"It was high time that someone tried to explain more fully, and on the basis of the known documents, the course of Beethoven's meteoric rise to fame in Vienna at the end of the eighteenth century. . . . I would consider this cleverly written and authoritative book to be the most important about Beethoven in twenty-five years. No one considering the subject will be able to overlook DeNora's research."--H.C. Robbins Landon, author of "Beethoven: His Life, Work, and World

"This is a study with the power to reshape our perceptions of Beethoven's first decade in Vienna and substantially refine our notions of the creation and foundations of Beethoven's career."--William Meredith, Ira Brilliant Center for Beethoven Studies, San Jose State University

"Professor DeNora's achievement in placing Beethoven, and the reception of Beethoven's music, in social context is all the more impressive because it goes so much against the grain of conventional habits of thought. In illuminating how changing social institutions created opportunities for Beethoven to gain contemporary and posthumous recognition, and, in so doing, created new forms for thinking and talking about musical achievement--the author at once provides fresh insights into the institutional origins of 'classical' music and offers an exemplary contribution to the sociological study of the arts."--Paul DiMaggio, Princeton University

"An important landmark in our understanding of the relationship of the creative musician to society, and a vital contribution to debates about the central phenomenon which distinguishes Western music from other musical traditions: the phenomenon of the Great Composer."--Julian Rushton, University ofLeeds

"This original book argues that Beethoven's high reputation was created as much by the social-cultural agendas of his aristocratic Viennese patrons in the 1790s as by the qualities of his music. DeNora's persuasive reading of this momentous cultural-artistic event will be welcome to sociologists for its successful contextualization of a hero of 'absolute music, ' as well as to musicologists and music-lovers who wish to move beyond the myth of Beethoven as 'the man who freed music.'"--James Webster, Cornell University

"Lucid, well-researched, and theoretically informed, "Beethoven and the Construction of Genius is one of the best works yet published in the historical sociology of culture. DeNora makes important contributions not only to our knowledge of Beethoven and of the social construction of genius but to the general problems of how identities are created, shaped, and sustained and of how aesthetic claims gain authority."--Craig Calhoun, University of North Carolina

The past ten years have seen a rapidly growing interest in performing and recording Classical and Romantic music with period instruments; yet the relationship of composers' notation to performing practices during that period has received only sporadic attention from scholars, and many aspects of composers' intentions have remained uncertain. Brown here identifies areas in which musical notation conveyed rather different messages to the musicians for whom it was written than it does to modern performers, and seeks to look beyond the notation to understand how composers might have expected to hear their music realized in performance. There is ample evidence to demonstrate that, in many respects, the sound worlds in which Mozart, Beethoven, Wagner, and Brahms created their music were more radically different from ours than is generally assumed.

This newest volume in The Works of Giuseppe Verdi series comprises his only two surviving secular choral works: "Inno popolare," or "Hymn of the People," for unaccompanied male chorus, and "Inno delle nazioni," or "Hymn of the Nations," for tenor solo, chorus, and orchestra.
Verdi wrote the brief "Inno popolare" in 1848 at the behest of the Italian philosopher and patriot Giuseppe Mazzini, intending that it become an anthem for Italy at a time when the country had just driven away its Austrian overlords. He wrote no more independent patriotic pieces until he was asked in 1861 to represent his country with a patriotic composition at a musical jubilee during London's International Exhibition of 1862. The resulting piece was "Inno delle nazioni," the critical edition of which is based on Verdi's autograph score, preserved at the British Library. Other important sources include the composer's musical sketches, recently discovered in the Verdi family villa, and the performing parts Toscanini used for a BBC broadcast in 1943.

Bartok's music is greatly prized by concertgoers, yet we know little about the intellectual milieu that gave rise to his artistry. Bartok is often seen as a lonely genius emerging from a gray background of an 'underdeveloped country.' Now Judit Frigyesi offers a broader perspective on Bartok's art by grounding it in the social and cultural life of turn-of-the-century Hungary and the intense creativity of its modernist movement. Bartok spent most of his life in Budapest, an exceptional man living in a remarkable milieu. Frigyesi argues that Hungarian modernism in general and Bartok's aesthetic in particular should be understood in terms of a collective search for wholeness in life and art and for a definition of identity in a rapidly changing world. Is it still possible, Bartok's generation of artists asked, to create coherent art in a world that is no longer whole? Bartok and others were preoccupied with this question and developed their aesthetics in response to it. In a discussion of Bartok and of Endre Ady, the most influential Hungarian poet of the time, Frigyesi demonstrates how different branches of art and different personalities responded to the same set of problems, creating oeuvres that appear as reflections of one another. She also examines Bartok's Bluebeard's Castle, exploring philosophical and poetic ideas of Hungarian modernism and linking Bartok's stylistic innovations to these concepts.

