Musicians, music lovers and music critics have typically considered Beethoven's overtly political music as an aberration; at best, it is merely notorious, at worst, it is denigrated and ignored. In Political Beethoven, Nicholas Mathew returns to the musical and social contexts of the composer's political music throughout his career - from the early marches and anti-French war songs of the 1790s to the grand orchestral and choral works for the Congress of Vienna - to argue that this marginalized functional art has much to teach us about the lofty Beethovenian sounds that came to define serious music in the nineteenth century. Beethoven's much-maligned political compositions, Mathew shows, lead us into the intricate political and aesthetic contexts that shaped all of his oeuvre, thus revealing the stylistic, ideological and psycho-social mechanisms that gave Beethoven's music such a powerful voice - a voice susceptible to repeated political appropriation, even to the present day.

This anthology to accompany Gateways to Understanding Music is comprised of musical "texts." These broadly defined texts-primarily musical scores-facilitate the integration of score study and music theory into the ethno/musicology curriculum, a necessary focus in the training of the professional musician. As posed by the textbook, the last question in each modular "gateway" is "Where do I go from here?" This resource provides one more opportunity to go beyond the textbook to examine music scores and texts in even greater depth. This anthology is a combination of primary sources for study: musical scores and music transcriptions, along with a few primary source documents and musical exercises.

Empress Marie Therese, second wife of Emperor Franz II, devoted much of her life to music. She played piano and sang, compiled a large music library and supported professional musicians and composers. This comprehensive survey of the Empress as musician and patron is based upon John Rice's discovery and analysis of extensive unpublished material from her private collection. In this work Rice introduces readers to the musical and cultural worlds of the Viennese court at the end of the eighteenth century.

How did revolutionary America appear to European audiences through their opera glasses? The operas studied in this volume are populated by gun-toting and slave-holding Quakers, handsome Native Americans, female middle-class political leaders, rebellious British soldiers and generous businessmen. Most of them display an unprecedented configuration of social and gender roles, which led leading composers of the time, including Mozart, Haydn, Anfossi, Piccinni and Paisiello, to introduce far-reaching innovations in the musical and dramatic fabric of Italian opera. Polzonetti presents a fresh perspective on the European cultural reception of American social and political identity. Through detailed but accessible analysis of music examples, including previously unpublished musical sources, the book documents and explains important transformations of opera at the time of Mozart's masterpieces, and its long-term consequences up to Puccini. Shedding new light on familiar and less-familiar operatic works, the study represents groundbreaking research in music, cultural and political history.

Real Repertoire for Violin, part of the Real Repertoire series has been carefully selected for the intermediate violinist, providing an essential repertoire that players will return to time and again. Pieces have been selected by Mary Cohen and include masterpieces by Bach, Mozart and Brahms as well as lesser known pieces by Bartok and Wieniawski. A lasting inspiration to violinists everywhere.

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.

Casts new and valuable light on English musical history and on Enlightenment culture more generally. This is a book guaranteed to make waves. It skilfully weaves the story of one key musical figure into the story of one key institution, which it then weaves into the general story of music in eighteenth-century England. Anyone reading it will come away with fresh knowledge and perceptions - plus a great urge to hear Cooke's music.' Michael Talbot, Emeritus Professor of Music at the University of Liverpool and Fellow of the British Academy. Amidst the cosmopolitan, fashion obsessed concert life of later eighteenth century London there existed a discrete musical counterculture centred round a club known as the Academy of Ancient Music. Now largely forgotten, this enlightened school of musical thinkers sought to further music by proffering an alternative vision based on a high minded intellectual curiosity. Perceiving only ear-tickling ostentation in the showy styles that delighted London audiences, they aspired to raise the status of music as an art of profound expression, informed by its past and founded on universal harmonic principles. Central to this group of musical thinkers was the modest yet highly accomplished musician-scholar Benjamin Cooke, who both embodied and reflected this counterculture. As organist of Westminster Abbey and conductor of the Academy of Ancient Music for much of the second half of the eighteenth century, Cooke enjoyed prominence in his day as a composer, organist, teacher, and theorist. This book shows how, through his creativity, historicism and theorising, Cooke was instrumental in proffering an Enlightenment-inspired reassessment of musical composition and thinking at the Academy. The picture portrayed counters the current tendency to dismiss eighteenth-century English musicians as conservative and provincial. Casting new and valuable light on English musical history and on Enlightenment culture more generally, this book reveals how the agenda for musical advancement shared by Cooke and his Academy associates foreshadowed key developments that would mould European music of the nineteenth century and after. It includes an extensive bibliography, a detailed overview of the Cooke Collection at the Royal College of Music and a complete list of Cooke's works. TIM EGGINGTON is College Librarian at Queens'College, Cambridge.

