In this penetrating study, Russell Stinson explores how four of the greatest composers of the nineteenth century-Felix Mendelssohn, Robert Schumann, Franz Liszt, and Johannes Brahms-responded to the model of Bach's organ music. The author shows that this quadrumvirate not only borrowed from Bach's organ works in creating their own masterpieces, whether for keyboard, voice, orchestra, or chamber ensemble, but that they also reacted significantly to the music as performers, editors, theorists, and teachers. Furthermore, the book reveals how these four titans influenced one another as "receptors" of this repertory and how their mutual acquaintances-especially Clara Schumann-contributed as well. As the first comprehensive discussion of this topic ever attempted, Stinson's book represents a major step forward in the literature on the so-called Bach revival. He considers biographical as well as musical evidence to arrive at a host of new and sometimes startling conclusions. Filled with fascinating anecdotes, the study also includes detailed observations on how these composers annotated their personal copies of Bach's organ works. Stinson's book is entirely up-to-date and offers much material previously unavailable in English. It is meticulously annotated and indexed, and it features numerous musical examples and facsimile plates as well as an exhaustive bibliography. Included in an appendix is Brahms's hitherto unpublished study score of the Fantasy in G Major, BWV 572. Engagingly written, this study should be read by anyone interested in the music of Bach or the music of the nineteenth century.

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 this first comprehensive examination of the music of the most prolific Bach son, David Schulenberg offers new perspectives on the career, style, and originality of Carl Philipp Emanuel Bach. Of Bach's four sons who became composers, Carl Philipp Emanuel Bach (1714-88) was the most prolific, the most original, and the most influential both during and after his lifetime. This is the first comprehensive study of his music, examining not only the famous keyboard sonatas and concertos but also the songs, the chamber music, and the sacred works, many of which resurfaced only recently and have not previously been evaluated. A compositional biography,the book surveys C. P. E. Bach's extensive output of nearly a thousand works while tracing his musical development-from his student days at Leipzig and Frankfurt (Oder), through his nearly three decades as court musician to Prussian King Frederick "the Great," to his final twenty years as cantor and music director at Hamburg. David Schulenberg, author of important books on the music of J. S. Bach and his first son, W. F. Bach, here considers the legacy of the second son from a compelling new perspective. Focusing on C. P. E. Bach's compositional choices within his social and historical context, Schulenberg shows how C. P. E. Bach deliberately avoided his father's style whileborrowing from the manner of his Berlin colleagues, who were themselves inspired by Italian opera. Schulenberg also shows how C. P. E. Bach, now best known for his virtuoso keyboard works, responded to changing cultural and aesthetic trends by refashioning himself as a writer of vocal music and popular chamber compositions. Audio versions of the book's musical examples, as well as further examples and supplementary tables and texts, are available on a companion website. David Schulenberg is professor of music at Wagner College and teaches historical performance at the Juilliard School. He is the author of The Music of Wilhelm Friedemann Bach (University of Rochester Press, 2010).

Silent Music explores the importance of music and liturgy in an eighteenth-century vision of Spanish culture and national identity. From 1750 to 1755, the Jesuit Andres Marcos Burriel (1719-1762) and the calligrapher Francisco Xavier Santiago y Palomares (1728-1796) worked together in Toledo Cathedral for the Royal Commission on the Archives, which the government created to obtain evidence for the royal patronage of church benefices in Spain. With Burriel as director, the Commission transcribed not only archival documents, but also manuscripts of canon law, history, literature, and liturgy, in order to write a new ecclesiastical history of Spain. At the center of this ambitious project of cultural nationalism stood the medieval manuscripts of the Old Hispanic rite, the liturgy associated with Toledo's Mozarabs, or Christians who had continued to practice their religion under Muslim rule. Burriel was the first to realize that the medieval manuscripts differed significantly from the early-modern editions of the Mozarabic rite. Palomares, building on his work with Burriel, wrote a history of the Visigothic script in which he noted the indecipherability of the music notation in manuscripts of the Old Hispanic rite. Palomares not only studied manuscripts, but also copied them, producing numerous drawings and a full-size, full-color parchment facsimile of the liturgical manuscript Toledo, Biblioteca Capitular 35.7 (from the late eleventh or early twelfth century),which was presented to King Ferdinand VI of Spain. Another product of this antiquarian concern with song is Palomares's copy (dedicated to Barbara de Braganza) of the Toledo codex of the Cantigas de Santa Maria. For both men, this silent music was invaluable as a graphic legacy of Spain's past. While many historians in the Spanish Enlightenment articulated the idea of the modern nation through the study of the Middle Ages, Burriel and Palomares are exceptional for their treatment of musical notation as an object of historical study and their conception of music as an integral part of history.

