Villa-Lobos and Modernism: The Apotheosis of Cannibal Music provides a new assessment of the Brazilian composer Heitor Villa-Lobos in terms of his contributions to the Modernist Movement of the twentieth century. In this profound study, Ricardo Averbach elevates Cultural Cannibalism as a major manifestation of the Modernist aesthetics and Villa-Lobos as its top exponent in the music field. Villa-Lobos's anthropophagic appetite for multiple opposing aesthetics enlightens through the juxtaposition of contradictory elements, leaving a legacy of unmatched originality, a glittering kaleidoscope of sounds that draw from the radical power of Josephine Baker to the outrageous extravagance of Carmen Miranda, from Dada to Einstein's counterintuitive scientific findings, from folklorism to atonality. The constructed analyses use the works of Stravinsky as a familiar and popular touchstone for accessing Villa-Lobos as the leading exponent of an aesthetic movement that has been neglected due to a traditional Eurocentric view of Modernism. Averbach opens up new possibilities for the study of twentieth-century music, in general, while unveiling how much our present aesthetics owes to the Modernist ideas introduced by the Brazilian composer.

Cynthia Verba's book explores the story of music's role in the French Enlightenment, focusing on dramatic expression in the musical tragedies of the composer-theorist Jean-Philippe Rameau. She reveals how his music achieves its highly moving effects through an interplay between rational design, especially tonal design, and the portrayal of feeling and how this results in a more nuanced portrayal of the heroine. Offering a new approach to understanding Rameau's role in the Enlightenment, Verba illuminates important aspects of the theory-practice relationship and shows how his music embraced Enlightenment values. At the heart of the study are three scene types that occur in all of Rameau's tragedies: confession of forbidden love, intense conflict and conflict resolution. In tracing changes in Rameau's treatment of these, Verba finds that while he maintained an allegiance to the traditional French operatic model, he constantly adapted it to accommodate his more enlightened views on musical expression.

This book asks what theological messages theologically educated Catholics in late-eighteenth-century Prague might have perceived in Mozart's late opera seria La clemenza di Tito. The book's thesis is two-fold: first, that Catholics might have heard the opera's advocacy of enlightened absolutism as a celebration of a distinctly Catholic understanding of political governance; and second, that they might have found in the opera a metaphor for the relationship between a gracious God and humanity caught up in sin, expressed as sexual concupiscence, pride, and lust for power. The book develops its interpretation of the opera through narrative character analyses of the main protagonists, an examination of their dramatic development, and by paying attention to the biblical and theological associations they may have evoked in a Catholic audience. The book is geared towards academic readers interested in opera, theologians, historians, and those who work at the intersection of theology and the arts. It contributes to a better understanding of the theological implications of Mozart's operatic work.

Satirically utilized by Strauss II to highlight the deceptive aristocratic class, under Lehar, Schoenberg, Mahler, and Webern's pens the waltz became the pivot between the conscious and unconscious, forcing the music into a paralytic "second state" analogous with the stagnation of the Habsburg Empire. The Waltz: The Decadence and Decline of Austria's Unconscious shows how over the hundred years between the Vienna Congress and the dissolution of the Empire, the waltz altered from signifier of upper-class artifice-covering with glitz and glamour the poverty and war central to the time-to the link between the three classes, between man and nature, and between Viennese and "Other." Danielle Hood wields the Freudian concepts of the uncanny and the doppelganger to explain this revolution from the simple signification of a dance to the psychological anxiety of a subject's place in society.

