This study of Franz Schubert's settings of poetry by Friedrich Schlegel and Novalis introduces the fascinating world of early German Romanticism in the 1790s, when an energetic group of bold young thinkers radically changed the landscape of European thought. Schubert's encounters with early Romantic poetry some twenty years later reanimated some of the movement's central ideas. Schubert set eleven texts from Schlegel's AbendrAte poetic cycle and six poems drawn from Novalis' religious and erotic poetry. Through detailed analyses of how various musical structures in these songs mirror and sometimes even explicate the central ideas of the poems, this book argues that Schubert was an abstract thinker who used his medium of music to diagram the complex ideas of a highly intellectual movement. A comparison is made to the hermeneutic theory of that time, primarily that of Schleiermacher, who was himself linked to the early Romantics. Through exploration of ideas such as Schlegel's representation of the necessary interdependence of part and whole and Novalis' strong association of religious and erotic experience, along with their musical representations by Schubert, this book opens an intriguing world of thought for modern readers. At the same time, Feurzeig explores some of Schubert's little-known songs, which range from quirky to charming to exquisite.

The period covered by this volume, roughly from Purcell to Elgar, has traditionally been seen as a dark age in British musical history. Much has been done recently to revise this view, though research still tends to focus on London as the commercial and cultural hub of the British Isles. It is becoming increasingly clear, however, that by the mid-eighteenth century musical activity outside London was highly distinctive in terms of its reach, the way it was organized, and its size, richness, and quality. There was an extraordinary amount of musical activity of all sorts, in provincial theatres and halls, in the amateur orchestras and choirs that developed in most towns of any size, in taverns, and convivial clubs, in parish churches and dissenting chapels, and, of course, in the home. This is the first book to concentrate specifically on musical life in the provinces, bringing together new archival research and offering a fresh perspective on British music of the period. The essays brought together here testify to the vital role played by music in provincial culture, not only in socializing and networking, but in regional economies and rivalries, demographics and class dynamics, religion and identity, education and recreation, and community and the formation of tradition. Most important, perhaps, as our focus shifts from London to the regions, new light is shed on neglected figures and forgotten repertoires, all of them worthy of reconsideration.

The rehabilitation of British music began with Hubert Parry and Charles Villiers Stanford. Ralph Vaughan Williams assisted in its emancipation from continental models, while Gerald Finzi, Edmund Rubbra and George Dyson flourished in its independence. Stephen Town's survey of Choral Music of the English Musical Renaissance is rooted in close examination of selected works from these composers. Town collates the substantial secondary literature on these composers, and brings to bear his own study of the autograph manuscripts. The latter form an unparalleled record of compositional process and shed new light on the compositions as they have come down to us in their published and recorded form. This close study of the sources allows Town to identify for the first time instances of similarity and imitation, continuities and connections between the works.

First published in 2011. Routledge is an imprint of Taylor & Francis, an informa company.

Indispensable reading for historians and musicologists as well as those interested in Wagner's philosophy and the aesthetics of music. Despite the enormous and accelerating worldwide interest in Wagner leading to the bicentenary of his birth in 2013, his prose writings have received scant scholarly attention. Wagner's book-length essay on Beethoven, written to celebrate the centenary of Beethoven's birth in 1870, is really about Wagner himself rather than Beethoven. It is generally regarded as the principal aesthetic statement of the composer's later years, representing a reassessment ofthe ideas of the earlier Zurich writings, especially Oper und Drama, in the light of the experience gained through the composition of Tristan und Isolde, Die Meistersinger von Nurnberg and the greater part of DerRing des Nibelungen. It contains Wagner's most complete exegesis of his understanding of Schopenhauer's philosophy and its perceived influence on the compositional practice of his later works. The essay also influenced the young Nietzsche. It is an essential text in the teaching of not only Wagnerian thought but also late nineteenth-century musical aesthetics in general. Until now the English reader with no access to the German original has been obliged to work from two Victorian translations. This brand new edition gives the German original and the newly translated English text on facing pages. It comes along with a substantial introduction placing the essay not onlywithin the wider historical and intellectual context of Wagner's later thought but also in the political context of the establishment of the German Empire in the 1870s. The translation is annotated throughout with a full bibliography. Richard Wagner's Beethoven will be indispensable reading for historians and musicologists as well as those interested in Wagner's philosophy and the aesthetics of music. ROGER ALLEN is Fellow and Tutor in Music at St Peter's College, Oxford.

Charles Francois Gounod: A Research and Information Guide is an annotated bibliography concerning both the nature of primary sources related to the composer and the scope and significance of the secondary sources which deal with him and his compositions.

First Published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.

