For well over two hundred years, Joseph Haydn has been by turns lionized and misrepresented - held up as celebrity, and disparaged as mere forerunner or point of comparison. And yet, unlike many other canonic composers, his music has remained a fixture in the repertoire from his day until ours. What do we need to know now in order to understand Haydn and his music? With over eighty entries focused on ideas and seven longer thematic essays to bring these together, this distinctive and richly illustrated encyclopedia offers a new perspective on Haydn and the many cultural contexts in which he worked and left his indelible mark during the Enlightenment and beyond. Contributions from sixty-seven scholars and performers in Europe, the Americas, and Oceania, capture the vitality of Haydn studies today - its variety of perspectives and methods - and ultimately inspire further exploration of one of western music's most innovative and influential composers.

Joseph Haydn's symphonies and string quartets are staples of the concert repertory, yet many aspects of this founding genius of the Viennese Classical style are only beginning to be explored. From local Kapellmeister to international icon, Haydn achieved success by developing a musical language aimed at both the connoisseurs and amateurs of the emerging musical public. In this volume, the first collection of essays in English devoted to this composer, a group of leading musicologists examines Haydn's works in relation to the aesthetic and cultural crosscurrents of his time.

"Haydn and His World" opens with an examination of the contexts of the composer's late oratorios: James Webster connects the "Creation" with the sublime--the eighteenth-century term for artistic experience of overwhelming power--and Leon Botstein explores the reception of Haydn's "Seasons" in terms of the changing views of programmatic music in the nineteenth century. Essays on Haydn's instrumental music include Mary Hunter on London chamber music as models of private and public performance, fortepianist Tom Beghin on rhetorical aspects of the Piano Sonata in D Major, XVI:42, Mark Evan Bonds on the real meaning behind contemporary comparisons of symphonies to the Pindaric ode, and Elaine R. Sisman on Haydn's Shakespeare, Haydn as Shakespeare, and "originality." Finally, Rebecca Green draws on primary sources to place one of Haydn's Goldoni operas at the center of the Eszterhaza operatic culture of the 1770s.

The book also includes two extensive late-eighteenth-century discussions, translated into English for the first time, of music and musicians in Haydn's milieu, as well as a fascinating reconstruction of the contents of Haydn's library, which shows him fully conversant with the intellectual and artistic trends of the era."

Text in Danish with an introduction in German. The Lumbye-catalogue is a catalogue of printed ballet and dance compositions by the Danish composer H C Lumbye. It provides us with a chronological survey of his printed works including a detailed index. The works were performed by Tivoli's orchestra which he conducted from its establishment in 1843. Co-published by The Royal Library in Copenhagen and Museum Tusculanum Press.

Following his much-acclaimed The Baroque Clarinet and The Clarinet in the Classical Period, Albert R. Rice now turns his signature detailed attention to large clarinets - the clarinet d'amour, the basset horn, the alto clarinet, bass and contra bass clarinets.
Each chapter is devoted to a specific instrument, and offers a fascinating insider's look at its defining characteristics, a comprehensive history of its evolution, meticulously-researched information on its makers and aspects of construction, and a thorough discussion of its music. Rice illustrates how the introduction of large clarinets into chamber ensembles, wind bands, and opera orchestras was the result of experiments meant to address specific musical needs. Along the way, he brings to life the musicians, virtuosi, soloists, and orchestral and band musicians, as well as the instruments' makers and the composers from J. C. Bach to Smetana who wrote for them.
Based on careful study of primary sources - musical compositions, patents, memoirs and diaries, and unfettered access to historical instruments themselves--Rice's expert presentation is nothing short of exhaustive. From the Clarinet d'Amour to the Contrabass will engage all who love the clarinet and its music.

Few people these days would question Mozart's rating as the most popular of all classical composers. Yet there exists no substantial, up-to-date English-language study of the man and his works. In this new study of Mozart's early years, Stanley Sadie aims to fill this gap in the form of a traditional biography on a straightforward chronological basis. The volume covers the period up to 1781, the year of Idomeneo and Mozart's settling in Vienna. Individual works are discussed in sequence and related to the events of his life. Stanley Sadie draws substantially on the family correspondence, quoting the letters and discussing what they tell us about Mozart and his world and his relationships with his family and his professional colleagues. Also included is a discussion of all aspects of Mozart's life and his music, relating them to the environment in which he worked, social, economic and cultural as well as musical. Much new material connected with Mozart has come to light in recent years. There have been discoveries of musical sources and new ways of studying known ones. Such finds and methods have changed our view of the chronology of many works and they often have significant biographical ramifications. Understanding of the context for Mozart's music, and indeed his life, has broadened immensely. Stanley Sadie's biography digests and interprets this corpus of new information.

