To be successful, a musician often has to be an entrepreneur: someone who starts a performing venue, develops patrons, and promotes the project aggressively. Accomplishing this requires musicians to acquire social and business skills and to be highly opportunistic in what they do. In The Musician as Entrepreneur, 1700 1914, international scholars investigate cases of musical entrepreneurship between around 1700 and 1914 in Britain, France, Germany, and the United States. By uncovering the ways in which musicians such as Telemann, Beethoven, Paganini, and Liszt conducted their daily business, the authors reveal how musicians reshaped the frameworks of musical culture and, in the process, the nature of the music itself."

This book challenges the assumption that Franz Schubert (1797-1828), best known for the lyricism of his songs, symphonies and chamber music, lacked comparable talent for drama. It is commonly assumed that Franz Schubert (1797-1828), best known for the lyricism of his songs, symphonies, and chamber music, lacked comparable talent for drama. Challenging this view, Drama in the Music of Franz Schubert provides a timely re-evaluation of Schubert's operatic works, while demonstrating previously unsuspected locations of dramatic innovation in his vocal and instrumental music. The volume draws on a range of critical approaches and techniques, including semiotics, topic theory, literary criticism, narratology, and Schenkerian analysis, to situate Schubertian drama within its musical and cultural-historical context. In so doing, the study broadens the boundaries of what might be considered 'dramatic' within the composer's music and offers new perspectives for its analysis and interpretation. Drama in the Music of Franz Schubert will be of interest to musicologists, music theorists, composers, and performers, as well as scholars working in cultural studies, theatre, and aesthetics. JOE DAVIES is College Lecturer in Music at Lady Margaret Hall, University of Oxford. JAMES WILLIAM SOBASKIE is Associate Professor of Music at Mississippi State University. Contributors: Brian Black, Lorraine Byrne Bodley, Joe Davies, Xavier Hascher, Marjorie Hirsch, Anne Hyland, Christine Martin, Clive McClelland, James William Sobaskie, Lauri Suurpaa, Laura Tunbridge, Susan Wollenberg, Susan Youens

- Emphasis on hearing musical forms is pedagogically effective and unique among form textbooks - Offers a complete course package, with workbook pages included in the Textbook, while the accompanying Anthology makes full scores of pieces covered in the book easily available - Offers clear and accessible explanations that are up to date with current scholarship

An outstanding anthology in which notable musicians, artists, scientists, thinkers, poets, and more-from Gustavo Dudamel and Carrie Mae Weems to Ruth Bader Ginsburg and Paul Muldoon-explore the influence of music on their lives and work Contributors include: Laurie Anderson Jamie Barton Daphne A. Brooks Edgar Choueiri Jeff Dolven Gustavo Dudamel Edward Dusinberre Corinna da Fonseca-Wollheim Frank Gehry James Ginsburg Ruth Bader Ginsburg Jane Hirshfield Pico Iyer Alexander Kluge Nathaniel Mackey Maureen N. McLane Alicia Hall Moran Jason Moran Paul Muldoon Elaine Pagels Robert Pinsky Richard Powers Brian Seibert Arnold Steinhardt Susan Stewart Abigail Washburn Carrie Mae Weems Susan Wheeler C. K. Williams Wu Fei What happens when extraordinary creative spirits-musicians, poets, critics, and scholars, as well as an architect, a visual artist, a filmmaker, a scientist, and a legendary Supreme Court justice-are asked to reflect on their favorite music? The result is Ways of Hearing, a diverse collection that explores the ways music shapes us and our shared culture. These acts of musical witness bear fruit through personal essays, conversations and interviews, improvisatory meditations, poetry, and visual art. They sound the depths of a remarkable range of musical genres, including opera, jazz, bluegrass, and concert music both classical and contemporary. This expansive volume spans styles and subjects, including Pico Iyer's meditations on Handel, Arnold Steinhardt's thoughts on Beethoven's Grosse Fuge, and Laurie Anderson and Edgar Choueiri's manifesto for spatial music. Richard Powers discusses the one thing about music he's never told anyone, Daphne Brooks draws sonic connections between Toni Morrison and Cecile McLorin Salvant, and Ruth Bader Ginsburg reveals what she thinks is the sexiest duet in opera. Poems interspersed throughout further expand how we can imagine and respond to music. Ways of Hearing is a book for our times that celebrates the infinite ways music enhances our lives.