Among the major changes that swept through the music industry during the mid-nineteenth century, one that has received little attention is how musical performances were managed and directed. Yet this was arguably the most radical change of all: from a loose control shared between the violin-leader, musical director and maestro al cembalo to a system of tight and unified control under a professional conductor-manager. This process brought with it not only baton conducting in its modern form, but also higher standards of training and discipline, a new orchestral lay-out and a more focused rehearsal regime. The resulting rise in standards of performance was arguably the greatest achievement of English music in the otherwise rather barren mid-Victorian period. The key figure in this process was Michael Costa, who built for himself unprecedented contractual powers and used his awesome personal authority to impose reform on the three main institutions of mid-Victorian music: the opera houses, the Philharmonic and the Sacred Harmonic Society. He was a central figure in the battles between the two rival opera houses, between the Philharmonic and the New Philharmonic, and between the venerable Ancient Concerts and the mass festival events of the Sacred Harmonic Society. Costa's uniquely powerful position in the operatic, symphonic and choral world and the rapidity with which he was forgotten after his death provide a fascinating insight into the politics and changing aesthetics of the Victorian musical world.

A must-have for any conductor, conducting student and orchestral librarian. How does a conductor know whether the score they use is what the composer wrote? How do orchestral players know that their parts are reliable and reflect the latest scholarship? As Jonathan Del Mar reminds us in this ground-breaking book, editions of the orchestral repertoire are beset by textual problems: simple misprints, mistakes in the score or player's part, or hopelessly outdated scores at odds with current scholarship. Driven by a fundamental respect for what the composer actually wrote, Jonathan Del Mar addresses these problems through textual reports on over 100 orchestral masterpieces of classical music. Each report is introduced with essential guidance and succinct commentary on the first performance and publication of the work. Critical editions are compared with commonly used editions, and in those cases where no Urtext Edition exists, this much-needed reference work functions as a replacement for an Urtext Edition. Orchestral Masterpieces under the Microscope will be an indispensable reference tool for all who care about performances honouring the correct text that composers have left us. It serves as an essential survival guide for conductors and musicians to make informed choices, and it offers much-needed clarity on the latest scholarship for musicologists and music librarians alike

This book bridges a gap in existing scholarship by foregrounding the contribution of women to the nineteenth-century Lied. Building on the pioneering work of scholars in recent years, it consolidates recent research on women's achievements in the genre, and develops an alternative narrative of the Lied that embraces an understanding of the contributions of women, and of the contexts of their engagement with German song and related genres. Lieder composers including Fanny Hensel, Clara Schumann, Pauline Viardot-Garcia and Josephine Lang are considered with a stimulating variety of analytical approaches. In addition to the focus on composers associated with history and theory of the Lied, the various chapters explore the cultural and sociological background to the Lied's musical environment, as well as engaging with gender studies and discussing performance and pedagogical contexts. The range of subject matter reflects the interdisciplinary nature of current research in the field, and the energy it generates among scholars and performers. Women and the Nineteenth-Century Lied aims to widen readers' perception of the genre and help promote awareness of women's contribution to nineteenth-century musical life through critical appraisal of the cultural context of the Lied, encouraging acquaintance with the voices of women composers, and the variety of their contributions to the repertoire.

First Published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

This book is the first attempt at a comprehensive, international bibliography of literature on Johannes Brahms (1833-1897), worldwide in coverage and accessing literature written between 1848 and 1982 inclusive. Quigley cites more than 4,700 references, including material overlooked in previous compilations. The work is arranged by subject, and extensive cross-referencing and indexes provide systematic access to this body of literature. The compiler has seen over two-thirds of the references. Unique to this book is its emphasis on placing the documentation within its overall bibliographical-historical context.

This collection of essays by musicologists and art historians explores the reciprocal influences between music and painting during the nineteenth century, a critical period of gestation when instrumental music was identified as the paradigmatic expressive art and theoretically aligned with painting in the formulation utpictura musica (as with music, so with painting). Under music's influence, painting approached the threshold of abstraction; concurrently many composers cultivated pictorial effects in their music. Individual essays address such themes as visualization in music, the literary vs. pictorial basis of the symphonic poem, musical pictorialism in painting and lithography, and the influence of Wagner on the visual arts. In these and other ways, both composers and painters actively participated in interarts discourses in seeking to redefine the very identity and aims of their art. Also includes 17 musical examples.

Now in Paperback! Music Melting Round: A History of Music in the United States provides a colorful introduction for students and nonspecialists alike to the scope of musical styles and venues in America from colonial to contemporary times. Covering all aspects of music, including classical, ragtime, blues, jazz, popular, minstrel shows, and music on radio and television and in film, the text also contains a variety of photographs and illustrations, three time lines presenting highlights in American history, the arts, and music, an appendix of basic musical concepts, a glossary, and two indexes. Cloth edition 1-880157-17-9 previously published in 1995 by Ardsley House. Instructor's Manual 1-880157-18-7 available upon request.

Green's study is more than a biography of an Anglo-African composer.The first comprehensive study of Coleridge-Taylor's life for almost a century, it reveals how class-ridden Britain could embrace even the most unlikely of cultural icons.

