It brings together a substantial group of essays by an international team of scholars on a wide range of aspects of Rameau's operas. The individual essays are informed by a variety of disciplines or sub-disciplines - literature, archival studies, musical analysis, gender studies, ballet and choreography, dramaturgy and staging. The contents are addressed to a wide readership, including not only scholars but also practical musicians, stage directors, dancers and choreographers.

The prominent symphony conductor Maurice Peress describes his career, conducting the premier of such works as Leonard Bernstein's Mass and Duke Ellington's Queenie Pie and recreating the premier of the concert featuring George Gershwin's Rhapsody in Blue and Ellington's Black, Brown and Beige. He also traces the great impact that African-American music has had upon American music, from the influence of compser Antonin Dvorak through the 1920s.

'A dazzling celebration and recalibration of Mozart's genius, written with an energy to match its subject' Ian Bostridge Mozart is one of the most familiar and beloved icons of our culture, but how much do we really understand of his music, and what can it reveal to us of the great composer? In exhilarating, transformative prose, Patrick Mackie mixes biographical storytelling with deep dives into the experience of listening to Mozart''s music to reveal a musician in dialogue with culture at its most sweepingly progressive, when Europe was caught between two historical worlds. We follow Mozart from his adolescence in Salzburg to his early death; from his close and rivalrous relationship with his father to his romantic attachments; from his hugely successful operas to intimate compositions on the keyboard. Mackie leads the reader through the major and lesser-known moments of the composer''s life and brings alive the teeming, swivelling, modernity of eighteenth-century Europe. In this era of rococo painting, surrealist aesthetics and political turbulence, Mozart reckoned with a searing talent which threatened to overwhelm him, all the while pushing him to extraordinary feats of musicianship. Returned to the volatility of the eighteenth century, we hear Mozart''s music in all its audacious vividness, gaining fresh perspectives on why his works still move us so intensely today, as we continue to search for a modernity he imagined into being.

Interest in the authentic performance of early music has grown dramatically in recent years, and scholarly investigation has particularly benefited the study of keyboard music of the classical period. In this landmark publication, the most comprehensive study written on Haydn's keyboard sonatas, a leading Haydn scholar presents novel ideas, corrects misconceptions, and offers new hypotheses on long-debated issues of early music research.
Laszlo Somfai begins with a thorough study of Haydn's keyboard instruments and their development. After recommending instruments appropriate for modern use, he discusses performance practice and style, explains the peculiarities of Haydn's manuscripts in the context of eighteenth-century notation, and provides specific suggestions for playing ornaments, improvising, slurring, and dynamics. He also investigates Haydn's sonata genres within their historical context and discusses the problems of establishing a chronology of their composition. Finally, Somfai analyzes the organization and style of each musical form. The book includes an index listing the sonatas by date of first publication, and an extensive bibliography.

This comprehensive survey shows how the larger scale works relate to Beethoven's chamber music and how the composer evolved an increasing freedom of form. Beethoven's Chamber Music in Context provides professional and amateur musicians, and music lovers generally, with a complete survey of Beethoven's chamber music and the background to each individual work - the loyalty of patrons, musicians and friends on the one hand; increasing deafness and uncertain health on the other. Attention is paid to the influence of such large-scale compositions as the Eroica Symphony and Fidelio on the chamber music of his middle years and the Missa Solemnis and the Ninth Symphony on his late quartets. The author also lays stress on Beethoven's ever-increasing freedom of form - largely a result of his mastery of improvisationand a powerful symbol of the fusion of classical discipline with the subversive spirit of romantic adventure which characterises his mature music. Beethoven's friends were not shy about asking him what his music meant, orwhat inspired him, and it is clear that he attached the greatest importance to the words he used when describing the character of his compositions. 'The tempo is more like the body,' he wrote when commending Malzel's invention ofthe metronome, 'but these indications of character certainly refer to the spirit.' Angus Watson, a violinist and conductor, has been Director of Music at Stowe School, Winchester College and Wells Cathedral School, one of Britain's specialist music schools. From 1984-1989 he was Dean of Music at the newly founded Hong Kong Academy for Performing Arts.

Employs an innovative approach by "stages" to offer a unified vision of European Romanticism over the half-century of its growth and decline. Romanticism was a truly European phenomenon, extending roughly from the French Revolution to the 1848 revolutions and embracing not only literature and drama but also music and visual arts. Because of Romanticism's vast scope, most treatments have restricted themselves to single countries or to specific forms, notably literature, art, or music. This book takes a wider view by considering in each of six chapters representative examples of works - from across Europe and across a range of the arts - that were created in a single year. For instance, in the first chapter, focusing on the year 1798, Beethoven's Pathetique sonata, Wordsworth and Coleridge's Lyrical Ballads,Tieck's novel Franz Sternbalds Wanderungen, and Goya's painting El sueno de la razon. The following chapters treat works from the years 1808, 1818, 1828, 1838, and 1848. This approach by "stages" makes it possible to determine characteristics of six stages of Romanticism in its historical and intellectual context and to note the conspicuous differences between these stages as European Romanticism developed-for example, the waxing and waning of religious themes, the shifting visions of landscape, the gradual ironic detachment from early Romanticism. In sum, the volume offers a unified vision of European Romanticism in all its aesthetic forms over the half-centuryof its growth and decline. Theodore Ziolkowski is Professor Emeritus of German and Comparative Literature, Princeton University.

