Anselm Gerhard explores the origins of "grand opera, arguing that its aesthetic innovations (both musical and theatrical) reflected not bourgeois tastes, but changes in daily life and psychological outlook produced by the rapid urbanization of Paris. These larger urban and social concerns--crucial to our understanding of nineteenth-century opera--are brought to bear in fascinating discussions of eight operas composed by Rossini, Auber, Meyerbeer, Verdi, and Louise Bertin."
""An invaluable look at this fascinating genre."--George W. Loomis, Opera News"

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.

A complete guide to classical guitar, this book covers everything from choosing an instrument to basic harmony. It includes many exercises and pieces.

This guide to Mozart's two most popular piano concertos--the D minor, K. 466, and the C major, K. 467 (the so-called "Elvira Madigan")--presents the historical background of the works, placing them within the context of Mozart's compositional and performance activities at a time when his reputation as both composer and pianist was at its peak. The special nature of the concerto, as both a form and genre, is explored through a selective survey of some of the approaches that various critics have taken in discussing Mozart's concertos. The concluding chapter discusses a wide range of issues of interest to modern performers.

Beethoven's Third Symphony, originally entitled "Bonaparte", now bears the title "Eroica" ("Heroic"). Napoleon promised an Enlightened Europe but ultimately Beethoven was disillusioned by him. This handbook treats the politics, aesthetics, reception, and musical meaning of this decisive work, which, because of its unique design, powerfully expanded the potential of symphonic expression. Beethoven's ideals, derived largely from the writings of Friedrich Schiller and clearly perceived already by the composer's contemporaries, are readily apparent in the music.

Haydn's Symphonies Nos. 82-7 are seminal works in Haydn's output and mark a new level of compositional attainment, launching the important cycle of mature Haydn symphonies written for an international audience. This book considers both stylistic aspects of the symphonies and their broader cultural context, in particular the important phenomenon of Haydn's international success in the 1780s, the reception of Haydn's symphonies by Parisian audiences, and the aesthetic basis for their extraordinary appeal at the end of the eighteenth century.

Mozart was not only an extraordinary musical genius but a man who lived through the great change from the old society to the modern one in which we still live. He was one of the "new men" of the age--his music gives voice to anxieties and consolations that are still ours. This biography sets Mozart's life within the history of an age plunging into revolution and European war. Avoiding guesswork, it probes his crucial relationships with his father, his wife and his employer. It studies--in depth though in nontechnical language--characteristic examples of his music and asks what they can tell us about their author and ourselves.

This is the first individual study of Beethoven's Violin Concerto. It explores the work's background and the influences that combined in its creation, and describes its indifferent initial reception. It considers the numerous textual problems that confront the performer, including discussion of Beethoven's adaptation for piano and orchestra. Following a detailed synopsis of the work itself, a final section reviews the wide variety of cadenzas that have been written to complement the concerto throughout its performance history.

John Rice's Music in the Eighteenth Century takes the reader on an engrossing Grand Tour of Europe's musical centers, from Naples, to London, Berlin, Vienna, Prague, and St. Petersburg with a side trip to the colonial New World. Against the backdrop of Europe's largely peaceful division into Catholic and Protestant realms, Rice shows how "learned" and "galant" styles developed and commingled. While considering Mozart, Haydn, and early Beethoven in depth, he broadens his focus to assess the contributions of lesser-known but significant figures like Johann Adam Hiller, Francois-Andre Philidor, and Anna Bon. Western Music in Context: A Norton History comprises six volumes of moderate length, each written in an engaging style by a recognized expert. Authoritative and current, the series examines music in the broadest sense as sounds notated, performed, and heard focusing not only on composers and works, but also on broader social and intellectual currents."

