- 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 For the ANTHOLOGY: - Provides full scores to accompany the examples addressed in the text, creating a convenient package for instructors - This edition has been updated with 8 new pieces, bringing in additional composers

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."

A study of the ways in which topics of English history were central to conceptions of English identity, musical and otherwise, during the Victorian and Edwardian periods This study explores the ways in which topics of English history were central to conceptions of English identity, musical and otherwise, during the Victorian and Edwardian periods. Its focus is on the masque, an early modern English musico-dramatic genre that was reinvented during the Victorian period as a vehicle for nationalistic, historically inflected popular entertainments. The masque operated as an "invented tradition", in the sense theorized by EricHobsbawm, and was used to connect the modern nation of Britain to its historical past. As conceptions of national identity became increasingly dependent on the image of "Merrie England" located in the English Renaissance and in the folk traditions of the countryside, genres such as the masque that were integrally connected to these ideological constructions became important ways in which national identity was represented. This in turn had profound ramifications for the ideologies of the English Musical Renaissance and its construction of a national musical idiom at the turn of the twentieth century. DEBORAH HECKERT is a Lecturer at Stony Brook University and has taughtat the University of Virginia, Utah State University, and Brooklyn College-CUNY.

- 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

Bringing together reception history, music analysis and criticism, the history of music theory, and the philosophy of music, "Beethoven Hero" explores the nature and persistence of Beethoven's heroic style. What have we come to value in this music, asks Scott Burnham, and why do generations of critics and analysts hear it in much the same way? Specifically, what is it that fosters the intensity of listener engagement with the heroic style, the often overwhelming sense of identification with its musical process? Starting with the story of heroic quest heard time and again in the first movement of the "Eroica" Symphony, Burnham suggests that Beethoven's music matters profoundly to its listeners because it projects an empowering sense of self, destiny, and freedom, while modeling ironic self-consciousness.

In addition to thus identifying Beethoven's music as an overarching expression of values central to the age of Goethe and Hegel, the author describes and then critiques the process by which the musical values of the heroic style quickly became the controlling model of compositional logic in Western music criticism and analysis. Apart from its importance for students of Beethoven, this book will appeal to those interested in canon formation in the arts and in music as a cultural, ethical, and emotional force--and to anyone concerned with what we want from music and what music does for us.

As one of the most significant and widely performed composers of the nineteenth century, Brahms continues to command our attention. Rethinking Brahms counterbalances prevailing scholarly assumptions that position him as a conservative composer (whether musically or politically) with a wide-ranging exploration and re-evaluation of his significance today. Drawing on German- and English-language scholarship, it deploys original approaches to his music and pursues innovative methodologies to interrogate the historical, cultural, and artistic contexts of his creativity. Empowered by recent theoretical work on form and tonality, it offers fresh analytical insights into his music, including a number of corpus studies that interrogate the relationships between Brahms and other composers, past and present. The book brings into sharp focus the productive tension that exists between the perceived fixedness of musical texts and the ephemerality of performance by considering how historical and modern performers shape established understandings of Brahms and his music. Rethinking Brahms invites the reader to hear familiar pieces anew as they are refracted through historical, artistic, and philosophical prisms. Bringing us up to the present day, it also gives sustained attention to the resounding impact of Brahms's compositions on new music by exploring works by recent composers who have engaged deeply with his oeuvre. Combining awareness of overarching contexts with perceptive insights into Brahms's music, this book enlivens our understanding of Brahms, providing a dynamic, multifaceted, complex, and invigoratingly fresh portrait of the composer.

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.

A giant in the pantheon of 19th century composers, Tchaikovsky continues to enthrall audiences today. From the Nutcracker--arguably the most popular ballet currently on the boards--Swan Lake, and Sleeping Beauty, to Eugene Onegin and Pique Dame, to the Symphony Pathetique and the always rousing, canon-blasting 1812 Overture--this prolific and beloved composer's works are perennial favorites. Now, John Wiley, a renowned Tchaikovsky scholar, provides a fresh biography aimed in classic Master Musicians style at the student and music lover. Wiley deftly draws on documents from imperial, Soviet, and post-Soviet era sources, providing a more balanced look at recent controversies surrounding the marriage, death, and sexuality of the composer. The author dovetails the biographical material with separate chapters that treat the music thoroughly and fully, work-by-work, with more substantial explorations of Tchaikovsky's most familiar compositions. These analyses present new, even iconoclastic perspectives on the music and the composer's intent and expression. Several informative appendices, in the Master Musicians format, include an exhaustive list of works and bibliography.

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.

