Although there are many accounts of Mozart's life, and countless descriptions and analyses of his music, this is the first attempt to portray Mozart's creative life as a composer. Küster selects forty works or groups of works covering virtually every important stage in Mozart's career, from the first keyboard compositions of the young Wunderkind to Mozart's final days and the Requiem. He draws on Mozart's letters, documentary material, and textual and musical quotations to illuminate his interpretation of Mozart's musical personality.

Many standard musicological reference works document the use of the trombone from its beginning to the middle of the 17th century, and then from Mozart to the present, but few deal with the intervening years. This book reproduces the texts from two dozen treatises, dictionaries, and encyclopedias, along with English translations, published between 1697 and 1811. It provides an overview of the use of the trombone during that time in America and seven European countries and examines its use in choral music, opera, symphonic music and military music.

For the past four decades, the concept of hypermeter has been routinely applied to eighteenth-century music. But was this concept familiar in the eighteenth century? If so, how is it reflected in writings of eighteenth-century music theorists? And how does it relate to their discussion of phrase structure? In this book, a follow-up to the award-winning Metric Manipulations in Haydn and Mozart, author Danuta Mirka unearthes a number of cues that point to eighteenth-century recognition of what today is called hypermeter, and retraces the line of tradition that led from eighteenth-century music theory to the emergence of the modern concept of hypermeter in the twentieth century. Mirka describes the proto-theory of hypermeter developed by German music theorists, recounts the recent history of this concept in American music theory, evaluates contributions made to it by authors working within different theoretical traditions, and introduces a dynamic model of hypermeter which allows the analyst to trace the effect of hypermetric manipulations in real time. This model is applied in analyses of Haydn's and Mozart's chamber music for strings, which shed a new light upon this celebrated repertoire, but the aim of this book goes far beyond an analytical survey of specific compositions. Rather, it is to offer a systematic classification of hypermetrical irregularities in relation to phrase structure and to give a comprehensive account of the ways in which phrase structure and hypermeter were described by eighteenth-century music theorists, conceived by eighteenth-century composers, and perceived by eighteenth-century listeners.

The English Bach Awakening concerns the introduction into England of J.S. Bach's music and information about him. Hitherto this subject has been called 'the English Bach revival', but that is a misnomer. 'Revival' implies prior life, yet no reference to Bach or to his music is known to have been made in England during his lifetime (1685-1750). The book begins with a comprehensive chronology of the English Bach Awakening. Eight chapters follow, written by Dr Philip Olleson, Dr Yo Tomita and the editor, Michael Kassler, which treat particular parts of the Awakening and show how they developed. A focus of the book is the history of the manuscripts and the printed editions of Bach's '48' - The Well-tempered Clavier - in England at this time, and its culmination in the 'analysed' edition that Samuel Wesley and Charles Frederick Horn published in 1810-1813 and later revised. Wesley's multifaceted role in the Bach Awakening is detailed, as are the several efforts that were made to translate Forkel's biography of Bach into English. A chapter is devoted to A.F.C. Kollmann's endeavour to prove the regularity of Bach's Chromatic Fantasy, and the book concludes with a discussion of portraits of Bach in England before 1830.

