In 1829 Goethe famously described the string quartet as 'a conversation among four intelligent people'. Inspired by this metaphor, Edward Klorman's study draws on a wide variety of documentary and iconographic sources to explore Mozart's chamber works as 'the music of friends'. Illuminating the meanings and historical foundations of comparisons between chamber music and social interplay, Klorman infuses the analysis of sonata form and phrase rhythm with a performer's sensibility. He develops a new analytical method called multiple agency that interprets the various players within an ensemble as participants in stylized social intercourse - characters capable of surprising, seducing, outwitting, and even deceiving one another musically. This book is accompanied by online resources that include original recordings performed by the author and other musicians, as well as video analyses that invite the reader to experience the interplay in time, as if from within the ensemble.

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.

Why couldn't Schubert get his 'great' C-Major Symphony performed? Why was he the first composer to consistently write four movements for his piano sonatas? Since neither Schubert's nor Beethoven's piano sonatas were ever performed in public, who did hear them? Addressing these questions and many others, John M. Gingerich provides a new understanding of Schubert's career and his relationship to Beethoven. Placing the genres of string quartet, symphony, and piano sonata within the cultural context of the 1820s, the book examines how Schubert was building on Beethoven's legacy. Gingerich brings new understandings of how Schubert tried to shape his career to bear on new hermeneutic readings of the works from 1824 to 1828 that share musical and extra-musical pre-occupations, centering on the 'Death and the Maiden' Quartet and the Cello Quintet, as well as on analyses of the A-minor Quartet, the Octet, and of the 'great' C-Major Symphony.

(Music Sales America). An exciting collection of classical tunes arranged for Grade 2-3 cellists to enjoy. There are simple piano accompaniments and the CD contains inspiring demonstration and play-along backing tracks. Contents: First Movement Rondo from Piano Concerto No. 4 (Beethoven) * Andante from Symphony No. 94 (Haydn) * Ave Maria (J.S. Bach/Gounod) * Finale from Symphony No. 1 (Brahms) * Gymnopedie No. 1 (Satie) * Hallelujah Chorus from Messiah (Handel) * Minuet from the Notebook of Anna Magdalena Bach (J.S. Bach) * Minuet from Eine Kleine Nachtmusik (Mozart) * Ode to Joy from Symphony No. 9 (Beethoven) * Pieds-en-l'air from Capriol Suite (Warlock) * To a Wild Rose from Woodland Sketches Op. 51 (Macdowell) * Trumpet Tune (Purcell).

The description for this book, Thayer's Life of Beethoven, Part I, will be forthcoming.

Discoveries from the Fortepiano meets the demand for a manual on authentic Classical piano performance practice that is at once accessible to the performer and accurate to the scholarship. Uncovering a wide range of eighteenth-century primary sources, noted keyboard pedagogue Donna Gunn examines contemporary philosophical beliefs and principles surrounding Classical Era performance practices. Gunn introduces the reader to the Viennese fortepiano and compares its sonic and technical capabilities to the modern piano. In doing so, she demonstrates how understanding Classical fortepiano performance aesthetics can influence contemporary pianists, paying particular focus to technique, dynamics, articulation, rhythm, ornamentation, and pedaling. The book is complete with over 100 music examples that illustrate concepts, as well as sample model lessons that demonstrate the application of Gunn's historically informed style on the modern piano. Each example is available on the book's companion website and is given three recordings: the first, a modern interpretation of the passage on a modern piano; the second, a fortepiano interpretation; and the third, a historically informed performance on a modern piano. With its in-depth yet succinct explanations and examples of the Viennese five-octave fortepiano and the nuances of Classical interpretation and ornamentation, Discoveries from the Fortepiano is an indispensable educational aid to any pianist who seeks an academically and artistically sound approach to the performance of Classical works.

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. In Beethoven'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.

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. In Beethoven'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.