The definitive biography of the celebrated composer, published in English to coincide with the centenary of his death A best seller when first published in Germany in 2003, Jens Malte Fischer's Gustav Mahler has been lauded by scholars as a landmark work. He draws on important primary resources-some unavailable to previous biographers-and sets in narrative context the extensive correspondence between Mahler and his wife, Alma; Alma Mahler's diaries; and the memoirs of Natalie Bauer-Lechner, a viola player and close friend of Mahler, whose private journals provide insight into the composer's personal and professional lives and his creative process. Fischer explores Mahler's early life, his relationship to literature, his achievements as a conductor in Vienna and New York, his unhappy marriage, and his work with the Metropolitan Opera and the New York Philharmonic in his later years. He also illustrates why Mahler is a prime example of artistic idealism worn down by Austrian anti-Semitism and American commercialism. Gustav Mahler is the best-sourced and most balanced biography available about the composer, a nuanced and intriguing portrait of his dramatic life set against the backdrop of early 20th century America and fin de siecle Europe.

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.

"No one knows more about Franz Liszt than Alan Walker." Malcolm Bowie, Times Literary SupplementIn a series of lively essays that tell us much not only about the phenomenon that was Franz Liszt but also about the musical and cultural life of nineteenth-century Europe, Alan Walker muses on aspects of Liszt's life and work that he was unable to explore in his acclaimed three-volume biography of the great composer and pianist. Topics include Liszt's contributions to the Lied, the lifelong impact of his encounter with Beethoven, his influence on students who became famous in their own right, his accomplishments in transcribing and editing the works of other composers, and his innovative piano technique. One chapter is devoted to the Sonata in B Minor, perhaps Liszt's single most celebrated composition.Walker draws heavily on Liszt's astonishingly large personal correspondence with other composers, critics, pianists, and prominent public figures. All the essays reveal Walker's broad and deep knowledge of Liszt and Romantic music generally and, in some cases, his impatience with contemporary performance practice."

The music of Johannes Brahms is deeply colored, Daniel Beller-McKenna shows, by nineteenth-century German nationalism and by Lutheran religion. Focusing on the composer's choral works, the author offers new insight on the cultural grounding for Brahms's music.

Music historians have been reluctant to address Brahms's Germanness, wary perhaps of fascist implications. Beller-McKenna counters this tendency; by giving an account of the intertwining of nationalism, politics, and religion that underlies major works, he restores Brahms to his place in nineteenth-century German culture. The author explores Brahms's interest in the folk element in old church music; the intense national pride expressed in works such as the Triumphlied; the ways Luther's Bible and Lutheranism are reflected in Brahms's music; and the composer's ideas about nation building. The final chapter looks at Brahms's nationalistic image as employed by the National Socialists, 1933-1945, and as witnessed earlier in the century (including the complication of rumors that Brahms was Jewish).

In comparison to the overtly nationalist element in Wagner's music, the German elements in Brahms's style have been easy to overlook. This nuanced study uncovers those nationalistic elements, enriching our understanding both of Brahms's art and of German culture.

We know Robert Schumann in many ways: as a visionary composer, a seasoned journalist, a cultured man of letters, and a genius who, having passed his mantle on to the young Brahms, succumbed to mental illness in 1856. Drawing on recent pathbreaking research, this collection offers new perspectives on this seminal nineteenth-century figure. In Part I, Leon Botstein and Michael P. Steinberg assess Schumann's efforts to place music at the center of German culture, in public and private sectors. Bernhard R. Appel offers a probing source study of one of Schumann's most personal works, the Album fur die Jugend, Op. 68, while John Daverio considers the generic identity of Das Paradies und die Peri, and Jon W. Finson reexamines the first version of the Eichendorff Liederkreis. Gerd Nauhaus investigates Schumann's approach to the symphonic finale, and R. Larry Todd considers the intractable issue of quotations and allusions in Schumann's music. Part II presents letters and memoirs, including unpublished correspondence between Clara Schumann and Felix and Paul Mendelssohn-Bartholdy. In Part III, conflicting critical views of Schumann are juxtaposed. Some of these sources are translated into English for the first time. Originally published in 1994. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Concentrating on the music, politics, and philosophy of Richard Wagner, Lydia Goehr addresses some fundamental questions of German Romanticism: Is all music musical? Is music made less musical by the presence of words? What is musical autonomy? How do composers avoid censorship? How are composers affected by exile? Can music articulate a 'politics for the future'? What is the relation between music and philosophy?

Published to mark the centenary of Brahms's death in 1897, this is the first comprehensive English language collection of Brahms's letters. It contains over 550 letters, including more than a dozen previously unpublished in any language. The letters are woven together with an extended biographical narrative, and span the entire life of the composer. The book is written for the general music-lover, but is documented with scholarly care. Brahms enthusiasts will enjoy learning from his own words about the man who wrote such great music.

Unabridged score of composer's last opera, renowned for splendid music and glowing orchestration. Deeply personal treatment of the legend of the Holy Grail, themes of sacred and profane love, innocence and purity, remorse and sexual renunciation. Reprint of authoritative C.F. Peters edition, including list of characters and contents in both German and English.