Carl Philipp Emanuel Bach (1714 1788) has to be the most rewarding, expressive, and entertaining of all the composers whose work fell into obscurity in the years following his death. He was overshadowed both by the rediscovery of his father, Johann Sebastian, and by the rise of the classical composers Haydn, Mozart, and Beethoven in Vienna. In his lifetime, however, he was considered the great Bach, a musician of astonishing originality and a true original genius. His contemporaries were right. Because modern editions of C. P. E. Bach s music were few and far between, it has been difficult for performers and record collectors to assess and enjoy his achievement, but over the past two decades the situation has begun to improve. His output was vast: 52 keyboard concertos, a dozen and a half symphonies, hundreds of keyboard sonatas and character pieces, and a wealth of songs, choral music, and chamber works. Accompanied by a full-length Hanssler Classic CD of the composer s finest and most representative works, this survey offers a comprehensive overview of this magnificent, all-but-unknown body of music and makes the case for regarding C. P. E. as a true classic.

This handbook for flautists addresses all who wish to consider the issues raised when performing music of the past, and experiment with them on old or new instruments. Its aim is to provide an authoritative and practical guide with evidence drawn from a variety of primary sources directly and indirectly associated with the flute. The author provides sound advice on instruments and their care, historical techniques, stylistic issues and historically informed interpretation, with examples drawn from a wide range of case studies, including Bach, Handel, Mozart and Brahms.

Beethoven and Rossini have always been more than a pair of famous composers. Even during their lifetimes, they were well on the way to becoming 'Beethoven and Rossini' - a symbolic duo, who represented a contrast fundamental to Western music. This contrast was to shape the composition, performance, reception and historiography of music throughout the nineteenth and twentieth centuries. The Invention of Beethoven and Rossini puts leading scholars of opera and instrumental music into dialogue with each other, with the aim of unpicking the origins, consequences and fallacies of the opposition between the two composers and what they came to represent. In fifteen chapters, contributors explore topics ranging from the concert lives of early nineteenth-century capitals to the mythmaking of early cinema, and from the close analysis of individual works by Beethoven and Rossini to the cultural politics of nineteenth-century music histories.

How did Ludwig van Beethoven help overthrow a tsarist regime? With the establishment of the Russian Musical Society and its affiliated branches throughout the empire, Beethoven's music reached substantially larger audiences at a time of increasing political instability. In addition, leading music critics of the regime began hearing Beethoven's dramatic works as nothing less than a call to revolution. Beethoven in Russia deftly explores the interface between music and politics in Russia by examining the reception of Beethoven's works from the late 18th century to the present. In part 1, Frederick W. Skinner's clear and sweeping review examines the role of Beethoven's more dramatic works in the revolutionary struggle that culminated in the Revolution of 1917. In part 2, Skinner reveals how this same power was again harnessed to promote Stalin's campaign of rapid industrialization. The appropriation of Beethoven and his music to serve the interests of the state remained the hallmark of Soviet Beethoven reception until the end of communist rule. With interdisciplinary appeal in the areas of history, music, literature, and political thought, Beethoven in Russia shows how Beethoven's music served as a call to action for citizens and weaponized state propaganda in the great political struggles that shaped modern Russian history.

The Orchestral Revolution explores the changing listening culture of the eighteenth and early nineteenth centuries. Delving into Enlightenment philosophy, the nature of instruments, compositional practices and reception history, this book describes the birth of a new form of attention to sonority and uncovers the intimate relationship between the development of modern musical aesthetics and the emergence of orchestration. By focusing upon Joseph Haydn's innovative strategies of orchestration and tracing their reception and influence, Emily Dolan shows that the consolidation of the modern orchestra radically altered how people listened to and thought about the expressive capacity of instruments. The orchestra transformed from a mere gathering of instruments into an ideal community full of diverse, nuanced and expressive characters. In addressing this key moment in the history of music, Dolan demonstrates the importance of the materiality of sound in the formation of the modern musical artwork.

The enduring classic Oratorio for SATB chorus and STB soli. This vocal score, edited and arranged by Michael Pilkington, contains a piano/organ accompaniment and English/German text.