Beethoven's Lives will be required reading for anyone interested in understanding how Beethoven biography has evolved through the ages. When Ludwig van Beethoven died in March 1827, the world of music felt an intense loss. The composer's funeral procession was one of the largest Vienna had ever witnessed, and the poet Franz Grillparzer's eulogy brought the tensions between the composer's life and music into sharp focus: the deaf and aloof genius, the alienated and eccentric artist, unable to form a lasting relationship with a woman but reaching out to mankind. These apparent contradictionswere to attract many Beethoven biographers yet to come. Here, Lewis Lockwood, himself a much-lauded Beethoven biographer, tells the story of Beethoven biography, from the earliest attempts made directly after the composer's death to the present day. Beethoven's Lives casts a wide net, tracing the story of Beethoven biography from Anton Schindler as biographer and falsifier, through the authoritative Alexander Wheelock Thayer and down tothe present. The list includes Gustav Nottebohm, the first scholar to study Beethoven's sketchbooks. With his work, biography could begin to reflect on the inner life of the artist as expressed in his music, and in this sense, sketchbooks could be seen as artistic diaries. Even Richard Wagner thought of writing a Beethoven biography, and the late nineteenth and early twentieth century saw the emergence of French and English traditions of Beethoven biography. In the tumultuous twentieth century, with world wars and fractured politics, the writing of Beethoven biography was sometimes caught up in the storm. By bringing the story down to our time, Lewis Lockwood identifiestraditions of Beethoven biography that today's scholars and writers need to be aware of. As Lockwood shows, each biography reflects not only on the individual writer's knowledge and interests, but also his inner sense of purposeas each writer works within the intellectual framework of his time. LEWIS H. LOCKWOOD is one of the leading authorities on Beethoven worldwide. Having taught at Princeton and Harvard, some of his key Beethoven publications include: Beethoven: The Music and the Life (Norton, 2003; translated into many languages), as well as Beethoven's Symphonies: An Artistic Vision (Norton, 2015) and with the Julliard String Quartet: Inside Beethoven'sQuartets: History, Performance, Interpretation (Harvard University Press, 2008). He is known for his studies of Beethoven's life and work, including the composer's autograph manuscripts and sketchbooks.

A complete new edition of Beethoven's conversation books, now translated into English in their entirety for the first time. Covering a period associated with the revolutionary style of what we call "late Beethoven", these often lively and compelling conversations are now finally accessible in English for the scholar and Beethoven-lover. Ludwig van Beethoven (1770-1827) is recognized the world over as a composer of musical masterpieces exhibiting heroic strength, particularly in the face of his increasing deafness from ca. 1798. By 1818, the Viennese composer hadbegun carrying blank booklets with him, for his acquaintances to jot their sides of conversations, while he answered aloud. Often, he himself used the pocket-sized booklets to make shopping lists and other reminders, including occasional early sketches for his compositions. Today, 139 of these booklets survive, covering the years 1818 up to the composer's death in 1827 and including such topics as music, history, politics, art, literature, theatre, religion, and education as perceived on a day-to-day basis in post-Napoleonic Europe. An East German edition, begun in the 1960s and essentially complete by 2001, represents a diplomatic transcription of these documents. It is a masterpiece of pure scholarship but is difficult to use for anyone who is not a specialist. Moreover, Beethoven scholarship has moved on significantly since the long-ranging genesis of the German edition. These important booklets arehere translated into English in their entirety for the first time. The volumes in this series include an updated editorial apparatus, with revised and expanded notes and many new footnotes exclusive to this edition, and brand newintroductions, which together place many of the quickly changing conversational topics into context. Due to the editor's many years of research in Vienna, his acquaintance with its history and topography, as well as his familiarity with obscure documentary resources, this edition represents an entirely new venture in source studies - vitally informative for scholars not only in music but also in a wide variety of disciplines. At the same time, these oftenlively and compelling conversations are now finally accessible for the English-speaking music lover or history buff who might want to dip into them and hear what Beethoven and his friends were discussing at the next table. THEODORE ALBRECHT is Professor of Musicology at Kent State University, Ohio.

Whilst E.T.A. Hoffmann (1776-1822) is most widely known as the author of fantastic tales, he was also prolific as a music critic, productive as a composer, and active as a conductor. This book examines Hoffmann's aesthetic thought within the broader context of the history of ideas of the late-eighteenth and early-nineteenth centuries, and explores the relationship between his musical aesthetics and compositional practice. The first three chapters consider his ideas about creativity and aesthetic appreciation in relation to the thought of other German romantic theorists, discussing the central tenets of his musical aesthetic - the idea of a 'religion of art', of the composer as a 'genius', and the listener as a 'passive genius'. In particular the relationship between the multifaceted thought of Hoffmann and Friedrich Schleiermacher is explored, providing some insight into the way in which diverse intellectual traditions converged in early-nineteenth-century Germany. In the second half of the book, Hoffmann's dialectical view of music history and his conception of romantic opera are discussed in relation to his activities as a composer, with reference to his instrumental music and his two mature, large-scale operas, Aurora and Undine. The author also addresses broader issues pertaining to the ideological and historical significance of Hoffmann's musical and literary oeuvre.