With their insistence that form is a dialectical process in the music of Beethoven, Theodor Adorno and Carl Dahlhaus emerge as the guardians of a long-standing critical tradition in which Hegelian concepts have been brought to bear on the question of musical form. Janet Schmalfeldt's ground-breaking account of the development of this Beethoven-Hegelian tradition restores to the term "form" some of its philosophical associations in the early nineteenth century, when profound cultural changes were yielding new relationships between composers and their listeners, and when music itself-in particular, instrumental music-became a topic for renewed philosophical investigation. Precedents for Adorno's and Dahlhaus's concept of form as process arise in the Athenaum Fragments of Friedrich Schlegel and in the Encyclopaedia Logic of Hegel. The metaphor common to all these sources is the notion of becoming; it is the idea of form coming into being that this study explores in respect to music by Beethoven, Schubert, Mendelssohn, Chopin, and Schumann. A critical assessment of Dahlhaus's preoccupation with the opening of Beethoven's "Tempest" Sonata serves as the author's starting point for the translation of philosophical ideas into music-analytical terms-ones that encourage listening "both forward and backward," as Adorno has recommended. Thanks to the ever-growing familiarity of late eighteenth-century audiences with formal conventions, composers could increasingly trust that performers and listeners would be responsive to striking formal transformations. The author's analytic method strives to capture the dynamic, quasi-narrative nature of such transformations, rather than only their end results. This experiential approach to the perception of form invites listeners and especially performers to participate in the interpretation of processes by which, for example, a brooding introduction-like opening must inevitably become the essential main theme in Schubert's Sonata, Op. 42, or in which tremendous formal expansions in movements by Mendelssohn offer a dazzling opportunity for multiple retrospective reinterpretations. Above all, In the Process of Becoming proposes new ways of hearing beloved works of the romantic generation as representative of their striving for novel, intensely self-reflective modes of communication.

Beethoven Symphonies Revisited guides the reader -- music student, concert goer, or general music lover -- through the movements in a way that renews the novelty and excitement that listeners must have felt at the first performances. Stylistic discussion concentrates on the unusual features of each symphony, placing each individual work in the context of Beethovens musical advancement and circumstances. His musical innovations are explored, and his contribution to the genre assessed. Thirty author-annotated musical pages elaborate and exemplify. The essential building blocks of key, tonality, metre, rhythm and instrumentation are discussed in detail. The authors purpose is twofold: to bring together major research findings and at the same time offer detailed descriptive analyses of all nine symphonies. The approach is singular in its emphasis on the symphonies in the context of performance practice of the time, especially musical direction; the importance of the wind instruments (especially horns) and kettle drums; how counterpoint features in various passages in all the symphonies except the Sixth and Eighth, and how this was influenced by Beethovens strict training in species counterpoint. New evaluations are offered, especially for the Second, Eighth and Ninth symphonies. The books multi-faceted approach will be invaluable not only for conductors and music students at all levels, but for all concert goers and music lovers who wish to gain insight into the musical intricacies developed and enhanced by Beethovens symphonic journey. Illustrations: 30 annotated musical score pages comprising 99 examples linked to text explanations; autographed manuscripts; performance venues; and instruments of the period.

It was Carl Dahlhaus who coined the phrase 'dead time' to describe the state of the symphony between Schumann and Brahms. Christopher Fifield argues that many of the symphonies dismissed by Dahlhaus made worthy contributions to the genre. He traces the root of the problem further back to Beethoven's ninth symphony, a work which then proceeded to intimidate symphonists who followed in its composer's footsteps, including Schubert, Mendelssohn and Schumann. In 1824 Beethoven set a standard that then had to rise in response to more demanding expectations from both audiences and the musical press. Christopher Fifield, who has a conductor's intimacy with the repertory, looks in turn at the five decades between the mid-1820s and mid-1870s. He deals only with non-programmatic works, leaving the programme symphony to travel its own route to the symphonic poem. Composers who lead to Brahms (himself a reluctant symphonist until the age of 43 in 1876) are frequently dismissed as epigones of Beethoven, Mendelssohn and Schumann but by investigating their symphonies, Fifield reveals their respective brands of originality, even their own possible influence upon Brahms himself and in so doing, shines a light into a half-century of neglected nineteenth century German symphonic music.

