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. In this edition all the cantata librettos are given in German-English parallel text. The most recent (sixth) German edition appeared in 1995. For the English edition the text has been carefully revised to bring it up to date, taking account of Bach scholarship since that date.

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.

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.

Women in Rock, Women in Romanticism is the first book-length work to explore the interrelationships between contemporary female musicians and eighteenth- and nineteenth-century art, music, and literature by women and men. The music and videos of contemporary musicians including Erykah Badu, Beyonce, The Carters, Helene Cixous, Missy Elliot, the Indigo Girls, Janet Jackson, Janis Joplin (and Big Brother and the Holding Company), Natalie Merchant, Joni Mitchell, Janelle Monae, Alanis Morrisette, Siouxsie Sioux, Patti Smith, St. Vincent (Annie Clark), and Alice Walker are explored through the lenses of pastoral and Afropresentism, Gothic, female Gothic, and the literature of William Blake, Beethoven, Arthur Schopenhauer, Samuel Taylor Coleridge, Charlotte Dacre, Ralph Waldo Emerson, E.T.A. Hoffmann, Ann Radcliffe, William Shakespeare, Mary Shelley, her husband Percy Shelley, Henry David Thoreau, Horace Walpole, Jane Williams, Mary Wollstonecraft, and William Wordsworth to explore how each sheds light on the other, and how women have appropriated, responded to, and been inspired by the work of authors from previous centuries.

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.

While interpretation of musical scores is amongst the most frequent of musical activities, it is also, strangely, one of the least researched. This collection of essays seeks to remedy this deficit by illuminating ways in which today's curious musician - interested in probing beyond the dictates of a faintly understood score - can engage more deeply and thoughtfully with the act of interpretation. Skilful musical interpretation draws on a vast range of knowledges. The chapters of this collection accordingly address a similarly broad set of issues, including notation, rhetoric, theory, historiography, performers past and present, instrument builders, concert presenters, reception history, and more. Written by leading experts from a variety of musical subdisciplines, these essays are designed to be accessible and practically relevant for musical performance. Many of the chapters utilize case studies and, as such, will be useful for university and conservatory level students as well as music scholars. The chapters in this book were originally published as a special issue of the Journal of Musicological Research.

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.

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.

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.

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.

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.

In Rethinking Schubert, today's leading Schubertians offer fresh perspectives on the composer's importance and our perennial fascination with him. Subjecting recurring issues in historical, biographical and analytical research to renewed scrutiny, the twenty-two chapters yield new insights into Schubert, his music, his influence and his legacy, and broaden the interpretative context for the music of his final years. With close attention to matters of style, harmonic and formal analysis, and text setting, the essays gathered here explore a significant portion of the composer's extensive output across a range of genres. The most readily explicable aspect of Schubert's appeal is undoubtedly our continuing engagement with the songs. Schubert will always be the first port of call for scholars interested in the relationship between music and the poetic text, and several essays in Rethinking Schubert offer welcome new inquiries into this subject. Yet perhaps the most striking feature of modern scholarship is the new depth of thought that attaches to the instrumental works. This music's highly protracted dissemination has combined with a habitual critical hostility to produce a reception history that is hardly congenial to musical analysis. Empowered by the new momentum behind theories of nineteenth-century harmony and form and recently-published source materials, the sophisticated approaches to the instrumental music in Rethinking Schubert show decisively that it is no longer acceptable to posit Schubert's instrumental forms as flawed lyric alternatives to Beethoven. What this volume provides, then, is not only a fresh portrait of one of the most loved composers of the nineteenth century but also a conspectus of current Schubertian research. Whether perusing unknown repertoire or refreshing canonical works, Rethinking Schubert reveals the extraordinary methodological variety that is now available to research, painting a contemporary portrait of Schubert that is vibrant, plural, trans-national and complex.

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.

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 founding in 1777 of the Journal de Paris, France's first daily and distinctly commercial paper, represents an early use of disinformation as a tool for political gain, profit, and societal division. To attract a large readership and bar competition for C.W. Gluck's works at the Paris Opera, it launched a prolonged campaign of anonymous lies, mockery, and defamation against two prominent members of the Academie Francaise who wished the Opera to be open to all deserving composers but lacked a comparable daily forum with which to defend themselves. In this unique episode, music served as a smokescreen for nefarious activity. No musical knowledge is necessary to follow this purely political drama.