Arguably one of the most influential and revered figures in contemporary music theory, David Lewin (1933-2003) revolutionized the field through his work on transformational theory and theoretical methodology. David Lewin's Morgengruss: Text, Context, Commentary presents in print for the first time Lewin's legendary 1974 essay on Franz Schubert's "Morgengruss," from the composer's song cycle, Die Schoene Mullerin. The essay was central to Lewin's graduate teaching, and copies of it have circulated by hand through the music-scholarly community for decades. This book presents the original text of Lewin's essay along with over 200 graphical illustrations. Lewin's ability to present an artful and rich argument, based on a close reading of a short, "simple" score is but one of the wonders to behold in his masterful essay. At once deeply nuanced and widely accessible, Lewin's "Morgengruss" offers insight into Schubert's composition as well as the analytical process itself. Along with the full text of Lewin's essay, this book includes a small but pointed collection of essays interpreting the content and significance of Lewin's "Morgengruss." Drawing on current research as well as personal reflection, editors Richard Cohn and David Bard-Schwarz, along with contributors Brian Kane and Henry Klumpenhouwer, elaborate on the analytical, pedagogical, and philosophical contexts of Lewin's work. Taken together, the editors and contributors offer a compelling account of the enduring significance of Lewin's writing. David Lewin's Morgengruss is a must-have for anyone with an interest in Lewin's career, Schubert's music, or music theory generally.

Mozart is perhaps the greatest composer who ever lived. His music, like Shakespeare's prose, expresses every facet of the human condition, and transcends time and place. This new title in the blockbuster "Treasures" series pays tribute to Mozart's musical brilliance, covering his entire life and major works in a series of lavish spreads. Follow Mozart as he takes his first steps as a composer, tours Europe as a child genius, struggles to reconcile his artistic vision with his patrons' demands, and achieves fame but not fortune--tragically dying at only 35 years of age in abject poverty. Learn, also, about his encounter with Haydn, connection with the Masons, and marvelous operas: "The Marriage of Figaro," "Don Giovanni," " Cosi fan tutte," and "The Magic Flute."Boxed sidebars and facsimile documents complete the exquisite slipcased package, which comes complete with a CD of Mozart's most enchanting pieces. FACSIMILE DOCUMENTS INCLUDE: - Original scores - Letters to friends and family, including those from Mozart telling his father and sister of his mother's death- Concert posters- Concert programs- Reviews and criticisms

Most histories of nineteenth-century music portray 'the people' merely as an audience, a passive spectator to the music performed around it. Yet, in this reappraisal of choral singing and public culture, Minor shows how a burgeoning German bourgeoisie sang of its own collective aspirations, mediated through the voice of celebrity composers. As both performer and idealized community, the chorus embodied the possibilities and limitations of a participatory, national identity. Starting with the many public festivals at which the chorus was a featured participant, Minor's account of the music written for these occasions breaks new ground not only by taking seriously these often-neglected works, but also by showing how the contested ideals of German nationhood suffused the music itself. In situating both music and festive culture within the milieu of German bourgeois liberals, this study uncovers new connections between music and politics during a century that sought to redefine both spheres.

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.

Internationally renowned scholars and performers present a wide range of new analytical, historical and critical perspectives on some of Mozart's most popular chamber music: his sonatas with violin, keyboard trios and quartets and the quintet with wind instruments. The chapters trace a broad chronology, from the childhood works, to the Mannheim and Paris sonatas with keyboard and violin, and the mature compositions from his Vienna years. Drawing upon the most recent research, this study serves the reader, be they a performer, listener or scholar, with a collection of writings that demonstrate the composer's innovative developments to generic archetypes and which explore and assess Mozart's creative response to the opportunities afforded by new and diverse instrumental combinations. Manners of performance of this music far removed from our own are revealed, with concluding chapters considering historically informed practice and the challenges for modern performers and audiences.

Presenting a fresh interpretation of Mozart's Requiem, Simon P. Keefe redresses a longstanding scholarly imbalance whereby narrow consideration of the text of this famously incomplete work has taken precedence over consideration of context in the widest sense. Keefe details the reception of the Requiem legend in general writings, fiction, theatre and film, as well as discussing criticism, scholarship and performance. Evaluation of Mozart's work on the Requiem turns attention to the autograph score, the document in which myths and musical realities collide. Franz Xaver Sussmayr's completion (1791-2) is also re-appraised and the ideological underpinnings of modern completions assessed. Overall, the book affirms that Mozart's Requiem, fascinating for interacting musical, biographical, circumstantial and psychological reasons, cannot be fully appreciated by studying only Mozart's activities. Broad-ranging hermeneutic approaches to the work, moreover, supersede traditionally limited discursive confines.

