Adorno's aesthetics are one of the most important philosophical analyses of the 20th century, but their development remains unclear. Adorno, Aesthetics, Dissonance is the first book to provide a detailed study of how Adorno's thinking of aesthetics developed and to show the different dimensions that came together to make it uniquely powerful. Principal among these dimensions are his intense interest in music and his historical and materialist approach. In addition, by studying how Adorno's aesthetics arose through interactions with different thinkers, particularly Kracauer, Horkheimer, and Schoenberg, it becomes clear that his thought changes in its relation to dialectics. As a result, Adorno's thinking comes to broaden the understanding of aesthetics to include the sphere of sensuality, and in doing so transforms both aesthetics and dialectics through a notion of dissonance, which in turn has substantial implications for the relation of his thinking to praxis.

Satirically utilized by Strauss II to highlight the deceptive aristocratic class, under Lehar, Schoenberg, Mahler, and Webern's pens the waltz became the pivot between the conscious and unconscious, forcing the music into a paralytic "second state" analogous with the stagnation of the Habsburg Empire. The Waltz: The Decadence and Decline of Austria's Unconscious shows how over the hundred years between the Vienna Congress and the dissolution of the Empire, the waltz altered from signifier of upper-class artifice-covering with glitz and glamour the poverty and war central to the time-to the link between the three classes, between man and nature, and between Viennese and "Other." Danielle Hood wields the Freudian concepts of the uncanny and the doppelganger to explain this revolution from the simple signification of a dance to the psychological anxiety of a subject's place in society.

The sequel to Richard Maunder's The Scoring of Baroque Concertos In the baroque era most concertos were - in the modern sense of the term - chamber music, to be played by a small group of musicians each reading from an individual printed or manuscript part. Indeed, composers often expected thesoloist to be accompanied by just a string quartet with a harpsichord or organ continuo. But over the thirty years from 1750, as the classical style was being developed, numbers began to rise slowly. This did not happen at a uniform rate throughout Europe, however, for many concertos continued to be played one-to-a-part, and even by 1780 an ensemble with more than eight or nine strings would have been unusual. The nineteenth-century notion that a concertopitted a lone soloist against a full symphony orchestra still lay some years in the future. At the same time ideas about form were changing, as the Vivaldian ritornello pattern metamorphosed into the concerto-sonata form usedby Mozart and his contemporaries; some unconventional variants appeared as composers strove to keep abreast of latest developments. It was a fascinating period of innovation, in which many hundreds of concertos were written. To be sure, not all of them can be described as "forgotten masterpieces", but among them there are some very fine works that certainly ought to be revived. It is hoped that readers of this book may be encouraged to explore this comparatively neglected repertoire. The late RICHARD MAUNDER was a Fellow of Christ's College, Cambridge. His previous book, The Scoring of Baroque Concertos, was published by The Boydell Press in 2004. He has also published books on Mozart's Requiem, Keyboard Instruments in Eighteenth-Century Vienna and numerous editions of seventeenth- and eighteenth-century music.

Carl Schachter is the world's leading practitioner of Schenkerian theory and analysis. His articles and books have been broadly influential, and are seen by many as models of musical insight and lucid prose. Yet, perhaps his greatest impact has been felt in the classroom. At the Mannes College of Music, the Juilliard School of Music, Queens College and the Graduate Center of the City University of New York, and at special pedagogical events around the world, he has taught generations of musical performers, composers, historians, and theorists over the course of his long career. In Fall 2012, Schachter taught a doctoral seminar at the CUNY Graduate Center in which he talked about the music and the musical issues that have concerned him most deeply; the course was in essence a summation of his extensive and renowned teaching. In The Art of Tonal Analysis, music theorist Joseph Straus presents edited transcripts of those lectures. Accompanied by abundant music examples, including analytical examples transcribed from the classroom blackboard, Straus's own visualizations of material that Schachter presented aurally at the piano, and Schachter's own extended Schenkerian graphs and sketches, this book offers a vivid account of Schachter's masterful pedagogy and his deep insight into the central works of the tonal canon. In making the lectures of one of the world's most extraordinary musicians and musical thinkers available to a wide audience, The Art of Tonal Analysis is an invaluable resource for students and scholars of music.