Giovanni Battista Viotti was unquestionably the most influential violinist of his time, and his style continues to pervade to the present day. The last great representative of the Italian tradition that Corelli began, Viotti is often considered the founder of the modern or 19th-century French school of violin playing. In Amico: The Life of Giovanni Battista Viotti, author Warwick Lister provides the first complete biography in English of this continuously significant violinist. Much of the documentary material Lister cites is previously unknown or not translated. Lister's biography takes the reader on a fascinating journey over the European continent and into the musical culture of the late 18th century. Born one year prior to Mozart and dying three years before Beethoven's death, Viotti rose from the humble origins of a blacksmith's son in a village near Turin, Italy, to international fame. His multifarious career as a concert performer, composer, teacher, opera theater director, and impresario was played out against the backdrop of a dramatically changing world - he served as a court musician for no less a figure than Marie Antoinette before founding an opera house in Paris. Viotti also knew tragedy as well as success: he was forced to flee the French Revolution, he was exiled from England for an extended period based on suspicions of certain Jacobin tendencies, his attempt to establish himself in business met with failure, and he died heavily in debt. Lister concludes Amico by coming to grips with the very things that account for Viotti's greatness and influence: the technical aspects of his violin playing and compositions. With its extensive documentary research and the inclusion of translations of various archival documents, this is the essential English-language biography of Viotti, a significant addition to the libraries of students and scholars of 18th and early 19th century music, as well as violin performers, students, and instructors.

Sergei Rachmaninoff experienced life-changing upheavals and competing inflection points of musical taste, traversing countries and continents as he pursued the triply-brilliant career of composer-conductor-virtuoso pianist. Born in tsarist Russia and raised as a nobleman in a well-educated musical family, Rachmaninoff led a bold lifestyle as a cutting-edge composer, admirer of the latest trends in art, and even aficionado of new developments in farm equipment for his beloved estate of Ivanovka. Wherever his concertizing took him, to glittering capitals all over the world, Rachmaninoff became a nexus for prominent musicians, writers, actors, and other personalities defining this era. Valeria Z. Nollan's biography of perhaps the finest pianist of the twentieth century plunges readers into Rachmaninoff's complex inner world. Sergei Rachmaninoff: Cross Rhythms of the Soul is the first biography of Rachmaninoff in English that presents him in the fullness of his Russian identity. As someone whose own life in Russian emigration ran in parallel ways to Rachmaninoff's own-and whose meetings with the composer's grandson in Switzerland informed her work-Nollan brings important cultural insights into her observations of the activities of this generation of creative artists. She also traces the intricacies of Rachmaninoff's relations with the women closest to him-whose imprints are palpable in his compositions-and introduces a mystery woman whose existence challenges our established narrative of his life.

Roots of the Classical identifies and traces to their sources the patterns that make Western classical music unique, setting out the fundamental laws of melody and harmony, and sketching the development of tonality between the fifteenth and eighteenth centuries. The author then focuses on the years 1770-1910, treating the Western music of this period - folk, popular, and classical - as a single, organically developing, interconnected unit in which the popular idiom was constantly feeding into 'serious' music, showing how the same patterns underlay music of all kinds.

Following on from James Tyler's The Early Guitar: A History and Handbook(OUP 1980) tthis collaboration with Paul Sparks (their previous book for OUP, The Early Mandolin, appeared in 1989), presents new ideas and research on the history and development of the guitar and its music from the Renaissance to the dawn of the Classical era. Tyler's systematic study of the two main guitar types found between about 1550 and 1750 focuses principally on what the sources of the music (published and manuscript) and the writings of contemporary theorists reveal about the nature of the instruments and their roles in the music making of the period. The annotated lists of primary sources, previously published in The Early Guitar but now revised and expanded, constitute the most comprehensive bibliography of Baroque guitar music to date. His appendices of performance practice information should also prove indispensable to performers and scholars alike. Paul Sparks also breaks new ground, offering an extensive study of a period in the guitar's history-notably c.1759-c.1800-which the standard histories usually dismiss in a few short paragraphs. Far from being a dormant instrument at this time, the guitar is shown to have been central to music-making in France, Italy, the Iberian Peninsula, and South America. Sparks provides a wealth of information about players, composers, instruments, and surviving compositions from this neglected but important period, and he examines how the five-course guitar gradually gave way to the six-string instrument, a process that occurred in very different ways (and at different times) in France, Italy, Spain, Germany, and Britain.