Georg Philipp Telemann gave us one of the richest legacies of instrumental music from the eighteenth century. Though considered a definitive contribution to the genre during his lifetime, his concertos, sonatas, and suites were then virtually ignored for nearly two centuries following his death. Yet these works are now among the most popular in the baroque repertory. In Music for a Mixed Taste, Steven Zohn considers Telemann's music from stylistic, generic, and cultural perspectives. He investigates the composer's cosmopolitan "mixed taste"-a blending of the French, Italian, English, and Polish national styles-and his imaginative expansion of this concept to embrace mixtures of the old (late baroque) and new (galant) styles. Telemann had an equally remarkable penchant for generic amalgamation, exemplified by his pioneering role in developing hybrid types such as the sonata in concerto style ("Sonate auf Concertenart") and overture-suite with solo instrument ("Concert en ouverture"). Zohn examines the extramusical meanings of Telemann's "characteristic" overture-suites, which bear descriptive texts associating them with literature, medicine, politics, religion, and the natural world, and which acted as vehicles for the composer's keen sense of musical humor. Zohn then explores Telemann's unprecedented self-publishing enterprise at Hamburg, and sheds light on the previously unrecognized borrowing by J.S. Bach from a Telemann concerto. Music for a Mixed Taste further reveals how Telemann's style polonaise generates musical and social meanings through the timeless oppositions of Orient-Occident, urban-rural, and serious-comic.

Historians of French politics, art, philosophy and literature have long known the tensions and fascinations of Louis XV's reign, the 1750s in particular. David Charlton's study comprehensively re-examines this period, from Rameau to Gluck and elucidates the long-term issues surrounding opera. Taking Rousseau's Le Devin du Village as one narrative centrepiece, Charlton investigates this opera's origins and influences in the 1740s and goes on to use past and present research to create a new structural model that explains the elements of reform in Gluck's tragedies for Paris. Charlton's book opens many new perspectives on the musical practices and politics of the period, including the Querelle des Bouffons. It gives the first detailed account of intermezzi and opere buffe performed by Eustachio Bambini's troupe at the Paris Opera from August 1752 to February 1754 and discusses Rameau's comedies Platee and Les Paladins and their origins.

Program music was one of the most flexible and contentious novelties of the long nineteenth century, covering a diverse range that included the overtures of Beethoven and Mendelssohn, the literary music of Berlioz and Schumann, Liszt's symphonic poems, the tone poems of Strauss and Sibelius, and compositions by groups of composers in Russia, Bohemia, the United States, and France. In this accessible Introduction, Jonathan Kregor explores program music's ideas and repertoire, discussing both well-known and less familiar pieces by an array of nineteenth- and twentieth-century composers. Setting program music in the context of the intellectual debates of the period, Kregor presents the criticism of writers like A. B. Marx and Hanslick to reveal program music's growth, dissemination, and reception. This comprehensive overview features numerous illustrations and music examples and provides detailed case studies of battle music, Shakespeare settings, and Goethe's Faust.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Letters To Wesendonck Et Al reprint Richard Wagner William Ashton Ellis G. Richards, 1899 Music; Genres & Styles; Opera; Music / Genres & Styles / Opera

Richard Wagner (1813-83) grew up in Dresden and served as Kapellmeister to King Frederick Augustus II of Saxony there from 1843 until he was forced to flee the country after the 1849 uprising. His operas Rienzi and Der fliegende Hollander received their first performances at the Dresden Court Theatre. During his time in the city, Wagner became firm friends with the composer and violinist Theodor Uhlig, the stage manager and chorus master Wilhelm Fischer, and the comedian and costume designer Ferdinand Heine. This collection of letters from the composer to his three great friends covers the period 1841-68. First published in 1888, the letters are reissued here in the 1890 English translation by the pianist and Beethoven scholar John South Shedlock (1843-1919). They offer an intimate and compelling insight into Wagner's personal and professional life and his forthright views on many contemporary musicians and public figures.