J. S. Bach's sonatas and partitas for solo violin have been central to the violin repertoire since the mid-eighteenth century. This engaging volume is the first comprehensive exploration of the place of these works within Bach's music: it focuses on their structural and stylistic features as they have been perceived since their creation. Joel Lester, a highly regarded scholar, teacher, violinist, and administrator, combines an analytical study, a full historical guide, and an insightful introduction to Bach's style. Individual movements are related to comparable movements by Bach in other media and are differentiated from superficially similar works from later eras.

Lester employs descriptions of historical and contemporary recordings, as well as accounts of nineteenth-century performances and commentaries on historical editions, to explore these works as they evolved through the centuries. Wherever possible, he uses analytic tools culled from eighteenth-century ideas, key notions originally developed for the specific purpose of describing the repertoire under consideration. Beginning with an overview of the solo violin music's place within Bach's oeuvre, this study takes the Sonata No. 1 in G minor as the paradigm of Bach's compositional strategy, examining each movement in detail before enlarging the discussion to cover parallel and contrasting features of the A-minor and C-minor sonatas. Next, a chapter is devoted to the three partitas and their roots in various dance-music traditions. The book concludes with a summary of form, style, and rhetoric in Bach's music, in which Lester muses on these masterpieces with an overall command of the music, criticism, and history of the 1700s that is quite rare among scholars.

A novel and unprecedented investigation of a particular portion of Bach's accomplishment and a particular aspect of his universal appeal, Bach's Works for Solo Violin will help violinists, students, scholars, and other listeners develop a deeper personal involvement with these wonderful pieces.

It is a common article of faith that Mozart composed the most beautiful music we can know. But few of us ask why. Why does the beautiful in Mozart stand apart, as though untouched by human hands? At the same time, why does it inspire intimacy rather than distant admiration, love rather than awe? And how does Mozart's music create and sustain its buoyant and ever-renewable effects? In Mozart's Grace, Scott Burnham probes a treasury of passages from many different genres of Mozart's music, listening always for the qualities of Mozartean beauty: beauty held in suspension; beauty placed in motion; beauty as the uncanny threshold of another dimension, whether inwardly profound or outwardly transcendent; and beauty as a time-stopping, weightless suffusion that comes on like an act of grace. Throughout the book, Burnham engages musical issues such as sonority, texture, line, harmony, dissonance, and timing, and aspects of large-scale form such as thematic returns, retransitions, and endings. Vividly describing a range of musical effects, Burnham connects the ways and means of Mozart's music to other domains of human significance, including expression, intimation, interiority, innocence, melancholy, irony, and renewal. We follow Mozart from grace to grace, and discover what his music can teach us about beauty and its relation to the human spirit. The result is a newly inflected view of our perennial attraction to Mozart's music, presented in a way that will speak to musicians and music lovers alike.

It is a common article of faith that Mozart composed the most beautiful music we can know. But few of us ask why. Why does the beautiful in Mozart stand apart, as though untouched by human hands? At the same time, why does it inspire intimacy rather than distant admiration, love rather than awe? And how does Mozart's music create and sustain its buoyant and ever-renewable effects? In "Mozart's Grace," Scott Burnham probes a treasury of passages from many different genres of Mozart's music, listening always for the qualities of Mozartean beauty: beauty held in suspension; beauty placed in motion; beauty as the uncanny threshold of another dimension, whether inwardly profound or outwardly transcendent; and beauty as a time-stopping, weightless suffusion that comes on like an act of grace.

Throughout the book, Burnham engages musical issues such as sonority, texture, line, harmony, dissonance, and timing, and aspects of large-scale form such as thematic returns, retransitions, and endings. Vividly describing a range of musical effects, Burnham connects the ways and means of Mozart's music to other domains of human significance, including expression, intimation, interiority, innocence, melancholy, irony, and renewal. We follow Mozart from grace to grace, and discover what his music can teach us about beauty and its relation to the human spirit. The result is a newly inflected view of our perennial attraction to Mozart's music, presented in a way that will speak to musicians and music lovers alike.