The premier scholar of the English-language traditional or popular ballad, Francis James Child spent decades working on his widely read and performed collection, "The English and Scottish Popular Ballads." In this first single author monograph of Child's life and work, Mary Ellen Brown analyzes Child's editorial methods, his decisions about which ballads to include, and his relationships with colleagues at Harvard and abroad. Brown draws on his extensive correspondence with collaborators to trace the production of his monumental work from conception and selection through organization and collation of the ballads. "Child's Unfinished Masterpiece" shows readers what was at stake in Child's search for original manuscript materials housed at libraries and estates far afield and his desire to uncover unedited versions of previous editors' texts. In analyzing Child's letters, Brown also delves into his important network of collaborators, scholars, and friends such as William Macmath, Sven Grundtvig, James Russell Lowell, and Charles Eliot Norton, who influenced the organization and content of his work. Readers learn about the questions Child faced as an editor: whether the materials he gathered were authentic, whether a piece was more ballad or a song, or whether the text was sufficiently old or traditional. In showing Child's struggles with content and organization for "The English and Scottish Popular Ballads, " Brown notes the difficulty in defining the ballad genre while also showing that a clear definition is not a fatal flaw of the volume or to scholars' continued study of it.

Classical Form introduces a new theory of form for the analysis of instrumental music in the classical style. The theory provides a broad set of principles and a comprehensive methodology for the analysis of classical, form individual ideas, phrases, and themes, to the large-scale organization of complete movements. Over 200 annotated musical examples from Haydn, Mozart and Beethoven, drawn from a range of instrumental genres, illustrate the theoretical principles presented in the book. For theorists and musicologists, this book is also useful for courses on form and analysis and on the history of musical style.

For two decades, beginning in the early 1870s, Robert Keller, music editor for N. Simrock Verlag in Berlin, worked with diligence and devotion to usher into print most of Johannes Brahms's major compositions, including all four of his symphonies, the Violin Concerto, the Double Concerto, the Second Piano Concerto, and numerous chamber, choral, and vocal works.
This volume collects for the first time the complete extant correspondence between Brahms and Keller, as preserved in the collections of the Library of Congress and the Gesellschaft der Musikfreunde in Vienna. To read their correspondence is to witness a relationship of mutual respect and increasing friendship and to gain an appreciation for the meticulous labor that went into the publication of Brahms's masterpieces. Keller's admiration for the composer's genius was answered by Brahms's affection for Keller's diligence and musical expertise. The vicissitudes of the publication process from composer's manuscript to printed score are documented in fascinating detail.

This edition includes a transcription of the letters in the original German.

Brahms in the Priesthood of Art: Gender and Art Religion in the Nineteenth-Century German Musical Imagination explores the intersection of gender, art religion (Kunstreligion) and other aesthetic currents in Brahms reception of the nineteenth and early twentieth centuries. In particular, it focuses on the theme of the self-sacrificing musician devoted to his art, or "priest of music," with its quasi-mystical and German Romantic implications of purity seemingly at odds with the lived reality of Brahms's bourgeois existence. While such German Romantic notions of art religion informed the thinking on musical purity and performance, after the failed socio-political revolutions of 1848/49, and in the face of scientific developments, the very concept of musical priesthood was questioned as outmoded. Furthermore, its essential gender ambiguity, accommodating such performing mothers as Clara Schumann and Amalie Joachim, could suit the bachelor Brahms but leave the composer open to speculation. Supportive critics combined elements of masculine and feminine values with a muddled rhetoric of prophets, messiahs, martyrs, and other art-religious stereotypes to account for the special status of Brahms and his circle. Detractors tended to locate these stereotypes in a more modern, fin-de-siecle psychological framework that questioned the composer's physical and mental well-being. In analyzing these receptions side by side, this book revises the accepted image of Brahms, recovering lost ambiguities in his reception. It resituates him not only in a romanticized priesthood of art, but also within the cultural and gendered discourses overlooked by the absolute music paradigm.