This volume of essays brings together a selection of the most significant and representative writings on Mendelssohn from the last fifty years. Divided into four main subject areas, it makes available twenty-two essays which have transformed scholarly awareness of this crucial and ever-popular nineteenth-century composer and musician; it also includes a specially commissioned introductory chapter which offers a critical overview of the last half century of Mendelssohn scholarship and the direction of future research. The addition of new translations of two influential essays by Carl Dahlhaus, hitherto unavailable in English, adds to the value of this volume which brings back in to circulation important scholarly works and constitutes an indispensable reference work for Mendelssohn scholars.

This volume of essays brings together the best of recent scholarship on Johann Christian Bach, the youngest son of J.S. Bach and a friend and mentor of Mozart. J.C. Bach had a cosmopolitan career, beginning in Berlin as a pupil of his half-brother, C.P.E. Bach, then a sojourn to Italy where he studied with Padre Martini in Bologna; after making his successful debut with operas for Turin and Naples he moved to London, where he became a leading composer and impresario. The articles selected for this volume represent the principal themes of scholarly research and writing over the past fifty years. The introduction provides a survey of J.C. Bach's career and an overview of recent literature. The collection includes English translations of two articles first published in German in the Bach-Jahrbuch, as well as one article published as recently as 2015. An appendix lists the complete contents of The Collected Works of Johann Christian Bach, using the Warburton catalogue numbers.

This book is the first-ever study of Malta's major eighteenth-century composer, Benigno Zerafa (1726 - 1804), a specialist in sacred music composition. This book is the first-ever study of Malta's major eighteenth-century composer, Benigno Zerafa (1726-1804), a specialist in sacred music composition. Zerafa's large-scale and small-scale vocal and choral works, mostly written during his long service as musical director at the Cathedral of Mdina, have been winning increased recognition in recent years. In addition to describing and analysing this extensive corpus, the book gives an account of Zerafa's sometimes eventful career against the wider background of the rich musical and cultural life in Malta, especial attention being paid to its strong links with Italy, and particularly Naples, where Zerafa was a student for six years. Itexamines in detail the complex relationship of music to Catholic liturgy and investigates the distinctive characteristics of the musical style, intermediate between baroque and classical, in which Zerafa was trained and always composed: one that today is commonly labelled "galant". Well stocked with music examples, the book makes copious reference to Italian and Maltese composers from Zerafa's time and to modern analytical studies of Italian music from the middle decades of the eighteenth century, thereby offering a useful general commentary on the galant period. Its central aim, however, is to stimulate further interest in, and revival of, Zerafa's music. To this end the book contains a complete work-list with supplementary indexes. Scholars and students of eighteenth-century music, in particular sacred music, the galant style and Italian music, will find it invaluable. FREDERICK AQUILINAis Senior Lecturer in Music Studies at the University of Malta.

Reveals the brilliant musical and pedagogical thinking of the famed eighteenth- and early nineteenth-century Neapolitan composer and teacher of royal students. Giovanni Paisiello (1740-1816) was one of the most important composers of opera in the eighteenth century. His operas were performed throughout Europe, and his fame led to appointments as a maestro di cappella and composer at prominent European courts. This book is the first study to address his work as a teacher of composition and what we would today call music theory. The practice of partimento (figured or unfigured bass lines) was an integral part of the training of musicians at the renowned conservatories in eighteenth-century Naples. By employing these often-unprepossessing partimento bass lines, young musicians learned the techniques of variation, improvisation, and composition while seated at the harpsichord. Paisiello's Regole per bene accompagnare il Partimento (Rules for Harpsichordists; 1782) survives in both autograph and printed forms. It contains forty-six partimenti that have long been considered the core of his pedagogic oeuvre. However, two recently discovered manuscripts contain a further forty-one unknown partimenti, notated as two- and three-part disposizioni (realizations). The present study offers numerous insights gleaned from the surviving sources and bolsters our understanding of how to perform the music of Paisiello and his contemporaries: music that has often survived in an incomplete form. These findings are relevant not just for keyboard players but also for singers, instrumentalists, and anyone interested in the inner workings of eighteenth- and early nineteenth-century music.