The Entrepreneurial Muse: Inspiring your career in classical music explores principles of entrepreneurship in a classical music setting, inspiring students, emerging professionals, and educators alike to gain the broader perspective and strategic understanding required to negotiate the complex and ever-changing landscape of a professional music career. The author's own career journey creates an additional narrative intended to inspire a broader and more creative view of career possibilities. Readers will acquire strategic and observational tools designed to expand their view of possible career paths, stimulate creative thinking about how their unique skills can find value in the 21st-century marketplace, and realize their goals through the entrepreneurial process. And because entrepreneurship is itself a creative endeavor, readers will learn how entrepreneurship and artistic integrity can not only peacefully coexist, but actually nurture and inspire each other. The Entrepreneurial Muse explains and illustrates a new approach to developing and maintaining a career in classical music, and to supplement, not replace, traditional music career development texts. The Entrepreneurial Muse inspires readers' creative imaginations and gives them practical tools to help realize a personally authentic career that is sustainable, fulfilling, and impactful.

A one-year course in the principles and practice of classical harmony. Previously published by the Open University Press, this reissue contains a number of minor corrections.

`...an excellent and accessible compendium of harmonic practice...includes ideas for using the keyboard to improvise in the style of a composer.' Music Teacher

Music examples and charts illustrate the analyses, and each essay is fully annotated by the editor. in some cases, the results of the original research by the editor or by others working in the field are published here for the first time. Much of the material has never before appeared in English.

A score embodying the best available musical text.

Historical background what is known of the circumstances surrounding the origin of the work, including (where relevant) original source material.

A detailed analysis of the music, by the editor of the volume or another well-known scholar.

Other significant analytic essays and critical comments, exposing the student to a variety of opinions about the music."

Female characters assumed increasing prominence in the narratives of nineteenth- and early twentieth-century opera. And for contemporary audiences, many of these characters - and the celebrated women who played them - still define opera at its finest and most searingly affective, even if storylines leave them swooning and faded by the end of the drama. The presence and representation of women in opera has been addressed in a range of recent studies that offer valuable insights into the operatic stage as cultural space, focusing a critical lens at the text and the position and signification of female characters. Moving that lens onto the historical, The Arts of the Prima Donna in the Long Nineteenth Century sheds light on the singers who created and inhabited these roles, the flesh-and-blood women who embodied these fabled "doomed women" onstage before an audience. Editors Rachel Cowgill and Hilary Poriss lead a cast of renowned contributors in an impressive display of current approaches to the lives, careers, and performances of female opera singers. Essential theoretical perspectives reflect several broad themes woven through the volume-cultures of celebrity surrounding the female singer; the emergence of the quasi-mythical figure of the diva; explorations of the intricate and sundry arts associated with the prima donna, and with her representation in other media; and the diversity and complexity of contemporary responses to her. The prima donna influenced compositional practices, determined musical and dramatic interpretation, and affected management decisions about the running of the opera house, content of the season, and employment of other artists - a clear demonstration that her position as "first woman" extended well beyond the boards of the operatic stage itself. The Arts of the Prima Donna in the Long Nineteenth Century is an important addition to the collections of students and researchers in opera studies, nineteenth-century music, performance and gender/sexuality studies, and cultural studies, as well as to the shelves of opera singers and enthusiasts.

In November 1990 the Handel Institute held its first Triennial Conference, whose subject, `Handel Collections and their History', reflects the great importance for Handel scholarship of the many collections of manuscript copies of his works which were assembled during and after his lifetime by friends and admirers of the man and his music. these collections, mostly written by the composer's own copyists, provide fascinating insights into the compositional history and chronology of his works and their later modification for performance or for subsequent revival; and much can be learnt about Handel's working methods. An international panel of distinguished Handel scholars was assembled for the Conference, and their papers, gathered together in this book, are at once a testimony to the extent and depth of modern Handel scholarship, and a major contribution to our knowledge of one of music's greatest masters.

The phrase "popular music revolution" may instantly bring to mind such twentieth-century musical movements as jazz and rock 'n' roll. In Sounds of the Metropolis, however, Derek Scott argues that the first popular music revolution actually occurred in the nineteenth century, illustrating how a distinct group of popular styles first began to assert their independence and values. He explains the popular music revolution as driven by social changes and the incorporation of music into a system of capitalist enterprise, which ultimately resulted in a polarization between musical entertainment (or "commercial" music) and "serious" art. He focuses on the key genres and styles that precipitated musical change at that time, and that continued to have an impact upon popular music in the next century. By the end of the nineteenth century, popular music could no longer be viewed as watered down or more easily assimilated art music; it had its own characteristic techniques, forms, and devices. As Scott shows, "popular" refers here, for the first time, not only to the music's reception, but also to the presence of these specific features of style. The shift in meaning of "popular" provided critics with tools to condemn music that bore the signs of the popular-which they regarded as fashionable and facile, rather than progressive and serious. A fresh and persuasive consideration of the genesis of popular music on its own terms, Sounds of the Metropolis breaks new ground in the study of music, cultural sociology, and history.