The first thorough exploration of musical life in nineteenth-century New York City, with topics ranging from military bands and immigrant impresarios to visits from operatic diva Adelina Patti. The musical scene in mid-nineteenth century New York City, contrary to common belief, was exceptionally vibrant. Thanks to several opera companies, no fewer than two orchestras, public chamber music and solo concerts, and numerouschoirs, New Yorkers were regularly exposed to "new" music of Verdi, Meyerbeer, Schumann, Berlioz, Liszt, and Wagner. In European Music and Musicians in New York City, 1840-1900, the first thorough exploration of musical life in New York City during this period, editor John Graziano and a number of other distinguished essayists assert that the richness of the artistic life of the city, particularly at this time, has been vastly underrated and undervalued. This marvelous new collection of essays, with topics ranging from military bands and immigrant impresarios to visits from operatic diva Adelina Patti, establishes that this musical scene was one of quantity and quality, lively and multifaceted -- in many ways equal to the scene in the largest of the Old World's Cities. Contributors: Adrienne Fried Block, Christopher Bruhn, Raoul F. Camus, Frank J. Cipolla, John Graziano, Ruth Henderson, John Koegel, R. Allen Lott, Rena C. Mueller, Hilary Poriss, Katherine K. Preston, Nancy B. Reich, Ora Frishberg Saloman, Wayne Shirley. John Graziano is Professor of Music, The City College and Graduate Center,CUNY, and co-Director of the Music in Gotham research project.

Romantic Anatomies of Performance takes as its subject the great virtuoso performers of the nineteenth century, examining the ways in which they thought of their own extraordinary gifts, the ways their contemporaries envisioned them, and how they have been imagined by history. It looks at the pianists and singers--Chopin, Rubini, Malibran, Nourrit, Donzelli, Thalberg, Liszt, and Sontag--who plied their trade in the leading musical centers of nineteenth-century Europe: London and Paris. Focusing on this musical circuit, J.Q. Davies engages with historians of culture and science in thinking about these cosmopolitan figures, whose emergence as international musical stars confronts issues of music and the body, particularly in period physiology, physiognomy, and sciences of the mind. Davies illustrates how musicians styled themselves onstage, how they trained, and how they presented their virtuosic physical abilities to contemporaries in light of competing traditions of healthy vocal and pianistic presentation. The book argues that debates about music are often actually debates about what counts as expression--not only emotional, but also physical expression.

The University of Chicago Press, in collaboration with Casa Ricordi of Milan, has undertaken to publish the first critical edition of the complete works of Giuseppe Verdi. "The Works of Giuseppe Verdi," the only edition based exclusively on original sources and the only one to present authentic versions of all the composer's works, will include each of Verdi's twenty-eight operas (all versions), his sacred music, songs, chamber music, and juvenilia. The series begins with the definitive version of "Rigoletto,"

Richard Strauss is an outlier in the context of twentieth century music. Some consider him a composer of the late romantic period, while others declare him a traitor of modernity for his role in National Socialism. Despite the controversy surrounding him, Strauss's works-even beyond his most well-known operas Elektra and Rosenkavalier-are present in the repertories of concert halls worldwide and continue to enjoy large audiences. The details of the composer's life, however, remain shrouded in mystery and gossip. Laurenz Lutteken's Strauss presents a fresh approach to understanding this elusive composer's life and works. Dispensing with stereotypes and sensationalism, it reveals Strauss to be a sensitive intellectual and representative of modernity, with all light and shade of the turn of the twentieth century.

"Reading "The Beethoven Quartet Companion made me want to listen to the quartets again from a new sociological as well as musical perspective. It is an invaluable guide not only for professional and amateur musicians but also for anyone who is curious about culture and wants to find out more."--Yo-Yo Ma

"These essays are the most readable, useful, and well-informed commentary available today on these masterworks. Michael Steinberg's 'program notes' to each quartet, directed at once to the musical beginner and to the expert, are as eloquent and persuasive as popular writing about music can get. . . . His essays are followed by equally expert and accessible contributions by other masters on The Master, providing literate music lovers with the context and equipment for a richer enjoyment and clearer understanding of these sixteen unique conversations among two violins, a viola, and a cello."--David Littlejohn, author of "The Ultimate Art: Essays Around and About Opera

"A fine collection of essays to assist the music lover in the seemingly endless quest to illuminate the Beethoven string quartets."--Arnold Steinhardt, The Guarneri String Quartet

"This book delivers on the implied promise of its title--it provides a lively, readable, and wide-ranging introduction to the quartets. Readers at many levels of experience will find it profitable."--Lewis Lockwood, author of "Beethoven: Studies in the Creative Process

Those whose thoughts of musical theatre are dominated by the Broadway musical will find this book a revelation. From the 1850s to the early 1930s, when urban theatres sought to mount glamorous musical entertainment, it was to operetta that they turned. It was a form of musical theatre that crossed national borders with ease and was adored by audiences around the world. This collection of essays by an array of international scholars examines the key figures in operetta in many different countries. It offers a critical and historical study of the widespread production of operetta and of the enthusiasm with which it was welcomed. Furthermore, it challenges nationalistic views of music and approaches operetta as a cosmopolitan genre. This Cambridge Companion contributes to a widening appreciation of the music of operetta and a deepening knowledge of the cultural importance of operetta around the world.