This volume brings together a selection of the most stimulating and influential writing on Haydn and his music in the English language. Written by a range of established and younger scholars it probes a variety of aesthetic, biographical, compositional, performance and reception issues. A specially written introduction summarizes the significance of each essay, directs the reader to appropriate complementary material and seeks the common ground between the essays; to assist with consistent referencing the individual essays retain their original pagination. This representative compendium of Haydn research provides the opportunity to explore the intellectual diversity of recent scholarship and is an indispensable publication for students of Haydn, whether new or old, amateur or professional.

This volume presents a collection of essays by leading Gluck scholars which highlight the best of recent and classic contributions to Gluck scholarship, many of which are now difficult to access. Tracing Gluck's life, career and legacy, the essays offer a variety of approaches to the major issues and controversies surrounding the composer and his works and range from the degree to which reform elements are apparent in his early operas to his contribution to changing perceptions of Hellenism. The introduction identifies the major topics investigated and highlights the innovatory nature of many of the approaches, particularly those which address perceptions of the composer in the nineteenth and twentieth centuries. This volume, which focuses on one of the most fascinating and influential composers of his era, provides an indispensable resource for academics, scholars and libraries.

The collection of essays in this volume offer an overview of Schubertian reception, interpretation and analysis. Part I surveys the issue of Schubert's alterity concentrating on his history and biography. Following on from the overarching dualities of Schubert explored in the first section, Part II focuses on interpretative strategies and hermeneutic positions. Part III assesses the diversity of theoretical approaches concerning Schubert's handling of harmony and tonality whereas the last two parts address the reception of his instrumental music and song. This volume highlights the complexity and diversity of Schubertian scholarship as well as the overarching concerns raised by discrete fields of research in this area.

Our image of Beethoven has been transformed by the research generated by a succession of scholars and theorists who blazed new trails from the 1960s onwards. This collection of articles written by leading Beethoven scholars brings together strands of this mainly Anglo-American research over the last fifty years and addresses a range of key issues. The volume places Beethoven scholarship within a historical and contemporary context and considers the future of Beethoven studies.

Music at German Courts serves to illustrate the extraordinary diversity of eighteenth-century German court music establishments without losing sight of what these Kapellen had in common. What was musical life at German courts really like during the eighteenth century? Were musical ensembles as diverse as the Holy Roman Empire's kaleidoscopic political landscape? Through a series of individual case studies contributed by leading scholars from Germany, Poland, the United States, Canada, and Australia, this book investigates the realities of musical life at fifteen German courts of varied size (ranging from kingdoms to principalities), religious denomination, and geographical location. Significant shifts that occurred in the artistic priorities of each court are presented through a series of "snapshots"- in effect "core sample" years - which highlight both individualand shared patterns of development and decline. What emerges from the wealth of primary source material examined in this volume is an in-depth picture of music-making within the daily life of individual courts, featuring acast of music directors, instrumentalists, and vocalists, together with numerous support staff drawn from across Europe. Music at German Courts serves to illustrate the extraordinary diversity of eighteenth-century German court music establishments without losing sight of what these Kapellen had in common. SAMANTHA OWENS is Senior Lecturer in Musicology at the University of Queensland, Brisbane, Australia. BARBARA M. REUL is Associate Professor of Musicology at Luther College, University of Regina, Canada. JANICE B. STOCKIGT is a Principal Fellow of the University of Melbourne, Australia. Contributors: DIETER KIRSCH, URSULA KRAMER, MICHAEL MAUL, MARY OLESKIEWICZ, SAMANTHA OWENS, RASHID-S. PEGAH, BAERBEL PELKER, BARBARA M. REUL, WOLFGANG RUF, BERT SIEGMUND, JANICE B. STOCKIGT, MICHAEL TALBOT, RUEDIGER THOMSEN-FUERST, ALINA ZORAWSKA-WITKOWSKA, STEVEN ZOHN