In the early eighteenth century, the benefit performance became an essential component of commercial music-making in Britain. Benefits, adapted from the spoken theatre, provided a new model from which instrumentalists, singers, and composers could reap financial and professional rewards. Benefits could be given as theatre pieces, concerts, or opera performances for the benefit of individual performers; or in aid of specific organizations. The benefit changed Britain's musico-theatrical landscape during this time and these special performances became a prototype for similar types of events in other European and American cities. Indeed, the charity benefit became a musical phenomenon in its own right, leading, for example, to the lasting success of Handel's Messiah. By examining benefits from a musical perspective - including performers, audiences, and institutions - the twelve chapters in this collection present the first study of the various ways in which music became associated with the benefit system in eighteenth-century Britain.

From his celebrated early childhood, Mozart has been caught up in myths: the superhuman prodigy, the adult who was still a child, the neglect, the pauper's grave. None of these myths are true, at least not at face value. Wolfgang Amade Mozart is not primarily a myth-busting book, but in the process of bringing to vivid life the man and composer absorbed in writing for his public rather than for posterity, the myths topple en route. Swafford portrays a man who had his sorrows like everybody else, but who was a high-spirited, high-living bon vivant fond of games of skill, well-read and thoughtful if also at times playing the clown: in the end fundamentally a happy and happily married man who had a wide circle of friends.

Relates Marguerite Long's working and personal association with Gabriel Faure. This book uses musical examples to discuss the interpretation of many of Faure's compositions.

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.

Gustav Mahler spent 14 years exploring the musical potential of German folk poetry, and this volume comprises some of his most significant work. It features authoritative editions of his settings of five poems by Friedrich Rückert, known as the Rückert Lieder: "Blicke mir nicht in die Lieder" (Look not, love, on my work unended); "Ich atmet einen linden Duft" (I breathed the breath of blossoms red); "Ich bin der Welt abhanden gekommen" (O garish world, long since thou hast lost me); "Um Mitternacht" (At midnight hour); and "Liebst du um Schonheit" (Lovst thou but beauty). A pair of songs from Des Knaben Wunderhorn (The Youth's Miraculous Horn) are also featured: "Revelge" (The dead drummer) and "Der Tamboursg'sell" (The drummer-boy).

The years between roughly 1760 and 1810, a period stretching from the rise of Joseph Haydn's career to the height of Ludwig van Beethoven's, are often viewed as a golden age for musical culture, when audiences started to revel in the sounds of the concert hall. But the latter half of the eighteenth century also saw proliferating optical technologies--including magnifying instruments, magic lanterns, peepshows, and shadow-plays--that offered new performance tools, fostered musical innovation, and shaped the very idea of "pure" music. Haydn's Sunrise, Beethoven's Shadow is a fascinating exploration of the early romantic blending of sight and sound as encountered in popular science, street entertainments, opera, and music criticism. Deirdre Loughridge reveals that allusions in musical writings to optical technologies reflect their spread from fairgrounds and laboratories into public consciousness and a range of discourses, including that of music. She demonstrates how concrete points of intersection--composers' treatments of telescopes and peepshows in opera, for instance, or a shadow-play performance of a ballad--could then fuel new modes of listening that aimed to extend the senses. An illuminating look at romantic musical practices and aesthetics, this book yields surprising relations between the past and present and offers insight into our own contemporary audiovisual culture.

Professor Sir Donald Tovey's celebrated bar-by-bar analysis of Beethoven's 32 Pianoforte Sonatasremains a key text for pianists, students, scholars and music lovers. Intended as a companion to the ABRSM's Complete Pianoforte Sonatas edition - edited by Harold Craxton but with each work prefaced by Tovey's practical and critical notes - the book contains a succinct and illuminating summary of the author's analytical approach before each sonata is dealt with in detail. This new imprint is prefaced with an introduction by Dr Barry Cooper, Lecturer in the Music Department of Manchester University. Tovey's text is reproduced faithfully; however, Dr Cooper has added footnotes to correct errors of fact or to qualify conclusions drawn by Tovey that the passage of time, since the book was first published in 1931, has suggested might be questionable. With the re-issue of this book, Tovey's famed insight, commonsense and wit will continue to enlighten and entertain the author's devotees, as well as a new generation of performers and students.