"A fascinating interdisciplinary study of the interconnected subtexts of erotic attraction, illness, and death in several 19th- and 20th-century operatic texts. . . . This is an extraordinary examination of how opera uses the singing bodygendered and sexualto give voice to the suffering person. Highly recommended."Library Journal "The authors argument is rich and complex; it draws on source, text and music; it is also medically sound. Opera is quintessentially an art of love and desire, of loss and suffering, of disease and death. Hutcheon and Hutcheon enrich our understanding of both content and context."Opera News "Linda and Michael Hutcheon have done a fine job of pulling together medical and literary sources to make sense of the changing depiction of disease in opera. . . . For opera lovers and for anyone interested in seeing good, synthetic reasoning at work, this is a fine study."Publishers Weekly Linda Hutcheon is a professor of English and comparative literature at the University of Toronto. She is the author of, most recently, Ironys Edge: The Theory and Politics of Irony. Michael Hutcheon, M.D., is a professor of medicine at the University of Toronto. His many articles have appeared in American Review of Respiratory Disease and other journals.

The third volume in Alan Walker's magisterial biography of Franz Liszt.

"You can't help but keep turning the pages, wondering how it will all turn out: and Walker's accumulated readings of Liszt's music have to be taken seriously indeed." D. Kern Holoman, New York Review of Books

"A conscientious scholar passionate about his subject. Mr. Walker makes the man and his age come to life. These three volumes will be the definitive work to which all subsequent Liszt biographies will aspire." Harold C. Schonberg, Wall Street Journal

"What distinguishes Walker from Liszt's dozens of earlier biographers is that he is equally strong on the music and the life. A formidable musicologist with a lively polemical style, he discusses the composer's works with greater understanding and clarity than any previous biographer. And whereas many have recycled the same erroneous, often damaging information, Walker has relied on his own prodigious, globe-trotting research, a project spanning twenty-five years. The result is a textured portrait of Liszt and his times without rival." Elliot Ravetz, Time

"The prose is so lively that the reader is often swept along by the narrative. . . . This three-part work . . . is now the definitive work on Liszt in English and belongs in all music collections." Library Journal"

..". superior, providing unique insights into the performances of Grieg s piano compositions." Notes

Reading Onstage with Grieg is almost like taking a private lesson with Einar Steen-Nokleberg, internationally acclaimed pianist and premier interpreter of Grieg. He offers not only practical advice on the technical execution of these pieces, but helpful insights into their compositional background."

In this original study, Christopher Alan Reynolds examines the influence of Beethoven's Ninth Symphony on two major nineteenth-century composers, Richard Wagner and Robert Schumann. During 1845 46 the compositional styles of Schumann and Wagner changed in a common direction, toward a style that was more contrapuntal, more densely motivic, and engaged in processes of thematic transformation. Reynolds shows that the stylistic advances that both composers made in Dresden in 1845 46 stemmed from a deepened understanding of Beethoven's techniques and strategies in the Ninth Symphony. The evidence provided by their compositions from this pivotal year and the surrounding years suggests that they discussed Beethoven's Ninth with each other in the months leading up to the performance of this work, which Wagner conducted on Palm Sunday in 1846. Two primary aspects that appear to have interested them both are Beethoven's use of counterpoint involving contrary motion and his gradual development of the Ode to Joy" melody through the preceding movements. Combining a novel examination of the historical record with careful readings of the music, Reynolds adds further layers to this argument, speculating that Wagner and Schumann may not have come to these discoveries entirely independently of each other. The trail of influences that Reynolds explores extends back to the music of Bach and ahead to Tristan and Isolde, as well as to Brahms's First Symphony.

Berlioz was one of the towering figures of Romanticism: not only was he a great and revolutionary composer, but also the finest composer of his day and an outstanding critic and writer. Yet throughout his life he struggled for money and his music was persistently reviled in his native France. With exceptional insight and sympathy, David Cairns draws together the major strands of Berlioz's life: his tempestuous marriage to the actress Harriet Smithson; the genesis of his famous works, including the Requiem, Romeo and Juliet and his crowning masterpiece The Trojans; his friendships with Mendelssohn, Liszt, Princess Wittgenstein and Wagner; and, finally, his last years haunted once again by personal tragedy. Here, as never before, is Berlioz the artist - and the man.

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.