Neither Spem in alium, the widely acclaimed 'songe of fortie partes' by Thomas Tallis, nor Alessandro Striggio's forty-part Mass is the largest-scale counterpoint work in Western music. The actual winner is Gregorio Ballabene, a relatively unknown Roman maestro di cappella, a contemporary of Giovanni Paisiello, Joseph Haydn and Luigi Boccherini, who composed in forty-eight parts for twelve choirs. Ballabene's Mass has remained completely unstudied until today, even though the score survives in prominent collections. This study offers, for the first time, a historical and analytical perspective on this overlooked manifestation of a very individual musical intelligence.

This set of six pieces is based on folk song melodies and dance forms from Transylvania which was annexed to Romania in 1920. The contrasting melodies were originally for violin or shepherd's flute, but the unusual harmonies are original with Bart?k. The performance time for the complete set of dances is approximately 4 minutes, 15 seconds.

As there are several hundred piano studies by Czerny, it might become confusing to attempt to pick out the most effective exercises. To overcome this problem, Heinrich Germer, the original editor, chose those he thought were best. Willard A. Palmer has made several changes to metronome markings, fingerings and pedal indications where he felt certain passages needed clarification.

Schumann: The Faces and the Masks is a groundbreaking account of a major composer whose life and works have been the subject of intense controversy ever since his attempted suicide and early death in an insane asylum. Schumann was a key figure in the Romanticism which swept Europe and America in the 19th century, inspiring writers, musicians and painters, delighting their enthralled audiences, and reaching to the furthest corners of the world. All the contradictions of his age enter Schumann's works, from the fantastic disguises of his carnival masquerades and his passionate love songs to his great 'Spring' and 'Rhenish' Symphonies. He was intensely original and imaginative, but he also worshipped the past-especially Shakespeare and Byron, Raphael and Michelangelo, Beethoven and Bach. He believed in political, personal and artistic freedom but struggled with the constraints of artistic form. He turned his tumultuous life into music that speaks directly to the heart, losing none of its power with the passage of time. Drawing on hitherto unpublished archive material, Chernaik sheds new light on Schumann's life and music, his sexual escapades, his fathering of an illegitimate child, the true facts behind his courtship of his wife Clara and the opposition of her monstrous father, and the ways in which the crises of his life, his dreams and fantasies, entered his music. Schumann's troubled relations with his fellow-Romantic composers Mendelssohn and Chopin are freshly explored, and the full medical diary kept at Endenich Asylum, long withheld, enables Chernaik to look again at the mystery of Schumann's final illness. Using her wide experience as a scholar of Romanticism and a novelist, Chernaik vividly brings Schumann's world and his extraordinary artistic achievement to life in all its rich complexity.

The Russian avant-garde were trend-setters in a"'Golden Age" of world art at the beginning of the 20th century. Today their work continues to enrich our culture through their paintings, poetry, architecture, cinema, music, and theater. The Three Apostles of Russian Music looks at three figures in the Soviet avant-garde who led modernist music in the 1920s. Mosolov, Popov, and Roslavets were popular composers who are now unfortunately forgotten. These remarkable musicians produced compositions like the sensational machine music Foundry by Mosolov. The first symphony by Popov attracted musicians in Europe and America but was banned after the premiere, while Roslavets discovered serialism before Schoenberg, opening up a new trend in modernism. These 'apostles' of the Russian avant-garde have had followers in Russia, Europe, and America where their influence remains today. This book is the first study in English of their work, lives, and legacy.

It is extremely detailed, with a particularly impressive range of references, including some quite obscure material that is nevertheless relevant. It would appeal chiefly to researchers of Beethoven and the Classical period in music. It would also appeal to scholars and students investigating the reception history of Ancient Greece and Rome in the 18th-19th century.

One-Handed Piano Compositions and Injury Awareness: History, Study of Selected Works, and Mindful Practice calls readers to dive into the realm of one-handed piano works so they can enrich their concert repertoire with new and original works and perform beyond the limitations of their injuries if they are in a period of recovery. Zheni Atanasova wrote this book as a guide meant to inspire fellow musicians in their search for unique musical works and help colleagues navigate their professional career in case of an injury so they can thrive in such a challenging period. The author provides solutions for those who aspire to build a career in music performance even when their professional development is hindered by an injury. She offers a single source that holds the answers to a broad spectrum of questions pertaining to piano performance, wellness, and practice.