The string quartets of Ludwig van Beethoven, the signal achievement of "that noble genre," have rewarded the engagement of scholars, performers, and audiences for almost two hundred years. This book and its accompanying recording invite you to experience three of these profound and beautiful works of music from the inside, with a leading Beethoven scholar and a premier performing ensemble as your guides. Lewis Lockwood provides historical and biographical background along with musical analysis, drawing on the most important insights of recent scholarship on Beethoven's life and works. The members of the Juilliard Quartet share the fruits of decades of performing and teaching these compositions through annotated scores and recordings of the first movements of three representative quartets, including the rarely heard original version of opus 18 no. 1. And all parties join in lively and illuminating conversations that range from details of bowing and articulation to Beethoven's development as a composer to the social history of the nineteenth century. "Inside Beethoven's Quartets" illustrates how scholarly knowledge can inform a performance, as well as how performers' interpretive choices can illuminate this sublime music.

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.

The demonization, internment, and deportation of celebrated Boston Symphony Orchestra conductor Dr. Karl Muck, finally told, and placed in the context of World War I anti-German sentiment in the United States. BEST CLASSICAL MUSIC BOOK RELEASE OF 2019 by Classical-music.com, the official website of BBC Music Magazine. 2019 SUMMER READS ABOUT CLASSICAL MUSIC by the Australian Broadcasting Corporation. 2019 BEST BOOK AWARD FINALIST in both the History and Performing Arts categories, sponsored by American Book Fest. 2019 SUBVENTION AWARD by the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation. One of the cherished narratives of American history is that of the Statue of Liberty welcoming immigrants to its shores. Accounts of the exclusion and exploitation of Chinese immigrants in the late nineteenth century and Japanese internment during World War II tell a darker story of American immigration. Less well-known, however, is the treatment of German-Americans and Germannationals in the United States during World War I. Initially accepted and even welcomed into American society at the outbreak of war, this group would face rampant intolerance and anti-German hysteria. Melissa D. Burrage's book illustrates this dramatic shift in attitude in her engrossing narrative of Dr. Karl Muck, the celebrated German conductor of the Boston Symphony Orchestra, who was targeted and ultimately disgraced by a New York Philharmonic board member and by capitalists from that city who used his private sexual life as a basis for having him arrested, interned, and deported from the United States. While the campaign against Muck made national headlines, and is the main focus of this book, Burrage also illuminates broader national topics such as: Total War; State power; vigilante justice; internment and deportation; irresponsible journalism; sexual surveillance; attitudes toward immigration; anti-Semitism; and the development of America's musical institutions. The mistreatment of Karl Muck in the United States provides a narrative thread that connects these various wartime and postwar themes. MELISSAD. BURRAGE, a former writing consultant at Harvard University Extension School, holds a Master's Degree in History from Harvard University and a PhD in American Studies from University of East Anglia. Support for thispublication was provided by the Howard Hanson Institute for American Music at the Eastman School of Music at the University of Rochester.

Franz Schubert's music has long been celebrated for its lyrical melodies, 'heavenly length' and daring harmonic language. In this new study of Schubert's complete string quartets, Anne Hyland challenges the influential but under-explored claim that Schubert could not successfully incorporate the lyric style into his sonatas, and offers a novel perspective on lyric form that embraces historical musicology, philosophy and music theory and analysis. Her exploration of the quartets reveals Schubert's development of a lyrically conceived teleology, bringing musical form, expression and temporality together in the service of fresh intellectual engagement. Her formal analyses grant special focus to the quartets of 1810-16, isolating the questions they pose for existing music theory and employing these as a means of scrutinising the relationship between the concepts of lyricism, development, closure and teleology thereby opening up space for these works to challenge some of the discourses that have historically beset them.

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.

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.