Text in Danish with an introduction in German. The Lumbye-catalogue is a catalogue of printed ballet and dance compositions by the Danish composer H C Lumbye. It provides us with a chronological survey of his printed works including a detailed index. The works were performed by Tivoli's orchestra which he conducted from its establishment in 1843. Co-published by The Royal Library in Copenhagen and Museum Tusculanum Press.

Elements of Sonata Theory is a comprehensive, richly detailed rethinking of the basic principles of sonata form in the decades around 1800. This foundational study draws upon the joint strengths of current music history and music theory to outline a new, up-to-date paradigm for understanding the compositional choices found in the instrumental works of Haydn, Mozart, Beethoven, and their contemporaries: sonatas, chamber music, symphonies, overtures, and concertos. In so doing, it also lays out the indispensable groundwork for anyone wishing to confront the later adaptations and deformations of these basic structures in the nineteenth and earlier twentieth centuries.
Combining insightful music analysis, contemporary genre theory, and provocative hermeneutic turns, the book brims over with original ideas, bold and fresh ways of awakening the potential meanings within a familiar musical repertory. Sonata Theory grasps individual compositions-and each of the individual moments within them-as creative dialogues with an implicit conceptual background of flexible, ever-changing historical norms and patterns. These norms may be recreated as constellations "compositional defaults," any of which, however, may be stretched, strained, or overridden altogether for individualized structural or expressive purposes. This book maps out the terrain of that conceptual background, against which what actually happens-or does not happen-in any given piece may be assessed and measured.
The Elements guides the reader through the standard (and less-than-standard) formatting possibilities within each compositional space in sonata form, while also emphasizing the fundamental role played by processes of large-scale circularity, or "rotation," in the crucially important ordering of musical modules over an entire movement. The book also illuminates new ways of understanding codas and introductions, of confronting the generating processes of minor-mode sonatas, and of grasping the arcs of multimovement cycles as wholes. Its final chapters provide individual studies of alternative sonata types, including "binary" sonata structures, sonata-rondos, and the "first-movement form" of Mozart's concertos.

In the nineteenth century, copyright law expanded to include performances of theatrical and musical works. These laws transformed how people made and consumed performances. Exploring precedent-setting litigation on both sides of the Atlantic, this book traces how courts developed definitions of theater and music to suit new performance rights laws. From Gilbert and Sullivan battling to protect The Mikado to Augustin Daly petitioning to control his spectacular 'railroad scene', artists worked with courts to refine vague legal language into clear, functional theories of drama, music, and performance. Through cases that ensnared figures including Lord Byron, Laura Keene, and Dion Boucicault, this book discovers how the law theorized central aspects of performance including embodiment, affect, audience response, and the relationship between scripts and performances. This history reveals how the advent of performance rights reshaped how we value performance both as an artistic medium and as property.

Following his much-acclaimed The Baroque Clarinet and The Clarinet in the Classical Period, Albert R. Rice now turns his signature detailed attention to large clarinets - the clarinet d'amour, the basset horn, the alto clarinet, bass and contra bass clarinets.
Each chapter is devoted to a specific instrument, and offers a fascinating insider's look at its defining characteristics, a comprehensive history of its evolution, meticulously-researched information on its makers and aspects of construction, and a thorough discussion of its music. Rice illustrates how the introduction of large clarinets into chamber ensembles, wind bands, and opera orchestras was the result of experiments meant to address specific musical needs. Along the way, he brings to life the musicians, virtuosi, soloists, and orchestral and band musicians, as well as the instruments' makers and the composers from J. C. Bach to Smetana who wrote for them.
Based on careful study of primary sources - musical compositions, patents, memoirs and diaries, and unfettered access to historical instruments themselves--Rice's expert presentation is nothing short of exhaustive. From the Clarinet d'Amour to the Contrabass will engage all who love the clarinet and its music.

Music in the Galant Style is an authoritative and readily understandable study of the core compositional style of the eighteenth century. Gjerdingen adopts a unique approach, based on a massive but little-known corpus of pedagogical workbooks used by the most influential teachers of the century, the Italian partimenti. He has brought this vital repository of compositional methods into confrontation with a set of schemata distilled from an enormous body of eighteenth-century music, much of it known only to specialists, formative of the "galant style."