Bruno Maderna, one of the most influential composers in the 20th century, was the oldest of the group of Italian composers born in the 1920s (Berio, Nono, Donatoni...) who began their career shortly before the Second World War and were able to exploit the opportunities offered by the new world that emerged in the post-war years. Maderna's story is quite unique. He rose to fame early in life as a child prodigy and his exceptional talent was soon noticed by Gian Francesco Malipiero, who stimulated his interest in ancient music, a passion that remained constant even when the European avant-garde insisted that new music should start from year zero. After a first approach to the "classic" dodecaphony, his musical style tended toward the integral seriality and the "opera aperta". In the last years he developed a particular interest for the theatre. Satyricon was born in Tanglewood in a short version, and later became a big success all over the world, particular after his death. His work as a conductor made him particularly sensitive to the reaction of the public, leading him to carefully calibrate his approach to composition, without being swayed by fashionable ideals or philosophies. Despite his warm and outgoing nature, Maderna rarely expressed his personal views in writing or in interviews. Many of the biographical details given here are taken from his correspondence and from reports of his travels and engagements across the world, which took him as far as the United States, but also to Persia, South America and Japan.

Einojuhani Rautavaara (1928-2016) has been called Finland's most notable musical export after Sibelius. His prolific output includes eleven operas; eight symphonies; eleven concertos; choral works for the Orthodox, Lutheran, and Roman Catholic churches; secular choral works; chamber music; vocal solos; and keyboard works. Many of these works were commissioned by internationally known performers and ensembles including Vladimir Ashkenazy, Richard Stoltzman, Hilary Hahn, Anne Akiko Meiers, Gerald Finley, the Philadelphia Orchestra, and the Juilliard School of Music Orchestra. Perhaps most frequently performed are his Cantus Arcticus, a concerto for recorded arctic birds and orchestra, Angel of Light, his seventh symphony, and the Lorca choral suite depicting Death as a stalker in a Spanish village. Rautavaara's Journey in Music is divided into two sections; the first a biography and discussion of works that show his various style changes, from neoclassical, to twelve-tone, to neoromantic, and finally to a personal expressive style combining elements of twelve-tone and tonality. The second part divides his works by genre and gives more detailed information of stylistic analysis, libretto, provenance, and, often, reception.

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.

Presenting a fresh interpretation of Mozart's Requiem, Simon P. Keefe redresses a longstanding scholarly imbalance whereby narrow consideration of the text of this famously incomplete work has taken precedence over consideration of context in the widest sense. Keefe details the reception of the Requiem legend in general writings, fiction, theatre and film, as well as discussing criticism, scholarship and performance. Evaluation of Mozart's work on the Requiem turns attention to the autograph score, the document in which myths and musical realities collide. Franz Xaver Sussmayr's completion (1791-2) is also re-appraised and the ideological underpinnings of modern completions assessed. Overall, the book affirms that Mozart's Requiem, fascinating for interacting musical, biographical, circumstantial and psychological reasons, cannot be fully appreciated by studying only Mozart's activities. Broad-ranging hermeneutic approaches to the work, moreover, supersede traditionally limited discursive confines.

Internationally renowned scholars and performers present a wide range of new analytical, historical and critical perspectives on some of Mozart's most popular chamber music: his sonatas with violin, keyboard trios and quartets and the quintet with wind instruments. The chapters trace a broad chronology, from the childhood works, to the Mannheim and Paris sonatas with keyboard and violin, and the mature compositions from his Vienna years. Drawing upon the most recent research, this study serves the reader, be they a performer, listener or scholar, with a collection of writings that demonstrate the composer's innovative developments to generic archetypes and which explore and assess Mozart's creative response to the opportunities afforded by new and diverse instrumental combinations. Manners of performance of this music far removed from our own are revealed, with concluding chapters considering historically informed practice and the challenges for modern performers and audiences.

The beautiful and entertaining arrangements in the Dan Coates Popular Piano Library collections are a welcome addition to any pianist's pop repertoire. Medleys for Christmas is a collection of favorite irreplaceable songs from throughout the years. Why perform only one showstopper at a time when you can play a dazzling variety in an exciting medley? Titles: Christmas Day Medley * Christmas Eve Medley * Jolly Christmas Medley * Ringing Christmas Medley * Rockin' Christmas Medley * Snowy Christmas Medley.

