.

Born in Prague, pianist and composer Ignaz Moscheles (1794-1870) studied in Vienna and rapidly became a central figure in European musical life. He lived and worked in London for twenty-five years, leaving in 1846 to become principal professor of piano at the Leipzig Conservatoire at the invitation of his great friend Mendelssohn. As a pianist, he was renowned for his incisive technique rooted in the tradition of Clementi, and also much admired for his extempore performances. As a composer his output was mainly for the piano, and his studies are still in use today. First published in 1872-3, this lively biography, compiled from his diaries and letters by his wife Charlotte, records his dealings with and feelings about many great musicians of the nineteenth century. Reissued here is the 1873 English translation by Arthur Duke Coleridge, founder of the Bach Choir. Volume 2 covers 1836 to 1870, and includes a list of works.

The astonishing creative genius of Franz Schubert (1797-1828) produced an extraordinary quantity of music: song cycles, symphonies, piano and chamber works - all now recognised as masterpieces. Such acclaim did not exist in the years immediately after his death, and it was only later, when the rediscovery of Schubert's music (led by George Grove) was gathering pace, that this work, the first full-length biography of the composer, appeared in 1865. Written by Heinrich Kreissle von Hellborn (1812-69), a Viennese lawyer and member of the city's Gesellschaft der Musikfreunde, the work incorporates reminiscences of Schubert's friends as collected by Ferdinand Luib for his prospective biography. This 1869 English translation by Arthur Duke Coleridge, founder of the Bach Choir, contains an appendix by Grove on Schubert's symphonies and his rediscovery in Vienna of several manuscripts as well as the partbooks for Rosamunde. Volume 1 charts Schubert's life up to the composition of Rosamunde in 1823.

The astonishing creative genius of Franz Schubert (1797-1828) produced an extraordinary quantity of music: song cycles, symphonies, piano and chamber works - all now recognised as masterpieces. Such acclaim did not exist in the years immediately after his death, and it was only later, when the rediscovery of Schubert's music (led by George Grove) was gathering pace, that this work, the first full-length biography of the composer, appeared in 1865. Written by Heinrich Kreissle von Hellborn (1812-69), a Viennese lawyer and member of the city's Gesellschaft der Musikfreunde, the work incorporates reminiscences of Schubert's friends as collected by Ferdinand Luib for his prospective biography. This 1869 English translation by Arthur Duke Coleridge, founder of the Bach Choir, contains an appendix by Grove on Schubert's symphonies and his rediscovery in Vienna of several manuscripts as well as the partbooks for Rosamunde. Volume 2 covers 1824 to 1828, and includes a list of works and Grove's appendix.

The German actress Minna Planer (1809-66) was Wagner's first wife. Though it lasted until her death, their marriage, never an easy one, was punctuated by long periods of separation, and during its early years Minna was the main breadwinner. William Ashton Ellis (1852-1919) abandoned his medical career to devote himself to his Wagner studies. Best known for his translations of Wagner's prose works, he published in 1909 this collection of letters from the composer, translated from the originals in Baron Hans von Wolzogen's Richard Wagner an Minna Wagner (1908). Concerned predominantly with domestic and business affairs, many of them complaining at Minna's lack of support, the letters offer an intriguing and intimate view of this larger-than-life composer. Spanning 1842-58, Volume 1 covers the couple's period in Dresden, Wagner's hurried departure after the 1849 uprising, and the years in Zurich culminating in the relationship with Mathilde Wesendonck.

The German actress Minna Planer (1809-66) was Wagner's first wife. Though it lasted until her death, their marriage, never an easy one, was punctuated by long periods of separation, and during its early years Minna was the main breadwinner. William Ashton Ellis (1852-1919) abandoned his medical career to devote himself to his Wagner studies. Best known for his translations of Wagner's prose works, he published in 1909 this collection of letters from the composer, translated from the originals in Baron Hans von Wolzogen's Richard Wagner an Minna Wagner (1908). Concerned predominantly with domestic and business affairs, many of them complaining at Minna's lack of support, the letters offer an intriguing and intimate view of this larger-than-life composer. Spanning the period 1858-63, Volume 2 covers their uneasy, brief reconciliation in Paris, Wagner's concerns over Minna's failing health, and her return to Dresden in 1862, which marked their final separation.

Sir George Smart (1776 1867), conductor, composer, singing teacher and organist, was a central figure in nineteenth-century British musical life. He is best remembered as one of the founder members of the Philharmonic Society, for which he often conducted. Notably, in 1826 he presided over the first performance in England of Beethoven's ninth symphony. Smart was also much in demand as a conductor at the major English musical festivals and on royal occasions. These edited journal entries, first published in 1907, provide insightful accounts of concert life at the time, and they are particularly valuable for Smart's detailed observations - gathered during his extensive tour of 1825 - on musical practice in Europe, including conducting methods and performing speeds. The journal extracts end in 1845 with an account of Smart's visit to Bonn for the unveiling of Beethoven's statue."