This collection, edited by Dr. Hans Bischoff, consists of the Six Little Preludes, BWV 933-938, along with twelve preludes taken from The Little Piano Book (Clavierbuchlein) of Wilhelm Friedemann Bach. Also included is an outstanding CD recording from the Alfred library. Titles: Prelude No. 1 in C Major (BWV 933) * Prelude No. 2 in C Minor (BWV 934) * Prelude No. 3 in D Minor (BWV 935) * Prelude No.4 in D Major (BWV 936) * Prelude No. 5 in E Major (BWV 937) * Prelude No. 6 in E Minor (BWV 938) * Prelude No. 7 in C Major * Prelude No. 8 in C Major * Prelude No. 9 in C Minor * Prelude No. 10 in D Major * Prelude No. 11 in D Minor * Prelude No. 12 in D Minor * Prelude No. 13 in E Minor * Prelude No. 14 in F Major * Prelude No. 15 in F Major * Prelude No. 16 in G Minor * Prelude No. 17 in G Minor * Prelude No. 18 in A Minor.

The eighteenth century arguably boasts a more remarkable group of significant musical figures, and a more engaging combination of genres, styles and aesthetic orientations, than any century before or since, yet huge swathes of its musical activity remain under-appreciated. The Cambridge History of Eighteenth-Century Music provides a comprehensive survey, examining little-known repertories, works and musical trends alongside more familiar ones. Rather than relying on temporal, periodic and composer-related phenomena to structure the volume, it is organised by genre; chapters are grouped according to the traditional distinctions of music for the church, music for the theatre and music for the concert room that conditioned so much thinking, activity and output in the eighteenth century. A valuable summation of current research in this area, the volume also encourages readers to think of eighteenth-century music less in terms of overtly teleological developments than of interacting and mutually stimulating musical cultures and practices.

Joseph Haydn's symphonies and string quartets are staples of the concert repertory, yet many aspects of this founding genius of the Viennese Classical style are only beginning to be explored. From local Kapellmeister to international icon, Haydn achieved success by developing a musical language aimed at both the connoisseurs and amateurs of the emerging musical public. In this volume, the first collection of essays in English devoted to this composer, a group of leading musicologists examines Haydn's works in relation to the aesthetic and cultural crosscurrents of his time.

"Haydn and His World" opens with an examination of the contexts of the composer's late oratorios: James Webster connects the "Creation" with the sublime--the eighteenth-century term for artistic experience of overwhelming power--and Leon Botstein explores the reception of Haydn's "Seasons" in terms of the changing views of programmatic music in the nineteenth century. Essays on Haydn's instrumental music include Mary Hunter on London chamber music as models of private and public performance, fortepianist Tom Beghin on rhetorical aspects of the Piano Sonata in D Major, XVI:42, Mark Evan Bonds on the real meaning behind contemporary comparisons of symphonies to the Pindaric ode, and Elaine R. Sisman on Haydn's Shakespeare, Haydn as Shakespeare, and "originality." Finally, Rebecca Green draws on primary sources to place one of Haydn's Goldoni operas at the center of the Eszterhaza operatic culture of the 1770s.

The book also includes two extensive late-eighteenth-century discussions, translated into English for the first time, of music and musicians in Haydn's milieu, as well as a fascinating reconstruction of the contents of Haydn's library, which shows him fully conversant with the intellectual and artistic trends of the era."

The Entrepreneurial Muse: Inspiring your career in classical music explores principles of entrepreneurship in a classical music setting, inspiring students, emerging professionals, and educators alike to gain the broader perspective and strategic understanding required to negotiate the complex and ever-changing landscape of a professional music career. The author's own career journey creates an additional narrative intended to inspire a broader and more creative view of career possibilities. Readers will acquire strategic and observational tools designed to expand their view of possible career paths, stimulate creative thinking about how their unique skills can find value in the 21st-century marketplace, and realize their goals through the entrepreneurial process. And because entrepreneurship is itself a creative endeavor, readers will learn how entrepreneurship and artistic integrity can not only peacefully coexist, but actually nurture and inspire each other. The Entrepreneurial Muse explains and illustrates a new approach to developing and maintaining a career in classical music, and to supplement, not replace, traditional music career development texts. The Entrepreneurial Muse inspires readers' creative imaginations and gives them practical tools to help realize a personally authentic career that is sustainable, fulfilling, and impactful.