The Italian opera company in Prague managed by Pasquale Bondini and Domenico Guardasoni played a central role in promoting Mozart's operas during the final years of his life. Using a wide range of primary sources which include the superb collections of eighteenth-century opera posters and concert programmes in Leipzig and the Indice de' teatrali spettacoli, an almanac of Italian singers and dancers, this study examines the annual schedules, recruitment networks, casting policies and repertoire selections of this important company. Ian Woodfield shows how Italian-language performances of Figaro, Don Giovanni, Cosi fan tutte and La clemenza di Tito flourished along the well-known cultural axis linking Prague in Bohemia to Dresden and Leipzig in Saxony. The important part played by concert performances of operatic arias in the early reception of Mozart's works is also discussed and new information is presented about the reception of Josepha Duschek and Mozart in Leipzig.

Paul Badura-Skoda is considered to be one of the great pianists of his generation, as well as an important scholar who has created definitive editions of many of the works of the Viennese masters, most notably Wolfgang Amedeus Mozart. With his wife, the noted musicologist Eva Badyra-Skoda, he wrote the highly influential Interpreting Mozart on the Keyboard, first published in German in 1957, then in English and Japanese in 1962 and 1963, respectively. Long out of print, this important work has never been updated to reflect the last half-century of scholarship on Mozart's music. Now, the husband and wife team have tackled this project, producing an entirely new text that will serve students and scholars of keyboard literature and of the great composer.

The International Who's Who in Classical Music 2022 is a vast source of biographical and contact information for singers, instrumentalists, composers, conductors, managers and more. Each entrant has been given the opportunity to update his or her information for the new improved 2022 edition. Each biographical entry comprises personal information, principal career details, repertoire, recordings and compositions, and full contact details where available. Appendices provide contact details for national orchestras, opera companies, music festivals, music organizations and major competitions and awards. International Who's Who in Classical Music includes individuals involved in all aspects of the world of classical music: composers, instrumentalists, singers, arrangers, writers, musicologists, conductors, directors and managers. Key Features: - about 8,000 detailed biographical entries - covers the classical and light classical fields - includes both up-and-coming musicians and well-established names. This book will prove valuable for anyone in need of reliable, up-to-date information on the individuals and organizations involved in classical music.

How was music depicted in and mediated through Romantic and Victorian poetry? This is the central question that this specially commissioned volume of essays sets out to explore in order to understand better music's place and its significance in nineteenth-century British culture. Analysing how music took part in and commented on a wide range of scientific, literary, and cultural discourses, the book expands our knowledge of how music was central to the nineteenth-century imagination. Like its companion volume, The Idea of Music in Victorian Fiction (Ashgate, 2004) edited by Sophie Fuller and Nicky Losseff, this book provides a meeting place for literary studies and musicology, with contributions by scholars situated in each field. Areas investigated in these essays include the Romantic interest in national musical traditions; the figure of the Eolian harp in the poetry of Coleridge and Shelley; the recurring theme of music in Blake's verse; settings of Tennyson by Parry and Elgar that demonstrate how literary representations of musical ideas are refigured in music; George Eliot's use of music in her poetry to explore literary and philosophical themes; music in the verse of Christina and Dante Gabriel Rossetti; the personification of lyric (Sappho) in a song cycle by Granville and Helen Bantock; and music and sexual identity in the poetry of Wilde, Symons, Michael Field, Beardsley, Gray and Davidson.

Richard Wagner's magnum opus meets the celebrated translator of Jules Verne novels in this colorful and original work. Frederick Paul Walter makes Twilight for the Gods accessible not only to scholars and opera buffs but also to fans of Tolkien, Star Wars, and Hogwarts through a dazzling new translation in lively modern English and annotations that spotlight the libretto, lyrics, and stage directions. The translation conveys Wagner's humor, rhymes, alliterative effects, subliminal messages, and inventive tale spinning, plus it also gets the most basic ingredient right: the actual story! It highlights the motives, secrets, and plot twists-what's really going on and what its narrative shows. Accompanying the translation and annotations are dozens of photos of classic artwork by Arthur Rackham, Howard Pyle, Aubrey Beardsley, the 1876 costume and set designs, and much more.