The premier of Beethoven's Ninth Symphony in Vienna on May 7, 1824, was the most significant artistic event of the year--and the work remains one of the most precedent-shattering and influential compositions in the history of music. Described in vibrant detail by eminent musicologist Harvey Sachs, this symbol of freedom and joy was so unorthodox that it amazed and confused listeners at its unveiling--yet it became a standard for subsequent generations of creative artists, and its composer came to embody the Romantic cult of genius. In this unconventional, provocative book, Beethoven's masterwork becomes a prism through which we may view the politics, aesthetics, and overall climate of the era. Part biography, part history, part memoir, "The Ninth" brilliantly explores the intricacies of Beethoven's last symphony--how it brought forth the power of the individual while celebrating the collective spirit of humanity.

Wolfgang Amadeus Mozart is one of the great icons of Western music. An amazing prodigy who toured the capitals of Europe as a child, astonishing royalty and professional musicians with his precocious skills, in his adulthood he wrote some of the finest music in the European tradition. Julian Rushton offers a concise and up-to-date biography of this musical genius, combining a well-researched life of the composer with an introduction to the works-symphonic, chamber, sacred, and theatrical-of one of the few who have composed undisputed masterpieces in every genre of his time. Rushton presents a vivid portrait, ranging from Mozart the Wunderkind-travelling with his family from Salzburg to Vienna, Paris, London, Rome, and Milan-to the mature composer of perennially fascinating operas such as "The Marriage of Figaro," "Don Giovanni," and "The Magic Flute." During the past half-century, scholars have thoroughly explored Mozart's life and music, offering new interpretations based on their historical context, and providing a factual basis for confirming or more often debunking, fanciful accounts of the man and his work. Rushton takes full advantage of these biographical and musical studies as well as the definitive New Mozart Edition to provide an accurate account of Mozart's life and, equally important, an insightful look at the music itself, complete with illustrative musical examples. An engaging biography for general readers that will also be an informative resource for scholars, this new addition to the prestigious Master Musicians series puts forward an authoritative interpretation of one of the defining figures of European culture. "Crisp, learned." -Alex Ross, The New Yorker "The finest short biography of Mozart that I know-incisive, insightful, and elegantly written. If I had to recommend one book that explained the man and his music, this would be it." -Cliff Eisen, Department of Music, King's College London "Always sensitive, judicious, and stimulating. It is too short-not too short for Mozart but for Rushton, who has certainly much more to say that would be of interest." -Charles Rosen, The New York Review of Books "A valuable addition to the ever-growing literature on Mozart." -Library Journal

The universally acclaimed and award-winning Oxford History of Western Music is the eminent musicologist Richard Taruskin's provocative, erudite telling of the story of Western music from its earliest days to the present. Each book in this superlative five-volume set illuminates-through a representative sampling of masterworks-the themes, styles, and currents that give shape and direction to a significant period in the history of Western music.
In Music in the Nineteenth Century, Richard Taruskin offers a panoramic tour of this magnificent century in the history music. Major themes addressed in this book include the romantic transformation of opera, Franz Schubert and the German lied, the rise of virtuosos such as Paganini and Liszt, the twin giants of nineteenth-century opera, Richard Wagner and Giuseppe Verdi, the lyric dramas of Bizet and Puccini, and the revival of the symphony by Brahms. Laced with brilliant observations, memorable musical analysis, and a panoramic sense of the interactions between history, culture, politics, art, literature, religion, and music, this book will be essential reading for anyone who wishes to understand this rich and diverse period.

Drawing upon a remarkable mix of intensive research and the personal experience of a career devoted to the music about which Dvoak so presciently spoke, Maurice Peress's lively and convincing narrative treats readers to a rare and delightful glimpse behind the scenes of the burgeoning American school of music and beyond.
In Dvorak to Duke Ellington, Peress begins by recounting the music's formative years: Dvorak's three year residency as Director of the National Conservatory of Music in New York (1892-1895), and his students, in particular Will Marion Cook and Rubin Goldmark, who would in turn become the teachers of Ellington, Gershwin, and Copland. We follow Dvorak to the famed Chicago World's Fair of 1893, where he directed a concert of his music for Bohemian Honor Day. Peress brings to light the little known African American presence at the Fair: the piano professors, about-to-be-ragtimers; and the gifted young artists Paul Dunbar, Harry T. Burleigh, and Cook, who gathered at the Haitian Pavilion with its director, Frederick Douglass, to organize their own gala concert for Colored Persons Day.
Peress, a distinguished conductor, is himself a part of this story; working with Duke Ellington on the Suite from Black, Brown and Beige and his "opera comique," Queenie Pie; conducting the world premiere of Leonard Bernstein's Mass; and reconstructing landmark American concerts at which George Antheil's Ballet Mecanique, George Gershwin's Rhapsody in Blue, James Reese Europe's Clef Club (the first all-black concert at Carnegie Hall), and Ellington's Black, Brown and Beige, were first presented. Concluding with an astounding look at Ellington and his music, Dvorak to Duke Ellingtonoffers an engrossing, elegant portrait of the Dvorak legacy, America's music, and the inestimable African-American influence upon it.