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.

Mozart's comic operas are among the masterworks of Western civilization, and yet the musical environment in which Mozart and his librettist Lorenzo da Ponte wrote these now-popular operas has received little critical attention. In this richly detailed book, Mary Hunter offers a sweeping, synthetic view of opera buffa in the lively theatrical world of late-eighteenth-century Vienna. Opera buffa (Italian-language comic opera) persistently entertained audiences at a time when Joseph was striving for a German national theater. Hunter attributes opera buffa's success to its ability to provide "sheer" pleasure and hence explores how the genre functioned as entertainment. She argues that opera buffa, like mainstream film today, projects a social world both recognizable and distinct from reality. It raises important issues while containing them in the "merely entertaining" frame of the occasion, as well as presenting them as a series of easily identifiable dramatic and musical conventions.

Exploring nearly eighty comic operas, Hunter shows how the arias and ensembles convey a multifaceted picture of the repertory's social values and habits. In a concluding chapter, she discusses "Cos" fan tutte" as a work profoundly concerned with the conventions of its repertory and with the larger idea of convention itself and reveals the ways Mozart and da Ponte pointedly converse with their immediate contemporaries.

In November 1990 the Handel Institute held its first Triennial Conference, whose subject, `Handel Collections and their History', reflects the great importance for Handel scholarship of the many collections of manuscript copies of his works which were assembled during and after his lifetime by friends and admirers of the man and his music. these collections, mostly written by the composer's own copyists, provide fascinating insights into the compositional history and chronology of his works and their later modification for performance or for subsequent revival; and much can be learnt about Handel's working methods. An international panel of distinguished Handel scholars was assembled for the Conference, and their papers, gathered together in this book, are at once a testimony to the extent and depth of modern Handel scholarship, and a major contribution to our knowledge of one of music's greatest masters.

The premier of Beethoven's Ninth Symphony in Vienna on May 7, 1824, was the most significant artistic event of the year--and the work remains one of the most precedent-shattering and influential compositions in the history of music. Described in vibrant detail by eminent musicologist Harvey Sachs, this symbol of freedom and joy was so unorthodox that it amazed and confused listeners at its unveiling--yet it became a standard for subsequent generations of creative artists, and its composer came to embody the Romantic cult of genius. In this unconventional, provocative book, Beethoven's masterwork becomes a prism through which we may view the politics, aesthetics, and overall climate of the era. Part biography, part history, part memoir, "The Ninth" brilliantly explores the intricacies of Beethoven's last symphony--how it brought forth the power of the individual while celebrating the collective spirit of humanity.

Focusing on music written in the period 1800 1850, Thinking about Harmony traces the responses of observant musicians to the music that was being created in their midst by composers including Beethoven, Schubert, and Chopin. It tells the story of how a separate branch of musical activity - music analysis - evolved out of the desire to make sense of the music, essential both to its enlightened performance and to its appreciation. The book integrates two distinct areas of musical inquiry - the history of music theory and music analysis - and the various notions that shape harmonic theory are put to the test through practical application, creating a unique and intriguing synthesis. Aided by an extensive compilation of carefully selected and clearly annotated music examples, readers can explore a panoramic projection of the era's analytical responses to harmony, thereby developing a more intimate rapport with the period.

Wolfgang Amadeus Mozart is one of the great icons of Western music. An amazing prodigy who toured the capitals of Europe as a child, astonishing royalty and professional musicians with his precocious skills, in his adulthood he wrote some of the finest music in the European tradition. Julian Rushton offers a concise and up-to-date biography of this musical genius, combining a well-researched life of the composer with an introduction to the works-symphonic, chamber, sacred, and theatrical-of one of the few who have composed undisputed masterpieces in every genre of his time. Rushton presents a vivid portrait, ranging from Mozart the Wunderkind-travelling with his family from Salzburg to Vienna, Paris, London, Rome, and Milan-to the mature composer of perennially fascinating operas such as "The Marriage of Figaro," "Don Giovanni," and "The Magic Flute." During the past half-century, scholars have thoroughly explored Mozart's life and music, offering new interpretations based on their historical context, and providing a factual basis for confirming or more often debunking, fanciful accounts of the man and his work. Rushton takes full advantage of these biographical and musical studies as well as the definitive New Mozart Edition to provide an accurate account of Mozart's life and, equally important, an insightful look at the music itself, complete with illustrative musical examples. An engaging biography for general readers that will also be an informative resource for scholars, this new addition to the prestigious Master Musicians series puts forward an authoritative interpretation of one of the defining figures of European culture. "Crisp, learned." -Alex Ross, The New Yorker "The finest short biography of Mozart that I know-incisive, insightful, and elegantly written. If I had to recommend one book that explained the man and his music, this would be it." -Cliff Eisen, Department of Music, King's College London "Always sensitive, judicious, and stimulating. It is too short-not too short for Mozart but for Rushton, who has certainly much more to say that would be of interest." -Charles Rosen, The New York Review of Books "A valuable addition to the ever-growing literature on Mozart." -Library Journal