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 at all interested in the music of Bach or the music of the nineteenth century.

For this beloved Cantata, the classic vocal score arranged by Bernhard Todt as a companion to the renowned Bach Gesellschaft Ausgabe was re-engraved by G. Schirmer in the early part of the 20th century with Henry Drinker's English translation added beneath the original German text. Now available in an easy-to-use, convenient size designed to fit comfortably in choral folders.

The history of music is most often written as a sequence of composers and works. But a richer understanding of the music of the past may be obtained by also considering the afterlives of a composer's works. Genealogies of Music and Memory asks how the stage works of Christoph Willibald Gluck (1714-87) were cultivated in nineteenth-century Paris, and concludes that although the composer was not represented formally on the stage until 1859, his music was known from a wide range of musical and literary environments. Received opinion has Hector Berlioz as the sole guardian of the Gluckian flame from the 1820s onwards, and responsible - together with the soprano Pauline Viardot - for the 'revival' of the composer's Orfeo in 1859. The picture is much clarified by looking at the concert performances of Gluck during the first two thirds of the nineteenth century, and the ways in which they were received and the literary discourses they engendered. Coupled to questions of music publication, pedagogy, and the institutional status of the composer, such a study reveals a wide range of individual agents active in the promotion of Gluck's music for the Parisian stage. The 'revival' of Orfeo is contextualised among other attempts at reviving Gluck's works in the 1860s, and the role of Berlioz, Viardot and a host of others re-examined.

Sociability may be a key term of reference for eighteenth-century studies as a whole, but it has not yet developed an especially strong profile in music scholarship. Many of the associations that it brings do not fit comfortably with a later imperative of individual expression. W. Dean Sutcliffe invites us to face up to the challenge of re-evaluating the communicative rationales that lie behind later eighteenth-century instrumental style. Taking a behavioural perspective, he divides sociability into 'technical' and 'affective' realms, involving close attention both to particular recurring musical patterns as well as to some of the style's most salient expressive attributes. The book addresses a broad span of the instrumental production of the era, with Haydn as the pivotal figure. Close readings of a variety of works are embedded in an encompassing consideration of the reception of this music.

"I now stand at the gateway to my fortune," Mozart wrote in a letter of 1790. He had entered into the service of Emperor Joseph II of Austria two years earlier as Imperial-Royal Chamber Composer a salaried appointment with a distinguished title and few obligations. His extraordinary subsequent output, beginning with the three final great symphonies from the summer of 1788, invites a reassessment of this entire period of his life. Readers will gain a new appreciation and understanding of the composer's works from that time without the usual emphasis on his imminent death. The author discusses the major biographical and musical implications of the royal appointment and explores Mozart's "imperial style" on the basis of his major compositions keyboard, chamber, orchestral, operatic, and sacred and focuses on the large, unfamiliar works he left incomplete. This new perspective points to an energetic, fresh beginning for the composer and a promising creative and financial future."

Proposes a new way of listening to Beethoven by understanding his music as an expression of his entire self, not just the iconic scowl Despite the ups and downs of his personal life and professional career - even in the face of deafness - Beethoven remained remarkably consistent in his most basic convictions about his art. This inner consistency, writes the music historian Mark Evan Bonds, provides the key to understanding the composer's life and works. Beethoven approached music as he approached life, weighing whatever occupied him from a variety of perspectives: a melodic idea, a musical genre, a word or phrase, a friend, a lover, a patron, money, politics, religion. His ability to unlock so many possibilities from each helps explain the emotional breadth and richness of his output as a whole, from the heaven-storming Ninth Symphony to the eccentric Eighth, and from the arcane Great Fugue to the crowd-pleasing Wellington's Victory. Beethoven's works, Bonds argues, are a series of variations on his life. The iconic scowl so familiar from later images of the composer is but one of many attitudes he could assume and project through his music. The supposedly characteristic furrowed brow and frown, moreover, came only after his time. Discarding tired myths about the composer, Bonds proposes a new way of listening to Beethoven by hearing his music as an expression of his entire self, not just his scowling self.