Each entry in this New Grove series of composers and their operas is based on articles in The New Grove Dictionary of Opera, that feature information on the lives of individual composers, their works, their librettists and interpreters, and the places where they performed. These unique books compile the meticulously researched articles into organized narratives, designed to make finding information as easy as possible without sacrificing readability. Each volume is completely up-to-date, and includes a suggested listening guide and an eight-page glossy insert containing relevant illustrations. Each volume is a must-own for lovers of opera and classical music.
One of the best known and most admired figures in European music was Wolfgang Amade Mozart. His short but colorful life is of enduring interest, and his works remain central to the repertories of classical music. This book gives a concise and scholarly account of Mozart's activities as a composer of operas. It includes a concise biography, orientated towards the operas; an essay on Mozart's operatic contribution and style, and the antecedents to his operas; a separate synopsis and historical account of each opera; and three essays which bind into narrative form the dictionary entries on librettists, interpreters, and venues. There is a new introduction, a glossary of relevant terms, a list of operatic roles, and a guide to listening.

Since its emergence in sixteenth-century Germany, the magician Faust's quest has become one of the most profound themes in Western history. Though variants are found across all media, few adaptations have met with greater acclaim than in music. Bringing together more than two dozen authors in a foundational volume, The Oxford Handbook of Faust in Music testifies to the spectacular impact the Faust theme has exerted over the centuries. The Handbook's three-part organization enables readers to follow the evolution of Faust in music across time and stylistic periods. Part I explores symphonic, choral, chamber, and solo Faust works by composers from Beethoven to Schnittke. Part II discusses the range of Faustian operas, and Part III examines Faust's presence in ballet and musical theater. Illustrating the interdisciplinary relationships between music and literature and the fascinating tapestry of intertextual relationships among the works of Faustian music themselves, the volume suggests that rather than merely retelling the story of Faust, these musical compositions contribute significant insights on the tale and its unrivalled cultural impact.

Although best known as the sister of Felix Mendelssohn, Fanny Mendelssohn Hensel (1805-47) was a virtuoso pianist and a composer of considerable merit in her own right. Her oeuvre of more than 400 compositions remained largely unknown for more than a century after her untimely death, and her newly rediscovered reputation as a composer rests chiefly with her piano music. This volume is the first American publication of her important early works. Reproduced directly from rare first editions, its contents include "Vier Lieder fur das Pianoforte, "Op. 2, Op. 6, and Op. 8, in addition to two selections from S"ix Melodies pour le Piano," Op. 4 and Op. 5. Introduction.

Mozart's comic operas are among the masterworks of Western civilization, and yet the musical environment in which Mozart and his librettist Lorenzo da Ponte wrote these now-popular operas has received little critical attention. In this richly detailed book, Mary Hunter offers a sweeping, synthetic view of opera buffa in the lively theatrical world of late-eighteenth-century Vienna. Opera buffa (Italian-language comic opera) persistently entertained audiences at a time when Joseph was striving for a German national theater. Hunter attributes opera buffa's success to its ability to provide "sheer" pleasure and hence explores how the genre functioned as entertainment. She argues that opera buffa, like mainstream film today, projects a social world both recognizable and distinct from reality. It raises important issues while containing them in the "merely entertaining" frame of the occasion, as well as presenting them as a series of easily identifiable dramatic and musical conventions.

Exploring nearly eighty comic operas, Hunter shows how the arias and ensembles convey a multifaceted picture of the repertory's social values and habits. In a concluding chapter, she discusses "Cos" fan tutte" as a work profoundly concerned with the conventions of its repertory and with the larger idea of convention itself and reveals the ways Mozart and da Ponte pointedly converse with their immediate contemporaries.

This essential summation of Palisca's life work was nearly finished by his death in 2001, and it was brought to completion by Thomas J. Mathiesen.