Examines the life and compositional oeuvre of prolific eighteenth century musician, composer, and singer Marianna Martines (1744-1813). Marianna Martines (1744-1813) was one of the most accomplished, prolific, and highly honored female musicians of the eighteenth century. She spent most of her life in a remarkable household that included celebrated librettist Pietro Metastasio, who supervised her education and remained a powerful and supportive mentor. She studied with the young Joseph Haydn, and Vienna knew her as a gifted, aristocratic singer and keyboard player who performed for the pleasure of the Empress Maria Theresa. The regular private concerts she held in her home attracted the presence and participation of some of Vienna's leading musicians; Mozart enjoyed playing keyboard duets with her. She composed prolifically and in a wide variety of genres, vocal and instrumental, writing church music, oratorios, Italian arias, sonatas, and concertos. Much of that music survives, and those who study it, perform it, and listen to it will be impressed today by its craftsmanship and beauty. This book, the first volume fully devoted to Martines, examines her life and compositional oeuvre. Based largely on eighteenth-century printed sources, archival documents, and letters [including several by Martines herself, most of them published here for the first time] the book presents a detailed picture of the small but fascinating world in which she lived and demonstrates the skillfulness and creativity with which she manipulated the conventions of the gallant style. Focusing on a limited number of representative works, and using many musical examples, it vividly conveys the nature and extent of her compositional achievementand encourages the future performance of her works. The late Irving Godt was Professor of Music at Indiana University of Pennsylvania. John A. Rice, independent scholar, is a member of the Akademie fur Mozart-Forschungin Salzburg.

The first book devoted to the composers, instrument makers and amateur players who advanced the great guitar vouge throughout Western Europe during the early decades of the nineteenth century. Contemporary critics viewed the fashion for the guitar with sheer hostility, seeing in it a rejection of true musical value. After all, such trends advanced against the grain of mainstream musical developments of ground-breaking (often Austro-German) repertoire for standard instruments. Yet amateur musicians throughout Europe persisted; many instruments were built to meet the demand, a substantial volume of music was published for amateurs to play, and soloist-composers moved freely between European cities. This book follows these lines of travel venturing as far as Moscow, and visiting all the great musical cities of the period, from London to Vienna, Madrid to Naples. The first section of the book looks at eighteenth-century precedents, the instrument - its makers and owners, amateur and professional musicians, printing and publishing, pedagogy, as well as aspects of repertoire. The second section explores the extensive repertoire for accompanied song and chamber music. A final substantive section assembles chapters on a wide array of the most significant soloist-composers of the time. The chapters evoke the guitar milieu in the various cities where each composer-player worked and offer a discussion of some representative works. This book, bringing together an international tally of contributors and never before examined sources, will be of interest to devotees of the guitar, as well as music historians of the Romantic period.

This survey distils a wide range of documentary and musical evidence relating to a particularly rich period in the city of Oxford's history. Aspects discussed include concert life, the choral tradition, the gradual establishment of an honours school of music, visiting musicians such as Handel and Haydn, Liszt and Joachim, and the role of figures such as William Crotch, Frederick Ouseley and Hubert Parry in raising the status of music and the musical profession.

This is the only English translation of this important book by the world's most distinguished Bach scholar. This work is widely regarded as the most authoritative and comprehensive treatment of the Bach cantatas. It begins with a historical survey of the seventeenth-century background to the cantatas, and performance practice issues. The core of the book is a work-by-work study in which each cantata in turn is represented by its libretto, a synopsis of its movements, and a detailed analytical commentary. This format makes it extremely useful as a reference work for anyone listening to, performing in, or studying any of the Bach cantatas. All the cantata librettos are given in German-English parallel text. For the English edition the text has been carefully revised to bring it up to date, taking account of recent Bach scholarship.

Beethoven's piano sonatas form one of the most important collections of works in the whole history of music. Spanning several decades of his life as a composer, the sonatas soon came to be seen as the first body of substantial serious works for piano suited to performance in large concert halls seating hundreds of people. In this comprehensive and authoritative guide, Charles Rosen places the works in context and provides an understanding of the formal principles involved in interpreting and performing this unique repertoire, covering such aspects as sonata form, phrasing, and tempo, as well as the use of pedal and trills. In the second part of his book, he looks at the sonatas individually, from the earliest works of the 1790s through the sonatas of Beethoven's youthful popularity of the early 1800s, the subsequent years of mastery, the years of stress (1812-1817), and the last three sonatas of the 1820s. Composed as much for private music-making as public recital, Beethoven's sonatas have long formed a bridge between the worlds of the salon and the concert hall. For today's audience, Rosen has written a guide that brings out the gravity, passion, and humor of these works and will enrich the appreciation of a wide range of readers, whether listeners, amateur musicians, or professional pianists. The book includes a link to recordings of Rosen performing extracts from several of the sonatas, illustrating points made in the text.