The question of whether music has meaning has been the subject of sustained debate ever since music became a subject of academic inquiry. Is music a language? Does it communicate specific ideas and emotions? What does music mean, and how does this meaning occur? Kofi Agawu's Music as Discourse has become a standard and definitive work in musical semiotics. Working at the nexus of musicology, ethnomusicology, and music philosophy and aesthetics, Agawu presents a synthetic and innovative approach to musical meaning which argues deftly for the thinking of music as a discourse in itself-composed not only of sequences of gestures, phrases, or progressions, but rather also of the very philosophical and linguistic props that enable the analytical formulations made about music as an object of study. The book provides extensive demonstration of the pertinence of a semiological approach to understanding the fully-freighted language of romantic music, stresses the importance of a generative approach to tonal understanding, and provides further insight into the analogy between music and language. Music as Discourse is an essential read for all who are interested in the theory, analysis and semiotics of music of the romantic period.

The sublime - that elusive encounter with overwhelming height, power or limits - has been associated with music from the early-modern rise of interest in the Longinian sublime to its saturation of European culture in the later nineteenth century and beyond. This volume offers a historically situated study of the relationship between music, sound and the sublime. Together, the authors distinguish between the different aesthetics of production, representation and effect, while understanding these as often mutually reinforcing approaches. They demonstrate music's strength in playing out the sublime as transfer, transport and transmission of power, allied to the persistent theme of destruction, deaths and endings. The volume opens up two avenues for further research suggested by the adjective 'sonorous': a wider spectrum of sounds heard as sublime, and (especially for those outside musicology) a more multifaceted idea of music as a cultural practice that shares boundaries with other sounding phenomena.

This is the first comprehensive English-language collection of Brahms's letters. It contains over 550 letters, including more than a dozen previously unpublished in any language. The letters are woven together with an extended biographical narrative, and span the entire life of the composer. For the first time, English readers and music-lovers have the opportunity to meet Brahms in person, through his words, and in his own voice.

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.

This is the first book of its kind on Schubert. It appears at a time when scholarly and general interest in his life and compositions is greater than ever, and its publication coincides with the celebration of the bicentenary of Schubert's birth in 1797. The book opens with a chronicle of Schubert's life, which is followed by more than 300 biographical entries offering information not only on his friends and acquaintances, and on persons with whom he was associated through his music (poets, librettists, publishers, patrons, musicians), but also on a number of later `Schubertians' who greatly advanced public appreciation and scholarly examination of his music or made a particularly significant contribution to our knowledge of his life. The book thus adds a fuller context and perspective to the reader's view of Schubert's activities, and indeed of the music itself.

In an age of artistic accomplishment, Gustav Mahler stood out as one of the supremely gifted musicians of his generation. As a composer, he won acclaim for his startling originality. As a conductor, his relentless pursuit of perfection was sometimes seen as tyrannical by the singers and musicians who came under his baton. And always, even with his greatest triumphs, he provoked controversy among the critics. Now Henry-Louis de La Grange, Mahler's celebrated biographer, offers new insight into Mahler's life and work with his latest look at the career of this musical genius.

In Mahler in Vienna, La Grange follows the great musician to the intellectual and artistic capital of turn-of-the-century Europe. From Mahler's spectacular debut as director of the Vienna Court Opera to his triumphant tour of the continent, we see him at the height of his powers. La Grange vividly portrays the marvelous spectacle, including the extraordinary range of artists who worked with Mahler--the composers Dvorak, Gustave Charpentier, Richard Strauss, Zemlinsky, and Schoenberg; the painters, architects, and decorators of the Secession (led by Klimt); and the writers Hauptmann, Dehmel, Hofmannsthal, and Schnitzler. In Vienna, the conductor worked a revolution in standards of performance and (along with Secession painter Alfred Roller) scenic illustration. It was also during this period that he wrote some of his best-loved symphonies--including his Fourth and Fifth--and his three orchestral song-cycles and collections, the Wunderhorn-, Ruckert-, and Kindertotenlieder. For each of these works La Grange provides full notes and analytic descriptions. And the author does not neglect Mahler's temptestuous personal life, for during these years he met Alma Schindler--"the most beautiful woman in Vienna." La Grange deftly captures the story of their engagement and marriage in 1902.

Mahler remains one of the greatest figures in the history f music, a man whose work provokes strong reactions today as in his own time. This account is just one part of the definitive four-volume biography Gustav Mahler, the result of a thirty-year research project; the author has personally translated it from his original French into English. Scrupulously researched and insightfully written, this volume is a brilliant account of a critical epoch in Mahler's life.

Richard Strauss in Context offers a distinctive approach to the study of a composer in that it places the emphasis on contextualizing topics rather than on biography and artistic output. One might say that it inverts the relationship between composer and context. Rather than studies of Strauss's librettists that discuss the texts themselves and his musical settings, for instance, this book offers essays on the writers themselves: their biographical circumstances, styles, landmark works, and broader positions in literary history. Likewise, Strauss's contributions to the concert hall are positioned within the broader development of the orchestra and trends in programmatic music. In short, readers will benefit from an elaboration of material that is either absent from or treated only briefly in existing publications. Through this supplemental and broader contextual approach, this book serves as a valuable and unique resource for students, scholars, and a general readership.

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.