Few people these days would question Mozart's rating as the most popular of all classical composers. Yet there exists no substantial, up-to-date English-language study of the man and his works. In this new study of Mozart's early years, Stanley Sadie aims to fill this gap in the form of a traditional biography on a straightforward chronological basis. The volume covers the period up to 1781, the year of Idomeneo and Mozart's settling in Vienna. Individual works are discussed in sequence and related to the events of his life. Stanley Sadie draws substantially on the family correspondence, quoting the letters and discussing what they tell us about Mozart and his world and his relationships with his family and his professional colleagues. Also included is a discussion of all aspects of Mozart's life and his music, relating them to the environment in which he worked, social, economic and cultural as well as musical. Much new material connected with Mozart has come to light in recent years. There have been discoveries of musical sources and new ways of studying known ones. Such finds and methods have changed our view of the chronology of many works and they often have significant biographical ramifications. Understanding of the context for Mozart's music, and indeed his life, has broadened immensely. Stanley Sadie's biography digests and interprets this corpus of new information.

"Music and the Making of the Middle Class" explores the making of middle-class culture by analyzing and comparing the ethos and organization of Leipzig's Gewandhaus and Birmingham's Triennial Festival. It employs a multidisciplinary approach to identify the social processes which formed the cultural configurations and meanings of art.

The first detailed contextual study of chamber music in Beethoven's Vienna, at a time when the string quartet reigned supreme among the different chamber genres This book is the first detailed contextual study of string quartets in Beethoven's Vienna, at a time when that genre reigned supreme among the different chamber genres. Focusing on a key transition period in the early nineteenth century, which bore witness to fundamental shifts in the 'private' sphere of music-making, it explores the 'cultivation' of string quartets by composers, critics, listeners, performers, publishers and patrons. The book highlights these parties' interactions, ideas and ideals, which were central to defining the unique cultures of chamber music arising at this time. We gain fresh insights into publishing and marketing, performance venues and practices, review culture, listening theories and practices, and composition in early nineteenth-century Vienna. Until now, the unique theatricality of chamber music, and the 'social' nature of its discourse, has been poorly appreciated. Cultivating String Quartets in Beethoven's Vienna addresses this misconception and enriches our understanding of this crucial period of change, in which concert life began and previously 'private' music was moved out onto the stage. NANCY NOVEMBER is Associate Professor in Musicology at the University of Auckland.

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.

How does music heard and played over many years inform one's sense of home? In Distant Melodies, Edward Dusinberre, the English first violinist of the Takacs Quartet, explores changing ideas of home, exile and return in the lives and particular chamber works of four composers: Antonin Dvorak, Edward Elgar, Bela Bartok and Benjamin Britten. A resident of Boulder, Colorado for nearly three decades, Dusinberre discovers ways in which music may both accentuate and ameliorate homesickness, as he visits and imagines some of the places crucial to these composers' creative inspiration. Drawn to the storiesof Dvorak, Bartok and Britten's American sojourns as they try to reconcile their new surroundings with nostalgiafortheir homelands, Dusinberre looks at his own evolving relationship to England through the prism of Elgar's unusual Piano Quintet and the landscapes that inspired it. New aspects of familiar music reveal themselves under altered circumstances. In the forty-eight years since the Takacs Quartet was founded in Budapest, the ensemble has undergone several significant changes of personnel. During a concert tour in Hong Kong and a return to Budapest to perform in the same hall where Bartok gave his last concert in Hungary, Dusinberre examines how a piece of music may both reinforce roots and cross borders. When travel is forbidden, the ability of music to affirm home and transcend distance takes on extra significance. As the Takacs welcomes a new violist during the COVID-19 pandemic, Britten's string quartets shape the ensemble's experience of rehearsing at home. Combining travel writing with revealing and humorous insights into the working lives of string quartet musicians, Distant Melodies illuminates the relationship between music and home.