Carl Dahlhaus here treats Nietzsche's youthful analysis of the contradictions in Wagner's doctrine (and, more generally, in romantic musical aesthetics); the question of periodicization in romantic and neo-romantic music; the underlying kinship between Brahms's and Wagner's responses to the central musical problems of their time; and the true significance of musical nationalism. Included in this volume is Walter Kauffman's translation of the previously unpublished fragment, "On Music and Words," by the young Nietzsche.

This collection of essays addresses a very broad range of E. T. A. Hoffmann's most significant works, examining them through the lens of "transgression." Transgression bears relevance to Hoffmann's life and professions in three ways. First, his official career path was that of jurisprudence; he was active as a lawyer, a judge and eventually as one of the most important magistrates in Berlin. Second, his personal life was marked by numerous conflicts with political and social authorities. Seemingly no matter where he went, he experienced much chaos, grief and impoverishment in leading his always precarious existence. Third, his works explore characters and concepts beyond the boundaries of what was considered aesthetically acceptable. "Normal" bourgeois existence was often juxtaposed to the lives of criminals, sinners, and other deviants, both within the spaces of the known world as well as in supernatural realms. He, perhaps more than any other author of the German Romantic movement, regularly portrayed the dark side of existence in his works, including unconscious psychological phenomena, nightmares, somnambulism, vampirism, mesmerism, Doppelganger, and other forms of transgressive behavior. It is the intention of this volume to provide a new look at Hoffmann's very diverse body of work from numerous perspectives, stimulating interest in Hoffmann in English language audiences.

Schenkerian Analysis: Perspectives on Phrase Rhythm, Motive and Form, Second Edition is a textbook directed at all those-whether beginners or more advanced students-interested in gaining understanding of and facility at applying Schenker's ideas on musical structure. It begins with an overview of Schenker's approach to music, and then progresses systematically from the phrase and its various combinations to longer and more complex works. Unlike other texts on this subject, Schenkerian Analysis combines the study of multi-level pitch organization with that of phrase rhythm (the interaction of phrase and hypermeter), motivic repetition at different structural levels, and form. It also contains analytic graphs of several extended movements, separate works, and songs. A separate instructor's manual provides additional advice and solutions (graphs) of all recommended assignments. This second edition has been revised to make the early chapters more accessible and to improve the pedagogical effectiveness of the book as a whole. Changes in musical examples have been carefully made to ensure that each example fully supports student learning. Informed by decades of teaching experience, this book provides a clear and comprehensive guide to Schenker's theories and their applications.

The plight of the fallen woman is one of the salient themes of nineteenth-century art and literature; indeed, the ubiquity of the trope galvanized the Victorian conscience and acted as a spur to social reform. In some notable examples, Julia Grella O'Connell argues, the iconography of the Victorian fallen woman was associated with music, reviving an ancient tradition conflating the practice of music with sin and the abandonment of music with holiness. The prominence of music symbolism in the socially-committed, quasi-religious paintings of the Pre-Raphaelites and their circle, and in the Catholic-Wagnerian novels of George Moore, gives evidence of the survival of a pictorial language linking music with sin and conversion, and shows, even more remarkably, that this language translated fairly easily into the cultural lexicon of Victorian Britain. Drawing upon music iconography, art history, patristic theology, and sensory theory, Grella O'Connell investigates female fallenness and its implications against the backdrop of the social and religious turbulence of the mid-nineteenth century.

An engrossing new biography of Franz Liszt, the musical revolutionary who became the world's first international megastar "Makes a significant contribution to our knowledge of Liszt as a man and superstar. Hilmes shines a light into the shadows behind a life lived in the spotlight."-Andrew Taylor, Times Hungarian composer Franz Liszt (1811-1886) was an anomaly. A virtuoso pianist and electrifying showman, he toured extensively throughout the European continent, bringing sold-out audiences to states of ecstasy while courting scandal with his frequent womanizing. Drawing on new, highly revealing documentary sources, including a veritable treasure trove of previously unexamined material on Liszt's Weimar years, best-selling author Oliver Hilmes shines a spotlight on the extraordinary life and career of this singularly dazzling musical phenomenon. Whereas previous biographies have focused primarily on the composer's musical contributions, Hilmes showcases Liszt the man in all his many shades and personal reinventions: child prodigy, Romantic eccentric, fervent Catholic, actor, lothario, celebrity, businessman, genius, and extravagant show-off. The author immerses the reader in the intrigues of the nineteenth-century European glitterati (including Liszt's powerful patrons, the monstrous Wagner clan) while exploring the true, complex face of the artist and the soul of his music. No other Liszt biography in English is as colorful, witty, and compulsively readable, or reveals as much about the true nature of this extraordinary, outrageous talent.