A must-have for any conductor, conducting student and orchestral librarian. How does a conductor know whether the score they use is what the composer wrote? How do orchestral players know that their parts are reliable and reflect the latest scholarship? As Jonathan Del Mar reminds us in this ground-breaking book, editions of the orchestral repertoire are beset by textual problems: simple misprints, mistakes in the score or player's part, or hopelessly outdated scores at odds with current scholarship. Driven by a fundamental respect for what the composer actually wrote, Jonathan Del Mar addresses these problems through textual reports on over 100 orchestral masterpieces of classical music. Each report is introduced with essential guidance and succinct commentary on the first performance and publication of the work. Critical editions are compared with commonly used editions, and in those cases where no Urtext Edition exists, this much-needed reference work functions as a replacement for an Urtext Edition. Orchestral Masterpieces under the Microscope will be an indispensable reference tool for all who care about performances honouring the correct text that composers have left us. It serves as an essential survival guide for conductors and musicians to make informed choices, and it offers much-needed clarity on the latest scholarship for musicologists and music librarians alike

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.

This book charts the piano's accession from musical curiosity to cultural icon, examining the instrument itself in its various guises as well as the music written for it. Both the piano and piano music were very much the product of the intellectual, cultural and social environments of the period and both were subject to many influences, directly and indirectly. These included character (individualism), the vernacular ('folk/popular') and creativity (improvisation), all of which are discussed generally and with respect to the music itself. Derek Carew surveys the most important pianistic genres of the period (variations, rondos, and so on), showing how these changed from their received forms into vehicles of Romantic expressiveness. The piano is also looked at in its role as an accompanying instrument. The Mechanical Muse will be of interest to anyone who loves the piano or the period, from the non-specialist to the music postgraduate.

The second son of Johann Sebastian Bach, C.P.E. Bach was an important composer in his own right, as well as a writer and performer on keyboard instruments. He composed roughly a thousand works in all the leading genres of the period, with the exception of opera, and Haydn, Mozart and Beethoven all acknowledged his influence. He was also the author of a two-volume encyclopedic book about performance on keyboard instrument. C.P.E. Bach and his music have always been the subject of significant scholarship and publication but interest has sharply increased over the past two or three decades from performers as well as music historians. This volume incorporates important writings not only on the composer and his chief works but also on theoretical issues and performance questions. The focus throughout is on relatively recent scholarship otherwise available only in hard-to-access sources.

This volume of essays on Wolfgang Amadeus Mozart reflects scholarly advances made over the last thirty years. The studies are broad and focused, demonstrating a large number of viewpoints, methodologies and orientations and the material spans a wide range of subject areas, including biography, vocal music, instrumental music and performance. Written by leading researchers from Europe and North America, these previously published articles and book chapters are representative of both the most frequently discussed and debated issues in Mozart studies and the challenging, exciting nature of Mozart scholarship in general. The volume is essential reading for researchers, students and scholars of Mozart's music.

From acclaimed composer and biographer Jan Swafford comes the definitive biography of one of the most lauded musical geniuses in history, Wolfgang Amadeus Mozart. From his earliest years it was apparent that the singular imagination of Wolfgang Mozart was tirelessly at work. He hated to be bored and hated to be idle, and he responded to these threats with a repertoire of antidotes mental and physical, going at every part of his life with tremendous gusto. His circle of friends and patrons was wide, encompassing anyone who appealed to his boundless appetites for music and all things pleasurable and fun. As a man, Mozart was an inexplicable force of nature who could rise from a luminous improvisation at the keyboard to meow like a cat and leap over the furniture. He was forever drumming on things, tapping his feet, seeming both present and apart. But he also might grasp your hand and gaze at you with a profound, searching and melancholy look in his blue eyes. It was as if Mozart lived onstage and off simultaneously, a character in life's tragicomedy but also outside of it, watching, studying, gathering material for the fabric of his art. Like Swafford's biographies Beethoven, Johannes Brahms and Charles Ives, Mozart is both wide-ranging and intimate in its exploration of a genius in his life and his setting: a man who rose from a particular time and place, whose art would enrich the world for centuries to come, who would immeasurably shape the future of classical music, who from his age to ours has stood as the definition of a prodigy. As Swafford reveals, to understand the evolution of music it is vital to understand this singular genius as a man and an artist.