Music, Place, and Identity in Italian Urban Soundscapes circa 1550-1860 presents new perspectives on the role music played in the physical, cultural, and civic spaces of Italian cities from the sixteenth to the nineteenth century. Across thirteen chapters, contributors explore the complex connections between sound and space within these urban contexts, demonstrating how music and sound were intimately connected to changing social and political practices. The volume offers a critical redefinition of the core concept of soundscape, considering musical practices through the lenses of territory, space, representation, and identity, in five parts: Soundscape, Phonosphere, and Urban History Urban Soundscapes across Time Urban Soundscapes and Acoustic Communities Urban Soundscapes in Literary Sources Reconstructing Urban Soundscapes in the Digital Era Music, Place, and Identity in Italian Urban Soundscapes circa 1550-1860 reframes our understanding of Italian music history beyond models of patronage, investigating how sounds and musics have contributed to the construction of human identities and communities.

In this first comprehensive examination of the music of the most prolific Bach son, David Schulenberg offers new perspectives on the career, style, and originality of Carl Philipp Emanuel Bach. Of Bach's four sons who became composers, Carl Philipp Emanuel Bach (1714-88) was the most prolific, the most original, and the most influential both during and after his lifetime. This is the first comprehensive study of his music, examining not only the famous keyboard sonatas and concertos but also the songs, the chamber music, and the sacred works, many of which resurfaced only recently and have not previously been evaluated. A compositional biography,the book surveys C. P. E. Bach's extensive output of nearly a thousand works while tracing his musical development-from his student days at Leipzig and Frankfurt (Oder), through his nearly three decades as court musician to Prussian King Frederick "the Great," to his final twenty years as cantor and music director at Hamburg. David Schulenberg, author of important books on the music of J. S. Bach and his first son, W. F. Bach, here considers the legacy of the second son from a compelling new perspective. Focusing on C. P. E. Bach's compositional choices within his social and historical context, Schulenberg shows how C. P. E. Bach deliberately avoided his father's style whileborrowing from the manner of his Berlin colleagues, who were themselves inspired by Italian opera. Schulenberg also shows how C. P. E. Bach, now best known for his virtuoso keyboard works, responded to changing cultural and aesthetic trends by refashioning himself as a writer of vocal music and popular chamber compositions. Audio versions of the book's musical examples, as well as further examples and supplementary tables and texts, are available on a companion website. David Schulenberg is professor of music at Wagner College and teaches historical performance at the Juilliard School. He is the author of The Music of Wilhelm Friedemann Bach (University of Rochester Press, 2010).

Sergei Rachmaninoff experienced life-changing upheavals and competing inflection points of musical taste, traversing countries and continents as he pursued the triply-brilliant career of composer-conductor-virtuoso pianist. Born in tsarist Russia and raised as a nobleman in a well-educated musical family, Rachmaninoff led a bold lifestyle as a cutting-edge composer, admirer of the latest trends in art, and even aficionado of new developments in farm equipment for his beloved estate of Ivanovka. Wherever his concertizing took him, to glittering capitals all over the world, Rachmaninoff became a nexus for prominent musicians, writers, actors, and other personalities defining this era. Valeria Z. Nollan's biography of perhaps the finest pianist of the twentieth century plunges readers into Rachmaninoff's complex inner world. Sergei Rachmaninoff: Cross Rhythms of the Soul is the first biography of Rachmaninoff in English that presents him in the fullness of his Russian identity. As someone whose own life in Russian emigration ran in parallel ways to Rachmaninoff's own-and whose meetings with the composer's grandson in Switzerland informed her work-Nollan brings important cultural insights into her observations of the activities of this generation of creative artists. She also traces the intricacies of Rachmaninoff's relations with the women closest to him-whose imprints are palpable in his compositions-and introduces a mystery woman whose existence challenges our established narrative of his life.

Contains some of the most popular pieces ever written for guitar, including MalagueAa, El Testamento de Amelia, Lagrima and Recuerdos de la Alhambra. Helpful playing tips and plenty of fingerings are included, making this your ultimate source for Spanish guitar pieces. Every piece is written in standard music notation and easy-to-read tablature showing exactly where each note should be played on the guitar.