In late eighteenth-century Vienna and the surrounding Habsburg territories, over 50 minor-key symphonies by at least 11 composers were written. These include some of the best-known works of the symphonic repertoire, such as Haydn's 'Farewell' Symphony and Mozart's Symphony No. 40 in G minor, K. 550. The driving energy, intense pathos and restlessness of these compositions demand close attention and participation from the listener, and pose urgent questions about meaning and interpretation.
In response to these questions, The Viennese Minor-Key Symphony in the Age of Haydn and Mozart combines historical perspectives with recent developments in music analysis to shed new light on this distinctive part of the repertoire. Through an intertextual, analytical approach, author Matthew Riley treats the minor-key symphony as a subgenre of several strands, reconstructing the compositional world it occupied. His work enables signals to be understood, puts characteristic strategies in clear relief, and ultimately reveals the significance this music held for both composers and listeners of the time. Riley gives us a fresh picture of the familiar masterpieces of Haydn and Mozart, while also focusing on lesser known composers.

Integrating Schenkerian tools and an innovative approach to harmony, David Damschroder provides numerous penetrating analyses of works by Haydn and Mozart. A series of introductory chapters assist readers in developing their analytical capacity. Beginning with short excerpts from string quartets, the study proceeds by assessing the inner workings of twelve expositions from Haydn piano sonatas, six arias in G minor from Mozart operas, and three rondos in D major from piano concertos by Haydn and Mozart. In the Masterworks section that follows, Damschroder presents detailed analyses of six movements from symphonies, string quartets and opera by Haydn and Mozart, and compares his outcomes with those of other analysts, including Kofi Agawu, Robert O. Gjerdingen, James Hepokoski and Warren Darcy, Carl Schachter and James Webster. The book represents an important contribution to modern analytical discourse on a treasured body of music and an assessment of recent accomplishments within that realm.

Haydn is enjoying renewed appreciation as one of the towering figures of Western music history. This lively collection builds upon this resurgence of interest, with chapters exploring the nature of Haydn's invention and the cultural forces that he both absorbed and helped to shape and express. The volume addresses Haydn's celebrated instrumental pieces, the epoch-making Creation and many lesser-known but superb vocal works including the Masses, the English canzonettas and Scottish songs and the operas L'isola disabitata and L'anima del filosofo. Topics range from Haydn's rondo forms to his violin fingerings, from his interpretation of the Credo to his reading of Ovid's Metamorphoses, from his involvement with national music to his influence on the emerging concept of the musical work. Haydn emerges as an engaged artist in every sense of the term, as remarkable for his critical response to the world around him as for his innovations in musical composition.

Ernest Newman (1868 1959) was undoubtedly the greatest Wagnerian critic of his age. (His magisterial four-volume Life of Richard Wagner is also reissued in this series.) In this 1914 work, he attempts 'a complete and impartial psychological estimate' of a complex and frequently misinterpreted genius. He notes that such an attempt would have been impossible before the publication in 1911 of Wagner's autobiographical Mein Leben, but in his opening chapter he also warns against a naive reading of that work, and of others by people 'who combine the maximum of good intentions with the minimum of critical insight'. He is clear-sighted about the strengths of Wagner the artist, not least his need to be 'the central sun of his universe', which of course led to Wagner the man behaving pettily, selfishly and frequently as a tyrant. This lucid account richly deserves its place in the history of Wagner studies."

Why couldn't Schubert get his 'great' C-Major Symphony performed? Why was he the first composer to consistently write four movements for his piano sonatas? Since neither Schubert's nor Beethoven's piano sonatas were ever performed in public, who did hear them? Addressing these questions and many others, John M. Gingerich provides a new understanding of Schubert's career and his relationship to Beethoven. Placing the genres of string quartet, symphony, and piano sonata within the cultural context of the 1820s, the book examines how Schubert was building on Beethoven's legacy. Gingerich brings new understandings of how Schubert tried to shape his career to bear on new hermeneutic readings of the works from 1824 to 1828 that share musical and extra-musical pre-occupations, centering on the 'Death and the Maiden' Quartet and the Cello Quintet, as well as on analyses of the A-minor Quartet, the Octet, and of the 'great' C-Major Symphony.

In From Bach's Goldberg to Beethoven's Diabelli: Influence and Independence, music scholar and noted pianist Alfred Kanwischer gives readers an extended exploration in which each of Beethoven's 33 pieces that comprise the Diabelli Variations (Op. 120) is caringly examined and assessed for its ingredients, actions, personality, and influence on the whole. Counterpoint abounds, not only in the fugal variations, which are closely parsed, but throughout the Diabelli, revealing the noticeably Baroque character of the technical compositional devices Beethoven employs. Throughout his study, Kanwischer integrates comparisons with Bach's immortal Goldberg Variations. Both sets stand alone as among the greatest keyboard variations in the Western canon. During their creation, both composers were nearly the same age, at the zenith of their art, and in similarly felicitous frames of mind.Kanwischer underscores twenty essential similarities, from the use of melody and melodic outline and the comparability among variations in size, parallel design, ebullient outlook, increasing contrasts, daring virtuosic flights, Shakespearean blend of comic and tragic, and their respective cumulative rises to spiritual transcendence. From Bach's Goldberg to Beethoven's Diabelli takes readers on a journey of discovery that is lively and stimulating. It considers not only questions of influence but those of insight and understanding, offering a work useful not only as a reference but as a guide to performers, music instructors and devotees. This work also includes 70 visually annotated interpretive musical examples as aids to understanding.