The widely held belief that Beethoven was a rough pianist, impatient with his instruments, is not altogether accurate: it is influenced by anecdotes dating from when deafness had begun to impair his playing. Presenting a new, detailed biography of Beethoven's formative years, this book reviews the composer's early career, outlining how he was influenced by teachers, theorists and instruments. Skowroneck describes the development and decline of Beethoven's pianism, and pays special attention to early pianos, their construction and their importance for Beethoven and the modern pianist. The book also includes new discussions of legato and Beethoven's trills, and a complete annotated review of eyewitnesses' reports about his playing. Skowroneck presents a revised picture of Beethoven which traces his development from an impetuous young musician into a virtuoso in command of many musical resources.

Music has been used as a cure for disease since as far back as King David's lyre, but the notion that it might be a serious cause of mental and physical illness was rare until the late eighteenth century. At that time, physicians started to argue that excessive music, or the wrong kind of music, could over-stimulate a vulnerable nervous system, leading to illness, immorality and even death. Since then there have been successive waves of moral panics about supposed epidemics of musical nervousness, caused by everything from Wagner to jazz and rock 'n' roll. It was this medical and critical debate that provided the psychiatric rhetoric of "degenerate music" that was the rationale for the persecution of musicians in Nazi Germany and the Soviet Union. By the 1950s, the focus of medical anxiety about music shifted to the idea that "musical brainwashing" and "subliminal messages" could strain the nerves and lead to mind control, mental illness and suicide. More recently, the prevalence of sonic weapons and the use of music in torture in the so-called War on Terror have both made the subject of music that is bad for the health worryingly topical. This book outlines and explains the development of this idea of pathological music from the Enlightenment until the present day, providing an original contribution to the history of medicine, music and the body.

Music was central to everyday life and expression in late Georgian Britain, and this is the first interdisciplinary study of its impact on Romantic literature. Focusing on the public fascination with virtuoso performance, Gillen D'Arcy Wood documents a struggle between sober literary' virtue and luxurious, effeminate virtuosity that staged deep anxieties over class, cosmopolitanism, machine technology, and the professionalization of culture. A remarkable synthesis of cultural history and literary criticism, this book opens new perspectives on key Romantic authors including Burney, Wordsworth, Austen and Byron and their relationship to definitive debates in late Georgian culture."

This book was first published in 2009. This fascinating study of ethnic theatrical representation provides original perspectives on the cultural milieu, compositional strategies and operatic legacy of Joseph Haydn. The portrayal of Jews changed markedly during the composer's lifetime. Before the Enlightenment, when Jews were treated as a people apart, physical infirmities and other markers of 'difference' were frequently caricatured on the comedic stage. However, when society began to debate the 'Jewish Question' - understood in the later eighteenth century as how best to integrate Jews into society as productive citizens - theatrical representations became more sympathetic. As Caryl Clark describes, Haydn had many opportunities to observe Jews in his working environments in Vienna and Eisenstadt, and incorporated Jewish stereotypes in two early works. An understanding of Haydn's evolving approach to ethnic representation on the stage provides deeper insight into the composer's iconic wit and humanity, and to the development of opera as a cultural art form across the centuries.

This book breaks new ground in the social and cultural history of eighteenth-century music in Britain through the study of a hitherto neglected resource, the lists of subscribers that were attached to a wide variety of publications, including musical works. These lists shed considerable light on the nature of those who subscribed to music, including their social status, place of employment, residence, and musical interests. Through broad analysis of subscription data, the contributors reveal insights into social and economic changes during the period, and the types of music favoured by groups like music clubs, the aristocracy, the clergy, and by men and women. With chapters on female composers and listeners, music and the slave economy, musical patronage, the print trade, and nationality, this book provides innovative perspectives that enhance our understanding of music's social spheres, the emergence of music publishing, and the potential of digital musicology research.