No artist's achievement connects more directly with early experience than that of Berlioz. David Cairns draws on a wealth of family papers to recreate in authentic and intimate detail the provincial milieu of Berlioz's boyhood, showing how the son of a village doctor was already transforming himself into the composer of the Fantastic Symphony. Berlioz's desperate attempts to win his father's approval for his vocation, his struggles to establish himself on the Parisian musical scene, and his passionate pursuit of love are all brought vividly to life in this first volume of David Cairn's award-winning biography.

It is a common article of faith that Mozart composed the most beautiful music we can know. But few of us ask why. Why does the beautiful in Mozart stand apart, as though untouched by human hands? At the same time, why does it inspire intimacy rather than distant admiration, love rather than awe? And how does Mozart's music create and sustain its buoyant and ever-renewable effects? In Mozart's Grace, Scott Burnham probes a treasury of passages from many different genres of Mozart's music, listening always for the qualities of Mozartean beauty: beauty held in suspension; beauty placed in motion; beauty as the uncanny threshold of another dimension, whether inwardly profound or outwardly transcendent; and beauty as a time-stopping, weightless suffusion that comes on like an act of grace. Throughout the book, Burnham engages musical issues such as sonority, texture, line, harmony, dissonance, and timing, and aspects of large-scale form such as thematic returns, retransitions, and endings. Vividly describing a range of musical effects, Burnham connects the ways and means of Mozart's music to other domains of human significance, including expression, intimation, interiority, innocence, melancholy, irony, and renewal. We follow Mozart from grace to grace, and discover what his music can teach us about beauty and its relation to the human spirit. The result is a newly inflected view of our perennial attraction to Mozart's music, presented in a way that will speak to musicians and music lovers alike.

Mozart's enduring popularity, among music lovers as a composer and among music historians as a subject for continued study, lies at the heart of The Cambridge Mozart Encyclopedia. This reference book functions both as a starting point for information on specific works, people, places and concepts as well as a summation of current thinking about Mozart. The extended articles on genres reflect the latest in scholarship and new ways of thinking about the works while the articles on people and places provide historical framework, as well as interpretation. It also includes a series of thematic articles that cast a wide net over the eighteenth century and Mozart's relationship to it: these include Austria, Germany, aesthetics, travel, Enlightenment, Mozart as a reader and contemporaneous medicine, among others. The worklist provides the most up-to-date account in English of the authenticity and chronology of Mozart's compositions.

Analyzing the final three decades of Haydn's career, this book uses the composer as a prism through which to examine urgent questions across the humanities. With this ambitious book, musicologist Nicholas Mathew uses the remarkable career of Joseph Haydn to consider a host of critical issues: how we tell the history of the Enlightenment and Romanticism; the relation of late-eighteenth-century culture to nascent capitalism and European colonialism; and how the modern market and modern aesthetic values were--and remain--inextricably entwined. The Haydn Economy weaves a vibrant material history of Haydn's late career, extending from the sphere of the ancient Esterhazy court to his frenetic years as an entrepreneur plying between London and Vienna, to his final decade as a venerable musical celebrity, where he witnessed the transformation of his legacy by a new generation of students and acolytes, Beethoven foremost among them. Ultimately, Mathew claims, Haydn's historical trajectory compels us to ask what we might usefully retain from the cultural and political practices of European modernity-- whether we can extract and preserve its moral promise from its moral failures. And it demands that we confront the deep economic histories that continue to shape our beliefs about music, sound, and material culture.

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.