It was Carl Dahlhaus who coined the phrase 'dead time' to describe the state of the symphony between Schumann and Brahms. Christopher Fifield argues that many of the symphonies dismissed by Dahlhaus made worthy contributions to the genre. He traces the root of the problem further back to Beethoven's ninth symphony, a work which then proceeded to intimidate symphonists who followed in its composer's footsteps, including Schubert, Mendelssohn and Schumann. In 1824 Beethoven set a standard that then had to rise in response to more demanding expectations from both audiences and the musical press. Christopher Fifield, who has a conductor's intimacy with the repertory, looks in turn at the five decades between the mid-1820s and mid-1870s. He deals only with non-programmatic works, leaving the programme symphony to travel its own route to the symphonic poem. Composers who lead to Brahms (himself a reluctant symphonist until the age of 43 in 1876) are frequently dismissed as epigones of Beethoven, Mendelssohn and Schumann but by investigating their symphonies, Fifield reveals their respective brands of originality, even their own possible influence upon Brahms himself and in so doing, shines a light into a half-century of neglected nineteenth century German symphonic music.

This edition presents 65 diverse songs by major composers of German art song, or lieder, and is the perfect one-volume lieder source for voice students. All the songs are new Vocal Library editions. Historical notes about the relevant history and background of each song are included, as are line-by-line translations for study. A select committee of experienced voice teachers was consulted to choose the most essential and vocally instructive songs in compiling this collection. Composers represented: Beethoven, Brahms, Franz, Gustav Mahler, Alma Mahler, Fanny Hensel, Mendelssohn, Mozart, Schubert, Clara Schumann, Robert Schumann, Strauss, Wolf. Co-editor Dr. Virginia Saya, on the faculty of Loyola Marymount University, is a musicologist with a special interest in lieder. This collection includes the first American edition of Funf Ophelia Lieder by Brahms. 288 pages, sewn binding.

Examines the life and compositional oeuvre of prolific eighteenth century musician, composer, and singer Marianna Martines (1744-1813). Marianna Martines (1744-1813) was one of the most accomplished, prolific, and highly honored female musicians of the eighteenth century. She spent most of her life in a remarkable household that included celebrated librettist Pietro Metastasio, who supervised her education and remained a powerful and supportive mentor. She studied with the young Joseph Haydn, and Vienna knew her as a gifted, aristocratic singer and keyboard player who performed for the pleasure of the Empress Maria Theresa. The regular private concerts she held in her home attracted the presence and participation of some of Vienna's leading musicians; Mozart enjoyed playing keyboard duets with her. She composed prolifically and in a wide variety of genres, vocal and instrumental, writing church music, oratorios, Italian arias, sonatas, and concertos. Much of that music survives, and those who study it, perform it, and listen to it will be impressed today by its craftsmanship and beauty. This book, the first volume fully devoted to Martines, examines her life and compositional oeuvre. Based largely on eighteenth-century printed sources, archival documents, and letters [including several by Martines herself, most of them published here for the first time] the book presents a detailed picture of the small but fascinating world in which she lived and demonstrates the skillfulness and creativity with which she manipulated the conventions of the gallant style. Focusing on a limited number of representative works, and using many musical examples, it vividly conveys the nature and extent of her compositional achievementand encourages the future performance of her works. The late Irving Godt was Professor of Music at Indiana University of Pennsylvania. John A. Rice, independent scholar, is a member of the Akademie fur Mozart-Forschungin Salzburg.

The Sunday Times bestseller, revised and updated for the 250th anniversary of Beethoven's birth. ---- As heard throughout 2020 on Classic FM ---- You know the music... but do you know the man? ---- Ludwig van Beethoven is one of the world's best loved and most influential composers. His life - its dramas, conflicts, loves and losses - is played out in his music. ---- In this special edition to mark the 250th anniversary of Beethoven's birth - with a new section featuring his most celebrated pieces - John Suchet shows us the man behind the music. He reveals a difficult and complex character, struggling to continue his profession as musician despite increasing deafness, alienating friends with unprovoked outbursts of anger one moment, overwhelming them with excessive kindness and generosity the next, living in a city in almost constant disarray because of war with France. ---- This is the real Beethoven, and Suchet brings him faithfully and vividly to life. ---- This updated edition of Suchet's acclaimed biography contains new material, including a detailed guide to Beethoven's most important compositions, family tree and timeline.