Metric Manipulations in Haydn and Mozart makes a significant contribution to music theory and to the growing conversation on metric perception and musical composition. Focusing on the chamber music of Haydn and Mozart produced during the years 1787 to 1791, the period of most intense metric experimentation in the output of both composers, author Danuta Mirka presents a systematic discussion of metric manipulations in music of the late 18th-century. By bringing together historical and present-day theoretical approaches to rhythm and meter on the basis of their shared cognitive orientations, the book places the ideas of 18th-century theorists such as Riepe, Sulzer, Kirnberger and Koch into dialogue with modern concepts in cognitive musicology, particularly those of Fred Lerdahl and Ray Jackendoff, David Temperley, and Justin London. In addition, the book puts considerations of subtle and complex meter found in 18th-century musical handbooks and lexicons into point-by-point contact with Harald Krebs's recent theory of metrical dissonance. The result is an innovative and illuminating reinterpretation of late 18th-century music and music perception which will have resonance in scholarship and in analytical teaching and practice. Metric Manipulations in Haydn and Mozart will appeal to students and scholars in music theory and cognition/perception, and will also have appeal to musicologists studying Haydn and Mozart.

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."

Beethoven's symphonies captured the public imagination from the outset and remain compelling today. Revolutionary in their time, these life-enhancing works now sit at the centre of the classical music repertoire, retaining their ability to delight and inspire. The career of Sir George Grove (1820 1900) ranged from civil engineering to biblical scholarship, but he is best known for editing his celebrated Dictionary of Music and Musicians. A driving force at the heart of nineteenth-century British musical life, Grove organised important concerts at the rebuilt Crystal Palace in Sydenham, and he served as the first director of the Royal College of Music from 1883 to 1894. First published in 1896, and reissued here in its swiftly corrected and indexed second edition, this work is a classic of musical analysis, exploring the composition, structure, performance and reception of each symphony in turn. Intended for 'the amateurs of this country', it represents the culmination of a lifetime's research."

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Lucrecia Borgia: Melodrama En Tres Actos Gaetano Donizetti T. gorchs, 1862

A significant figure in the scientific community of his day, and a mentor to the chemist Sir Humphry Davy and his successor as president of the Royal Society, Davies Gilbert (1767 1839) also represented his native Cornwall in Parliament for almost thirty years. His love of his county and his concern to preserve its customs led him to publish in 1822 this collection of eight Christmas folk carols, the first of its kind, drawing on Cornwall's rich oral tradition. In his preface, Davies paints a heartwarming picture of the Christmas Eves of his childhood when, 'in the evening, cakes were drawn hot from the oven; cyder or beer exhilarated the spirits in every house; and the singing of Carols was continued late into the night'. From 'The Lord at first did Adam make' to 'Let all that are to mirth inclined', these simple ballads reflect the West of England's festive heritage."

Of German birth, Sir August Friedrich Manns (1825 1907) secured for himself a central place in nineteenth-century British musical life. Appointed by George Grove in 1855 to conduct the orchestra at the relocated Crystal Palace in Sydenham, ande held the post for more than four decades, establishing a high reputation for the Saturday Concerts and attracting internationally recognised soloists. Manns was involved in every aspect, from developing the repertoire to taking rehearsals. Under his baton, many of the great works of Brahms, Schubert and Berlioz received their first British performances, alongside world premieres of pieces by British composers such as Sullivan and Macfarren. Secretary of the Guildhall School of Music, Henry Saxe Wyndham (1867 1940) published in 1909 this engaging portrait of a musician greatly esteemed by players and audiences alike."

Beethoven and Rossini have always been more than a pair of famous composers. Even during their lifetimes, they were well on the way to becoming 'Beethoven and Rossini' - a symbolic duo, who represented a contrast fundamental to Western music. This contrast was to shape the composition, performance, reception and historiography of music throughout the nineteenth and twentieth centuries. The Invention of Beethoven and Rossini puts leading scholars of opera and instrumental music into dialogue with each other, with the aim of unpicking the origins, consequences and fallacies of the opposition between the two composers and what they came to represent. In fifteen chapters, contributors explore topics ranging from the concert lives of early nineteenth-century capitals to the mythmaking of early cinema, and from the close analysis of individual works by Beethoven and Rossini to the cultural politics of nineteenth-century music histories.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Rigoletto: Melodrama En Cuatro Actos Giuseppe Verdi Imprenta de Tomas Gorchs, 1858 Music; Genres & Styles; Opera; Music / Genres & Styles / Opera; operes