This collection brings together an anthology of articles by Thomas Christensen, one of the leading historians of music theory active today. Published over the span of the past 25 years, the selected articles provide a historical conspectus about a range of vital topics in the history of music theory, focusing in particular upon writings from the seventeenth and eighteenth centuries. Christensen examines a variety of theorists and their arguments within the intellectual and musical contexts of their time, in the process highlighting the diverse and idiosyncratic nature of the discipline of music theory itself. In the first section of the book Christensen offers general reflections on the meaning and interpretation of historical music theories, with especial attention paid to their value for music theorists today. The second section of the book contains a number of articles that consider the catalytic role of the thorough bass in the development of harmonic theory during the seventeenth and eighteenth centuries. In the final two sections of the anthology, focus turns to the writings of several individual music theorists, including Marin Mersenne, Seth Calvisius, Johann Mattheson, Johann Nicolaus Bach, Denis Diderot and Johann Nichelmann. The volume includes essays from hard-to-find publications as well as newly-translated material and the articles are prefaced by a new, wide-ranging autobiographical essay by the author that offers a broad re-assessment of his historical project. This book is essential reading for music theorists and seventeenth- and eighteenth-century musicologists.

The first in-depth study of Mendelssohn's two settings of Goethe's Die erste Walpurgisnacht, in the context of scenes from Goethe's Faust and other works. This paperback edition of Mendelssohn, Goethe, and the Walpurgis Night addresses tolerance and acceptance in the face of cultural, political, and religious strife. Its point of departure is the Walpurgis Night. The Night, also known as Beltane or May Eve, was supposedly an annual witches' Sabbath that centered around the Brocken, the highest peak of the Harz Mountains. After exploring how a notoriously pagan celebration came to be named after the Christian missionary St. Walpurgis (ca. 710-79), John Michael Cooper discusses the Night's treatments in several closely interwoven works by Goethe and Mendelssohn. His book situates those works in their immediate personal andprofessional contexts, as well as among treatments by a wide array of other artists, philosophers, and political thinkers, including Voltaire, Lessing, Shelley, Heine, Delacroix, and Berlioz. In an age of decisive political and religious conflict, Walpurgis Night became a heathen muse: a source of spiritual inspiration that was neither specifically Christian, nor Jewish, nor Muslim. And Mendelssohn's and Goethe's engagements with it offer new insightsinto its role in European cultural history, as well as into issues of political, religious, and social identity -- and the relations between cultural groups -- in today's world. John Michael Cooper is Professor of Music at Southwestern University and author of Mendelssohn's "Italian" Symphony (Oxford University Press).

Orchestral Repertoire: An Annotated Guide for Non-Professional Orchestras is a repertoire and programming resource for any conductor who leads a non-professional symphonic orchestra. Based on the model of and intended as a compliment to David Daniels's Orchestral Music, this book offers practical and insightful commentary on repertoire appropriate for intermediate and advanced youth, community, and collegiate orchestras. Functioning like an annotated bibliography, Orchestral Repertoire: An Annotated Guide for Non-Professional Orchestras contains entries on individual symphonic works including information about the composer, instrumentation, movement length, and publisher. Additionally, each entry features notes regarding the particular pedagogical, stylistic, logistical, and technical strengths and challenges of the specific work. There are many considerations specific to non-professional ensembles that are essential to selecting repertoire that is appropriate and successful. For instance: Non-professional and student ensembles may not have access to the full spectrum of auxiliary instruments as a professional ensemble, or have players who have experience with them. It can be very beneficial to know in advance if there are any particularly challenging exposed solos in a work. This book can guide repertoire selections for a non-professional ensembles where there is often pressure to make sure everyone is playing as much of the time as possible. Non-professional ensembles often have to manage the reality that sections are at different levels of experience and maturity. Educational conductors focus not only on programming a season that will please audiences, but also consider how to provide stylistic variety to our own players and teach specific ensemble skills through the selection of repertoire. Orchestral Repertoire: An Annotated Guide for Non-Professional Orchestras can help every conductor in the process of selecting repertoire that will both feature and enrich any individual non-professional ensemble for which thoughtful and strategic programming is required.