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1899 edition. Excerpt: ... As late as February 10--three days before her husband's death--Frau Wagner wrote me without any apprehension of a crisis. I had expressed a hope that the master would return through the Gothard, so as to visit me at Mannheim. It fell out otherwise. His homeward road was taken, as a corpse, over the Brenner again to his beloved German Bayreuth. If I abstained from depicting the profound impressions made upon me by the Festspiels, with still more justice may I withhold my feelings at the news of the great master's death, my sensations at his solemn burial in Bayreuth. Here, as so often in life, applies that deeply earnest word from the first act of Parsifal: -- "That ne'er is told."-- * * * Frau Wagner's condition remained so precarious for a long time after the master's death, that it was impossible for her to take any personal part in the festival of 1883. The sense of mourning was universal. How quiet every movement On the stage, what an earnest hush among the audience when it took its customary promenade before the playhouse in the entr'actes. The thought of the departed master was manifest on every face. Scaria undertook the stage-management. Every effort was directed to preserving the master's intentions down to the smallest detail. Remarks and observations of witnesses of the 1882 and 1883 performances, alike executants and spectators, were collected in a volume to be kept at Wahnfried. Forty pages here record those notes on the master's own rendering, and subsequent deviations, all tabulated under act and person. This chronicle has proved of the greatest service for retention of the original character of the performances. The Verwaltungsrath, reinforced by Friedrich Schon as administrator of the "Richard Wagner Stipendiary - fund, ..".

William Ashton Ellis (1852-1919) abandoned his medical career in order to devote himself to his Wagner studies. Best known for his translations of Wagner's prose works and of Carl Friedrich Glasenapp's multi-volume biography of the composer, Ellis published in 1911 this English translation of Wagner's Familienbriefe, spanning the years 1832-74. An inveterate letter writer, Wagner was the youngest-but-one of ten children and Ellis describes the character of these letters to his sisters, his mother, his brother-in-law and his nieces as a reflection of the composer in the 'driest and most neutral of lights', claiming that within the family it is impossible to be pretentious. An appendix by Glasenapp, giving brief biographical details of family members, is also included. Despite the stylistic idiosyncrasies of the translations, these letters remain of importance, capturing something of the tone of Wagner's prose style and shedding light on his extraordinary life.

Violinist and conductor Anton Schindler (1795-1864) became Beethoven's unpaid private secretary for two periods in the 1820s, notably caring for the composer in his last months. Schindler published his biography of Beethoven in 1840, and in 1841 this English translation appeared, with a preface and additional letters provided by the pianist Ignaz Moscheles (1794-1870), who in 1814 had prepared the piano version of Fidelio for publication by Artaria. That the biography is unreliable has long been recognised, as it presents Schindler's idealised, romantic view of Beethoven, whom he revered, and contains inaccuracies and fabrications uncovered by later research. While the work must therefore be approached with care, it remains nonetheless an important source of first-hand information through its use of documents unavailable to other early biographers. Volume 2 covers the period 1824-7, and includes Schindler's observations on Beethoven's music and character.

Violinist and conductor Anton Schindler (1795-1864) became Beethoven's unpaid private secretary for two periods in the 1820s, notably caring for the composer in his last months. Schindler published his biography of Beethoven in 1840, and in 1841 this English translation appeared, with a preface and additional letters provided by the pianist Ignaz Moscheles (1794-1870), who in 1814 had prepared the piano version of Fidelio for publication by Artaria. That the biography is unreliable has long been recognised, as it presents Schindler's idealised, romantic view of Beethoven, whom he revered, and contains inaccuracies and fabrications uncovered by later research. While the work must therefore be approached with care, it remains nonetheless an important source of first-hand information through its use of documents unavailable to other early biographers. Volume 1 covers Beethoven's life to the completion of the Ninth Symphony in 1824.