Roy Johnston and Declan Plummer provide a refreshing portrait of Belfast in the nineteenth century. Before his death Roy Johnston, had written a full draft, based on an impressive array of contemporary sources, with deep and detailed attention especially to contemporary newspapers. With the deft and sensitive contribution of Declan Plummer the finished book offers a telling view of Belfast's thriving musical life. Largely without the participation and example of local aristocracy, nobility and gentry, Belfast's musical society was formed largely by the townspeople themselves in the eighteenth century and by several instrumental and choral societies in the nineteenth century. As the town grew in size and developed an industrial character, its townspeople identified increasingly with the large industrial towns and cities of the British mainland. Efforts to place themselves on the principal touring circuit of the great nineteenth-century concert artists led them to build a concert hall not in emulation of Dublin but of the British industrial towns. Belfast audiences had experienced English opera in the eighteenth century, and in due course in the nineteenth century they found themselves receiving the touring opera companies, in theatres newly built to accommodate them. Through an energetic groundwork revision of contemporary sources, Johnston and Plummer reveal a picture of sustained vitality and development that justifies Belfast's prominent place the history of nineteenth-century musical culture in Ireland and more broadly in the British Isles.

This study explores a wide range of Victorian and Edwardian musical life including brass bands, choral societies, music hall and popular concerts, and analyzes the way in which popular cultural practice was shaped by, and in turn, helped shape social and economic structures. The text has been fully revised in order to consider recent work in the field.

Isaac Albeniz is one of the most important figures in the history of Spanish music. A legendary child prodigy, he went on to become one of the leading concert pianists of his generation in Europe. However, he aspired to compose music rooted in the folklore of his native Spain, contributing seminal masterpieces that defined the sound of Spanish art music in the 20th century and served as an inspiration to his most eminent successors. This annotated bibliography and research guide provides an up-to-date and thorough presentation of all the sources any aficionado, performer, or scholar would need to deepen his or her understanding of this fascinating pianist and composer.

Giochino Rossini: A Research and Information Guide is designed as a tool for those beginning to study the life and works of Gioachino Rossini as well as for those who wish to explore beyond the established biographies and commentaries. The first edition was published in 2001, and represented a survey of some 878 publications relating to the composer's life and works. The second edition is revised and updated to include the more than 150 books and articles written in the field of Rossini studies since then. Contents range from sources published in the early decades of the nineteenth century to works currently in progress. General subject areas include Rossini's biography, historical and analytical studies of his operatic and non-operatic compositions, his personal and professional associations, and the reassessment of his role in the development of nineteenth-century music.

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

Following the author's acclaimed biographical dictionaries on Schubert and Mozart, Peter Clive here examines Beethoven's relations with the multitude of persons who formed his circle: relatives, friends, acquaintances, librettists, poets, publishers, artists, patrons, and musicians. With over 450 entries, this volume is the most comprehensive and up-to-date survey of the subject currently available in any language. It will appeal to all music lovers, both the scholar and the non-specialist alike.

Frederick Delius is among the most celebrated English composers of the 20th century. Widely studied and performed, his works are considered models of the British impressionist school and continue to fascinate students and scholars centuries later. This research guide serves as a ready reference for students and scholars, but will also be interesting to read and useful for anyone who wants to know where to begin to learn more about this important composer.

Gaetano Donizetti: A Research and Information Guide offers an annotated reference guide to the life and works of this important Italian opera composer. The book opens with a complete chronology of Donizetti's life (1797-1848) and career, relating it to contemporary events. The balance of the book details secondary resources and other works, including general sources, catalogs, correspondence, biographical sources, critical works; production/review sources, singers and theaters, and the individual operas.

Grounded in knowledge of thousands of programs, this book examines how musical life in London, Leipzig, Vienna, Boston, and other cities underwent a fundamental transformation in relationship with movements in European politics. William Weber traces how musical taste evolved in European concert programs from 1750 to 1870, as separate worlds arose around classical music and popular songs. In 1780 a typical program accommodated a variety of tastes through a patterned 'miscellany' of genres, held together by diplomatic musicians. This framework began weakening around 1800 as new kinds of music appeared, from string quartets to quadrilles to ballads, which could not easily coexist on the same programs. Utopian ideas and extravagant experiments influenced programming as ideological battles were fought over who should govern musical taste. More than a hundred illustrations or transcriptions of programs enable readers to follow Weber's analysis in detail.

Nikolay Andreevich Rimsky-Korsakov: A Research and Information Guide, Second Edition is an annotated bibliography of all substantial, relevant published resources relating to the Russian composer. First published in 1988, this revised and expanded volume incorporates new information about the composer appearing over the last two decades, including literary publications, articles and reviews. Other sections provide a brief biographical sketch, selective discography, chronology and list of Rimsky-Korsakov's works.