A great deal of recent scholarship explores how narratives of encounter found in travel writing, whether scientific or literary, have historically related to colonial agendas, imperial rhetoric, and Orientalism. With a particular emphasis on sites and music at the imperial margins of nineteenth-century France, this book approaches its subject through the activities and writings of early song collectors and proto-ethnomusicologists, memoirists, and other "musical travelers."

Each of the book s discrete but interrelated chapters is devoted to a different geographic and discursive site, examining French representations of musical encounters in North America, the Middle East, as well as in contested areas within the borders of metropolitan France. Rosenberg highlights intersections between an emergent "ethnographie musicale "in France and narratives of musical encounter found in French travel literature, connecting both phenomena to France s imperial aspirations and nationalist anxieties in the period from the Revolution to the late-nineteenth century. It is therefore an excellent research tool for scholars in the fields of cultural studies, literary history, and postcolonial theory."

An outstanding anthology in which notable musicians, artists, scientists, thinkers, poets, and more-from Gustavo Dudamel and Carrie Mae Weems to Ruth Bader Ginsburg and Paul Muldoon-explore the influence of music on their lives and work Contributors include: Laurie Anderson Jamie Barton Daphne A. Brooks Edgar Choueiri Jeff Dolven Gustavo Dudamel Edward Dusinberre Corinna da Fonseca-Wollheim Frank Gehry James Ginsburg Ruth Bader Ginsburg Jane Hirshfield Pico Iyer Alexander Kluge Nathaniel Mackey Maureen N. McLane Alicia Hall Moran Jason Moran Paul Muldoon Elaine Pagels Robert Pinsky Richard Powers Brian Seibert Arnold Steinhardt Susan Stewart Abigail Washburn Carrie Mae Weems Susan Wheeler C. K. Williams Wu Fei What happens when extraordinary creative spirits-musicians, poets, critics, and scholars, as well as an architect, a visual artist, a filmmaker, a scientist, and a legendary Supreme Court justice-are asked to reflect on their favorite music? The result is Ways of Hearing, a diverse collection that explores the ways music shapes us and our shared culture. These acts of musical witness bear fruit through personal essays, conversations and interviews, improvisatory meditations, poetry, and visual art. They sound the depths of a remarkable range of musical genres, including opera, jazz, bluegrass, and concert music both classical and contemporary. This expansive volume spans styles and subjects, including Pico Iyer's meditations on Handel, Arnold Steinhardt's thoughts on Beethoven's Grosse Fuge, and Laurie Anderson and Edgar Choueiri's manifesto for spatial music. Richard Powers discusses the one thing about music he's never told anyone, Daphne Brooks draws sonic connections between Toni Morrison and Cecile McLorin Salvant, and Ruth Bader Ginsburg reveals what she thinks is the sexiest duet in opera. Poems interspersed throughout further expand how we can imagine and respond to music. Ways of Hearing is a book for our times that celebrates the infinite ways music enhances our lives.

Felice Giardini and Professional Music Culture in Mid-Eighteenth-Century London explores Giardini's influence on British musical life through his multifaceted career as performer, teacher, composer, concert promoter and opera impresario. The crux of the study is a detailed account of Giardini's partnership with the music seller/publisher John Cox during the 1750s, presented using new biographical information which contextualizes their business dealings and subsequent disaccord. The resulting litigation, the details of which have only recently come to light, is explored here via a complex set of archival materials. The findings offer new information about the economics of professional music culture at the time, including detailed figures for performers' fees, the printing and binding of music scores, the charges arising from the administration of concerts and operas, the sale, hire and repair of various instruments and the cost of what today we would call intellectual property rights. This is a fascinating study for musicologists and followers of Giardini, as well as for readers with an interest in classical music, social history and legal history.