Heinrich Schenker ranks among the most important figures in the development of western music theory in the twentieth century. His approach to the analysis of music permeates nearly every aspect of the field and continues to this day to be a topic of great interest among music theorists, historians, composers and performers. In his four volume work, Die letzen Sonaten von Beethoven: Kritische Ausgabe mit Einfuhrung und Erlauterung (The Last Piano Sonatas by Beethoven: Critical edition with Introduction and Commentary) Schenker presented editions of Beethoven's Opp. 109, 110, 111 and 101 that were, at the time, unprecedented in their faithfulness to such authoritative sources as Beethoven's autograph manuscripts. He included a movement-by-movement and section-by-section discussion of form and content that grew increasingly penetrating from one volume to the next as the musical theory for which he is now known was developed, alongside inspired and detailed suggestions for the performance of each section of each work. InBeethoven's Last Piano Sonatas: An Edition, with Elucidation, noted Schenker scholar John Rothgeb presents the first English language edition and translation of these important works. Rothgeb builds upon Schenker's text, adding explanations of certain points in the commentary, references to corrections and other remarks entered by Schenker in his personal copies of the volumes, and graphic presentations of several passages (a practice that became standard in Schenker's own analytical work later in his career). Making these seminal works accessible to English speaking scholars and students for the first time, Beethoven's Last Piano Sonatas is an essential reference for music theorists, historians, performers, and composers alike.

Chopin's oeuvre holds a secure place in the repertoire, beloved by audiences, performers, and aesthetes. In Harmony in Chopin, David Damschroder offers a new way to examine and understand Chopin's compositional style, integrating Schenkerian structural analyses with an innovative perspective on harmony and further developing ideas and methods put forward in his earlier books Thinking about Harmony (Cambridge, 2008), Harmony in Schubert (Cambridge, 2010), and Harmony in Haydn and Mozart (Cambridge, 2012). Reinvigorating and enhancing some of the central components of analytical practice, this study explores notions such as assertion, chordal evolution (surge), collision, dominant emulation, unfurling, and wobble through analyses of all forty-three Mazurkas Chopin published during his lifetime. Damschroder also integrates analyses of eight major works by Chopin with detailed commentary on the contrasting perspectives of other prominent Chopin analysts. This provocative and richly detailed book will help transform readers' own analytical approaches.

Beethoven composed far more folksong settings than any other type of composition. Most are British songs, including Auld Lang Syne and the The Miller of Dee , with text by such authors as Burns, Byron and Scott. Yet Beethoven's settings, commissioned by George Thomson of Edinburgh, have been neglected by performers and scholars alike, and nearly all accounts of them are both superficial and startlingly inaccurate. This book is based on a very elablorate study of a wide range of sources, and dispels the many myths that have been circulating about this music. Every one of the 179 settings is dated to within a few weeks and an account is given of the souces of the melodies and texts, the difficulties of sending the music across Europe during the Napoleonic Wars (smugglers were even called upon to assist!), the fees Beethoven received, and when and how the texts were added. By comparing Beethoven's settings with those of his predecessors Pleyel, Haydhn and Kozeluch, the author demonstrates that Beethoven comprehensively transcended the bounds of convention, producing settings of extra-ordinary quality and originality. This book is intended for scholars, students, and those interested i

The sublime - that elusive encounter with overwhelming height, power or limits - has been associated with music from the early-modern rise of interest in the Longinian sublime to its saturation of European culture in the later nineteenth century and beyond. This volume offers a historically situated study of the relationship between music, sound and the sublime. Together, the authors distinguish between the different aesthetics of production, representation and effect, while understanding these as often mutually reinforcing approaches. They demonstrate music's strength in playing out the sublime as transfer, transport and transmission of power, allied to the persistent theme of destruction, deaths and endings. The volume opens up two avenues for further research suggested by the adjective 'sonorous': a wider spectrum of sounds heard as sublime, and (especially for those outside musicology) a more multifaceted idea of music as a cultural practice that shares boundaries with other sounding phenomena.

Ernest Newman's four-volume Life of Wagner, originally published between 1933 and 1947, remains a classic work of biography. The culmination of forty years' research on the composer and his works (Newman's first Study of Wagner was first published in 1899), these books present a detailed portrait of perhaps the most influential, the most controversial and the most frequently reviled composer in the whole history of western music. Newman was aware that no biography can ever claim to be complete or completely accurate: 'The biographer can at no stage hope to have reached the final truth. All he can do is to make sure that whatever statement he may make, whatever conclusion he may come to, shall be based on the whole of the evidence available at the time of writing.' In this aim he triumphantly succeeds. Volume 1 covers the years 1813 to 1848.