The Philharmonic Society ('Royal' from 1912) is one of the oldest music societies in the world. Founded in 1813 to provide regular concerts of new music in London, it is famous for its commission of Beethoven's Ninth Symphony. This detailed account by George Hogarth, music journalist and Secretary to the Society between 1850 and 1864, takes us from the inaugural concert in March 1813 including works by Haydn, Mozart and Beethoven to plans for the golden jubilee concert. Noteworthy performances in these first fifty years included the UK premiere of Beethoven's Ninth in 1825, Mendelssohn's Italian Symphony in 1833 and a cornucopia of works by composers such as Wagner, Berlioz and Weber whose music now forms the core repertoire of the nineteenth century. Appendices provide extracts of letters from Mendelssohn, details of works by English composers performed at Society concerts, and lists of performers, Society members, Honorary Members and Patrons.

Henry Fothergill Chorley made his name as music journalist for The Athanaeum from 1830 until his retirement in 1868. He published weekly reviews of concerts as well as gossip on musicians and composers of the day. This book is based on four lectures presented by the author at the Royal Institution in 1862, and edited after his death by Henry Hewlett. It outlines the development of the different traditions and cultures of music across the world and how western classical composers were inspired and influenced by them. It contains many musical illustrations, drawn particularly from the eighteenth and nineteenth centuries (for example, the fashionable so-called 'Turkish' music by composers including Mozart and Rossini). The book, though idiosyncratic and full of sweeping generalisations, conveys the spirit of its time and the lively character of its author. It will appeal to all those interested in the Victorian reception of world music.

Thirty Years' Musical Recollections, first published in 1862, is a year-by-year commentary in two volumes on the European operas, ballets, singers and dancers popular in London from 1830 to 1859. Its author was music critic of The Athaneum for over thirty years and also wrote book reviews, novels, plays and poems. Volume 2 covers the period 1847-1859 and serves as a valuable reference work to the musical life of London during these years. It begins with an account of the deterioration of Her Majesty's Theatre and the opening of the Royal Italian Opera. Chorley intersperses discerning observations about the changing trends in public taste with descriptions of famous opera singers - including Mademoiselle Alboni, Signor Ronconi, the Countess Rossi, Madame Ristori and Madame Pauline Viardot - and highlights their more noteworthy performances. The book is an entertaining eyewitness account of the lively musical scene in mid-nineteenth-century London.

Henry Fothergill Chorley was music critic of The Athenaeum for over thirty years. This three-volume book, published in 1841, originated in a journal written by Chorley while travelling in Europe. His aim was to 'illustrate the present state of theatrical, orchestral, and chamber music abroad', focusing on aspects that would be least familiar to an English readership. There are detailed accounts of Paris and Berlin, with prominence given to opera, theatre, art galleries and monuments. Chorley also describes visits to Brunswick, Leipzig, Dresden and Nuremburg, and performances by artists including Mendelssohn and Liszt. He intersperses anecdotes about transport, lodgings, landscapes and local customs. Chorley's incisive and entertaining eyewitness accounts will fascinate music-lovers and theatre historians, as well as others interested in the performing arts or travel writing in the nineteenth-century. Volume 2 describes his visits to the Harz mountains and Berlin.

A. B. Marx (1795-1866) was a scholar, teacher and critic of music, for many years Professor of Music at the University of Berlin, and a close friend - before a falling-out over the libretto of an oratorio - of Mendelssohn. This influential book, published in German in 1855 and translated into English in the same year, consists of two parts: a survey of the significance of music to western culture, and an impassioned and thought-provoking guide to the necessary moral qualities, skills and understanding required to teach - and to be taught - music. Marx's appreciation of such composers as Mozart, Beethoven, Berlioz and Wagner is placed in a context in which music is seen as a crucial moral influence on the future development of mankind, and musicians therefore as playing a vital role in that development.