Music, Place, and Identity in Italian Urban Soundscapes circa 1550-1860 presents new perspectives on the role music played in the physical, cultural, and civic spaces of Italian cities from the sixteenth to the nineteenth century. Across thirteen chapters, contributors explore the complex connections between sound and space within these urban contexts, demonstrating how music and sound were intimately connected to changing social and political practices. The volume offers a critical redefinition of the core concept of soundscape, considering musical practices through the lenses of territory, space, representation, and identity, in five parts: Soundscape, Phonosphere, and Urban History Urban Soundscapes across Time Urban Soundscapes and Acoustic Communities Urban Soundscapes in Literary Sources Reconstructing Urban Soundscapes in the Digital Era Music, Place, and Identity in Italian Urban Soundscapes circa 1550-1860 reframes our understanding of Italian music history beyond models of patronage, investigating how sounds and musics have contributed to the construction of human identities and communities.

Mozart was fascinated, amused, aroused, hurt, and betrayed by women. He loved and respected them, composed for them, performed with them. This unique biography looks at his interaction with each, starting with his family (his mother, Maria Anna and beloved and talented sister, Nannerl), and his marriage (which brought his 'other family', the Weber sisters). His relationships with his artists are examined, in particular those of his operas, through whose characters Mozart gave voice to the emotions of women who were, like his entire female acquaintance, restrained by the conventions and structures of eighteenth-century society. This is their story as well as his -- and shows once again that a great part of the composer's genius was in his understanding and musical expression of human nature. Evocative and beautifully written, Mozart's Women illuminates the music, the man, and above all the women who inspired him. 'Jane Glover has pulled off a coup des livres with her fresh take on Mozart's life and work' Sunday Telegraph 'Readable, informative and moving...Her passion for the music shines through this touching, vividly told story' Sunday Times

Schubert's Workshop offers a fresh study of the composer's compositional technique and its development, rooted in the author's experience of realising performing versions of Franz Schubert's unfinished works. Through close examination of Schubert's use of technical and structural devices, Brian Newbould demonstrates that Schubert was much more technically innovative than has been supposed, and argues that the composer's technical discoveries constitute a rich legacy of specific influences on later composers. Providing rich new insights into the creative practice of one of the major figures of classical music, this two-volume study reframes our understanding of Schubert as an innovator who constantly pushed at the frontiers of style and expression.

This is the story of the orchestra, from 16th-century string bands to the "classical" orchestra of Haydn, Mozart, and Beethoven. Spitzer and Zaslaw document orchestral organization, instrumentation, social roles, repertories, and performance practices in Europe and the American colonies, concluding around 1800 with the widespread awareness of the orchestra as a central institution in European life.

This book provides a practical introduction to researching and performing early Anglo-American secular music and dance with attention to their place in society. Supporting growing interest among scholars and performers spanning numerous disciplines, this book contributes quality new scholarship to spur further research on this overshadowed period of American music and dance. Organized in three parts, the chapters offer methodological and interpretative guidance and model varied approaches to contemporary scholarship. The first part introduces important bibliographic tools and models their use in focused examinations of individual objects of material musical culture. The second part illustrates methods of situating dance and its music in early American society as relevant to scholars working in multiple disciplines. The third part examines contemporary performance of early American music and dance from three distinct perspectives ranging from ethnomusicological fieldwork and phenomenology to the theatrical stage. Dedicated to scholar Kate Van Winkle Keller, this volume builds on her legacy of foundational contributions to the study of early American secular music, dance, and society. It provides an essential resource for all those researching and performing music and dance from the revolutionary era through the early nineteenth century.

A Guide to the Musical Works of Johannes Brahms

The 1997 centennial of Brahms's death has intensified interest among concertgoers and music lovers in the composer's prodigious body of work. For all those eager to delve more deeply into Brahms's music, The Compleat Brahms is an indispensable companion. In a single volume that covers every work written by Brahms, leading scholars from across the country provide details of each work's composition and discuss its important stylistic features. Interspersed are fascinating essays — such as "Brahms, Joachim, and the Schumanns" — that bring the composer and his contemporaries to life. Much more than a collection of program notes, The Compleat Brahms vividly portrays the work and world of one of the giants of Western music history.

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.

Following James Tyler's earlier introduction to the history, repertory, and playing techniques of the four- and five-course guitar (The Early Guitar, OUP 1980), which performers and scholars of Renaissance and Baroque guitar and lute music and classical guitarists found valuable and enlightening, this new book, written in collaboration with Paul Sparks and incorporating the latest ideas and research, is an authoritative guide to the history and repertory of the guitar from the Renaissance to the dawn of the Classical era.