Ernest Newman's four-volume Life of Wagner, originally published between 1933 and 1947, remains a classic work of biography. The culmination of forty years' research on the composer and his works (Newman's first Study of Wagner was first published in 1899), these books present a detailed portrait of perhaps the most influential, the most controversial and the most frequently reviled composer in the whole history of western music. Newman was aware that no biography can ever claim to be complete or completely accurate: 'The biographer can at no stage hope to have reached the final truth. All he can do is to make sure that whatever statement he may make, whatever conclusion he may come to, shall be based on the whole of the evidence available at the time of writing.' In this aim he triumphantly succeeds. Volume 2 covers the years 1848 to 1860.

Ernest Newman's four-volume Life of Wagner, originally published between 1933 and 1947, remains a classic work of biography. The culmination of forty years' research on the composer and his works (Newman's first Study of Wagner was first published in 1899), these books present a detailed portrait of perhaps the most influential, the most controversial and the most frequently reviled composer in the whole history of western music. Newman was aware that no biography can ever claim to be complete or completely accurate: 'The biographer can at no stage hope to have reached the final truth. All he can do is to make sure that whatever statement he may make, whatever conclusion he may come to, shall be based on the whole of the evidence available at the time of writing.' In this aim he triumphantly succeeds. Volume 3 covers the years 1859 to 1866.

Ernest Newman's four-volume Life of Wagner, originally published between 1933 and 1947, remains a classic work of biography. The culmination of forty years' research on the composer and his works (Newman's first Study of Wagner was first published in 1899), these books present a detailed portrait of perhaps the most influential, the most controversial and the most frequently reviled composer in the whole history of western music. Newman was aware that no biography can ever claim to be complete or completely accurate: 'The biographer can at no stage hope to have reached the final truth. All he can do is to make sure that whatever statement he may make, whatever conclusion he may come to, shall be based on the whole of the evidence available at the time of writing.' In this aim he triumphantly succeeds. Volume 4 covers the years 1866 to 1883.

The biography of French composer, Halevy. The book contains excerpts from his diary, and also correspondence and photographs. Halevy is the composer of La Juive.

Mozart's Ghosts traces the many lives of this great composer that emerged following his early death in 1791. Crossing national boundaries and traversing two hundred years-worth of interpretation and reception, author Mark Everist investigates how Mozart's past status can be understood as part of today's veneration. Everist forges new paths to reach the composer, examining a number of ways in which Western culture has absorbed the idea of Mozart, how various cultural agents have appropriated, deployed, and exploited Mozart toward both authoritarian and subversive ends, and how the figure of Mozart and his impact illuminate the cultural history of the last two centuries in Europe, England, and America. Modern reverence for the composer is conditioned by earlier responses to his music, and Everist argues that such earlier responses are more complex than allowed by a simple "reception studies" model. Closely linking nine case studies in an innovative cultural and theoretical framework, the book approaches the developing reputation of the composer from death to the present day along three paths: "Phantoms of the Opera" deals with stage music, "Holy Spirits" addresses the trope of the sacred, and "Specters at the Feast" considers the impact of Mozart's music in literature and film. Mozart's Ghosts adeptly moves the study of Mozart reception away from hagiography and closer to cultural and historical criticism, and will be avidly read by Mozart scholars and students of eighteenth-century music history, as well as literary critics, historians of philosophy and aesthetics, and cultural historians in general.

Like his father Leopold, Wolfgang Amadeus Mozart was dependent on a court aristocracy in whose eyes he was little more than a domestic servant. Unlike his father, however, his personal makeup was already that of the freelance artist who sought to follow the flow of his own artistic conscience and imagination rather than the courtly conventions and standards of the day. In "Mozart: the Sociology of a Genius", Elias paints a portrait of this extraordinarily gifted artist born into a society that did not yet possess either the concept of 'genius' or (at least in music) that of freelance artist. The apparent contradictions of his character - the refined elegance of his compositions and the coarseness of his lavatorial humour - reflect his uncomfortable and eventually tragic straddling of two social worlds. The volume also includes two major essays on cognate topics, previously unpublished in English: on the courtly painter Watteau's "Embarkation for Cythera", and on 'The fate of German Baroque poetry: between the traditions of court and middle class'.