In 1912 Heinrich Schenker contracted with the Viennese publisher Universal Edition to provide an 'elucidatory edition' (ErlAuterungsausgabe) of Beethoven's last five piano sonatas. Each publication would comprise a score, newly edited by Schenker and using the composer's autograph manuscript as principal source, together with a substantial commentary combining analytical, text-critical and performance-related matter. Four of the five editions appeared between 1913 and 1921, but that of the 'Hammerklavier' Sonata, op. 106, was never published. It has generally been assumed that this was simply because Schenker was unable to locate the autograph manuscript, which remains missing to this day. But as Nicholas Marston shows in a detailed history of the ErlAuterungsausgabe project, other factors were involved also, including financial considerations, Schenker's health concerns, and his broader theoretical ambitions. Moreover, despite the missing autograph he nevertheless developed a voice-leading analysis of the complete sonata during the years 1924-1926, a crucial period in the development of his mature theory of tonal music. Marston's book provides the first in-depth study of this rich analysis, which is reproduced in full in high-quality digital images. The book draws on hundreds of letters and documents from Schenker's NachlaAY; it both adds to our biographical knowledge of Schenker and illuminates for the first time the response of this giant of music theory to one of the most significant masterworks in all music.

This four-volume anthology contains a sparkling selection of pieces and represents all the major composers of the period. It includes pieces in all the main genres, with Cornet and Trumpet Voluntaries, Echo Voluntaries, fugal works with slow introductions, and Full Voluntaries; as such, the collection offers a wide range of attractive music suitable for both church and recital use. Each volume contains an extended Introduction, with information on instruments of the period, registration, ornamentation, and notes on the composers. An important feature of the collection is an editorial realization of the cadenzas which occur at key points in some of the pieces; these complete the works and demonstrate how they would have been performed at the time. With extended historical information and a wonderful array of pieces carefully edited from original sources, this is a major collection that will be of interest to organists of all abilities.

This four-volume anthology contains a sparkling selection of pieces and represents all the major composers of the period. It includes pieces in all the main genres, with Cornet and Trumpet Voluntaries, Echo Voluntaries, fugal works with slow introductions, and Full Voluntaries; as such, the collection offers a wide range of attractive music suitable for both church and recital use. Each volume contains an extended Introduction, with information on instruments of the period, registration, ornamentation, and notes on the composers. An important feature of the collection is an editorial realization of the cadenzas which occur at key points in some of the pieces; these complete the works and demonstrate how they would have been performed at the time. With extended historical information and a wonderful array of pieces carefully edited from original sources, this is a major collection that will be of interest to organists of all abilities.

This four-volume anthology contains a sparkling selection of pieces and represents all the major composers of the period. It includes pieces in all the main genres, with Cornet and Trumpet Voluntaries, Echo Voluntaries, fugal works with slow introductions, and Full Voluntaries; as such, the collection offers a wide range of attractive music suitable for both church and recital use. Each volume contains an extended Introduction, with information on instruments of the period, registration, ornamentation, and notes on the composers. An important feature of the collection is an editorial realization of the cadenzas which occur at key points in some of the pieces; these complete the works and demonstrate how they would have been performed at the time. With extended historical information and a wonderful array of pieces carefully edited from original sources, this is a major collection that will be of interest to organists of all abilities.

Pianists will find unlimited fun in this collection of 24 easy piano arrangements of the world's most familiar musical themes from movies and television. Spanning several decades of entertainment history, the 24 selections in this book will delight audiences of all ages. Titles: As Time Goes By (Casablanca) * The Ballad of Gilligan's Island * The Big Bang Theory (Main Title Theme) * Cantina Band (Star Wars Episode IV: A New Hope) * Concerning Hobbits (The Lord of the Rings: The Return of the King)* Doctor Who Theme * Downton Abbey - The Suite * Falling Slowly (Once) * Harry's Wondrous World (Harry Potter and the Sorcerer's Stone) *Hedwig's Theme (Harry Potter and the Sorcerer's Stone) * The Imperial March (Darth Vader's Theme) * Into the West (The Lord of the Rings: The Return of the King) * James Bond Theme * Let Me Be Your Star (SMASH) * Song from M*A*S*H (Suicide Is Painless) * Misty Mountains (The Hobbit: An Unexpected Journey) * The Notebook (Main Title) * Over the Rainbow * The Pink Panther * Raiders March * Secondhand White Baby Grand (SMASH) * Star Wars (Main Title) * Theme from Superman * A Very Respectable Hobbit.

In Making Light Raymond Knapp traces the musical legacy of German Idealism as it led to the declining prestige of composers such as Haydn while influencing the development of American popular music in the nineteenth century. Knapp identifies in Haydn and in early popular American musical cultures such as minstrelsy and operetta a strain of high camp-a mode of engagement that relishes both the superficial and serious aspects of an aesthetic experience-that runs antithetical to German Idealism's musical paradigms. By considering the disservice done to Haydn by German Idealism alongside the emergence of musical camp in American popular music, Knapp outlines a common ground: a humanistically based aesthetic of shared pleasure that points to ways in which camp receptive modes might rejuvenate the original appeal of Haydn's music that has mostly eluded audiences. In so doing, Knapp remaps the historiographical modes and systems of critical evaluation that dominate musicology while troubling the divide between serious and popular music.