In this book on Beethoven's Piano Sonata in E, Op. 109, Nicholas Marston combines source studies and a Schenkerian analytical approach to produce one of the most extensive and detailed studies of a Beethoven piano sonata ever published. The study is based on a complete transcription of all the surviving autograph musical sources: the sketches, a fragmentary Urschrift, and the autograph score. Early printed editions and manuscript copies are also discussed and the text is handsomely supported by extensive transcription from the sources. After an introductory chapter in which previous work - notably that of Heinrich Schenker himself - on this sonata is reviewed, chapter 2 draws upon Beethoven's letters, conversation books, sketchbooks, and other sources to build up a detailed 'biography' of Op. 109. The middle chapters form the core of the analytical study: the sketches for each of the three movements are analysed both to reveal aspects of the genesis of the movement and to build up a particular analytical approach to the final version. The discussion embraces all levels of detail; even Beethoven's previously misunderstood notation of final barlines in the autograph score is shown to be musically significant. In the concluding chapter the notion of 'sketch' is extended beyond Op. 109 and the results of the whole study are summarized. The book might be read as a study in the extension of conventional Schenkerian analysis. Marston argues that individual movements of Op. 109 are structurally incomplete and that satisfactory closure is achieved only at the level of the entire work. The concluding theme-and-variation movement is crucial, and Marston offers a rare Schenkerian perspective onlarge-scale coherence in this genre. But in combining these analytical perceptions with an understanding of Beethoven's sketches more as valid proto-compositions in their own right than as wrong turnings en route to a 'perfect' finished work, Marston also offers a unique and compelling interpretation of this profound and beautiful masterpiece of late Beethoven.

Established by musicians in 1813, the Philharmonic is the world's second oldest concert society; only Leipzig is senior. Weber and Mendelssohn were active honorary members; Joachim and Clara Schumann lifelong friends. The list of gold medalists runs from Elgar and Beecham to Sibelius, Rachmaninov, and Tippett. Most instrumentalists and many singers of international repute mounted its platforms. Berlioz, Wagner, Tchaikovsky, Grieg, Dvorak and Strauss came to preside over their music. Celebrating a venerable institution, this history, based upon exhaustive research in the Society's archives, also addresses wider themes, which continue to bear upon concert life: the evolution of repertoire and performance, audience, agent and conductor; networks of recruitment; patronage and the market place; the collective biography and proliferation of London orchestras; the economics of fees and rehearsals. Shaw once claimed that the Philharmonic's generosity towards Beethoven was the only creditable incident in English history, and never mentioned by historians. A leading authority on the economic and social history of music now attempts to repair that omission.

This collection of essays addresses a very broad range of E. T. A. Hoffmann's most significant works, examining them through the lens of "transgression." Transgression bears relevance to Hoffmann's life and professions in three ways. First, his official career path was that of jurisprudence; he was active as a lawyer, a judge and eventually as one of the most important magistrates in Berlin. Second, his personal life was marked by numerous conflicts with political and social authorities. Seemingly no matter where he went, he experienced much chaos, grief and impoverishment in leading his always precarious existence. Third, his works explore characters and concepts beyond the boundaries of what was considered aesthetically acceptable. "Normal" bourgeois existence was often juxtaposed to the lives of criminals, sinners, and other deviants, both within the spaces of the known world as well as in supernatural realms. He, perhaps more than any other author of the German Romantic movement, regularly portrayed the dark side of existence in his works, including unconscious psychological phenomena, nightmares, somnambulism, vampirism, mesmerism, Doppelganger, and other forms of transgressive behavior. It is the intention of this volume to provide a new look at Hoffmann's very diverse body of work from numerous perspectives, stimulating interest in Hoffmann in English language audiences.