Mozart was fascinated, amused, aroused, hurt, and betrayed by women. He loved and respected them, composed for them, performed with them. This unique biography looks at his interaction with each, starting with his family (his mother, Maria Anna and beloved and talented sister, Nannerl), and his marriage (which brought his 'other family', the Weber sisters). His relationships with his artists are examined, in particular those of his operas, through whose characters Mozart gave voice to the emotions of women who were, like his entire female acquaintance, restrained by the conventions and structures of eighteenth-century society. This is their story as well as his -- and shows once again that a great part of the composer's genius was in his understanding and musical expression of human nature. Evocative and beautifully written, Mozart's Women illuminates the music, the man, and above all the women who inspired him. 'Jane Glover has pulled off a coup des livres with her fresh take on Mozart's life and work' Sunday Telegraph 'Readable, informative and moving...Her passion for the music shines through this touching, vividly told story' Sunday Times

This book provides a practical introduction to researching and performing early Anglo-American secular music and dance with attention to their place in society. Supporting growing interest among scholars and performers spanning numerous disciplines, this book contributes quality new scholarship to spur further research on this overshadowed period of American music and dance. Organized in three parts, the chapters offer methodological and interpretative guidance and model varied approaches to contemporary scholarship. The first part introduces important bibliographic tools and models their use in focused examinations of individual objects of material musical culture. The second part illustrates methods of situating dance and its music in early American society as relevant to scholars working in multiple disciplines. The third part examines contemporary performance of early American music and dance from three distinct perspectives ranging from ethnomusicological fieldwork and phenomenology to the theatrical stage. Dedicated to scholar Kate Van Winkle Keller, this volume builds on her legacy of foundational contributions to the study of early American secular music, dance, and society. It provides an essential resource for all those researching and performing music and dance from the revolutionary era through the early nineteenth century.

Schubert's Workshop offers a fresh study of the composer's compositional technique and its development, rooted in the author's experience of realising performing versions of Franz Schubert's unfinished works. Through close examination of Schubert's use of technical and structural devices, Brian Newbould demonstrates that Schubert was much more technically innovative than has been supposed, and argues that the composer's technical discoveries constitute a rich legacy of specific influences on later composers. Providing rich new insights into the creative practice of one of the major figures of classical music, this two-volume study reframes our understanding of Schubert as an innovator who constantly pushed at the frontiers of style and expression.

A Guide to the Musical Works of Johannes Brahms

The 1997 centennial of Brahms's death has intensified interest among concertgoers and music lovers in the composer's prodigious body of work. For all those eager to delve more deeply into Brahms's music, The Compleat Brahms is an indispensable companion. In a single volume that covers every work written by Brahms, leading scholars from across the country provide details of each work's composition and discuss its important stylistic features. Interspersed are fascinating essays — such as "Brahms, Joachim, and the Schumanns" — that bring the composer and his contemporaries to life. Much more than a collection of program notes, The Compleat Brahms vividly portrays the work and world of one of the giants of Western music history.

Opera Outside the Box: Notions of Opera in Nineteenth-Century Britain addresses operatic "experiences" outside the opera houses of Britain during the nineteenth century. The essays adopt a variety of perspectives exploring the processes through which opera and ideas about opera were cultivated and disseminated, by examining opera-related matters in publication and performance, in both musical and non-musical genres, outside the traditional approaches to transmission of operatic works and associated concepts. As a group, they exemplify the broad array of questions to be grappled with in seeking to identify commonalities that might shed light in new and imaginative ways on the experiences and manifestations of opera and notions of opera in Victorian Britain. In unpacking the significance, relevance, uses, and impacts of opera within British society, the collection seeks to enhance understanding of a few of the manifold ways in which the population learned about and experienced opera, how audiences and the broader public understood the genre and the aesthetics surrounding it, how familiarity with opera played out in British culture, and how British customs, values, and principles affected the genre of opera and perceptions of it.