Most Americans are familiar with such classic folk tunes as "Ten Little Indians," "Oh Where, Oh Where, Has My Little Dog Gone?" and "Listen to the Mockingbird." But the composer behind these childhood favorites has been all but forgotten. Septimus Winner: Two Lives in Musicchronicles the life and achievements of one man's extraordinarily unusual career in music. Though Septimus Winner was considered one of the forefathers of nineteenth-century American popular song, he published his most popular and enduring works under the female pseudonym of Alice Hawthorne. The author sheds some much needed light on one of the most interesting anomalies in American musical history Septimus Winner a.k.a. Alice Hawthorne. While Winner was certainly not the first male artist to publish under a woman's name, his case is distinct in that he created an entire persona for Alice Hawthorne and consistently used the pseudonym for well over three decades. "The Hawthorne Ballads," as they were generally known in the nineteenth century, were among the most successful songs of their day, rivaling Foster in popularity. Why would Winner make such a choice at a time when women were either struggling against the social conventions of the time or were disguising their own identities with male pseudonyms? Remson addresses this question and numerous others, shedding light on one of the most interesting anomalies in American musical history. The book is supplemented by alphabetical and pseudonymous listings of Winner's songs and arrangements of his music, as well as annotations for books, articles, and poetry written by Winner.

During the late 1890s and early 1900s, Samuel Coleridge-Taylor (1875-1912) was an important and popular British composer. Respected by such contemporaries as Sir Arthur Sullivan, Sir Edward Elgar, Gustav Holst, and Ralph Vaughan Williams, he attracted the attention of the British music critics, who followed his career with curious interest and often placed him in a class with other noted composers. A prolific composer during his short lifetime, he received great public acclaim and became known both nationally and internationally-his setting of Longfellow's Hiawatha was just as popular as Handel's Messiah in Victorian England. Although he composed Hiawatha when he was only twenty-three, Coleridge-Taylor already had reached a published opus of twenty-nine compositions. Born of a West African doctor and a British mother, Coleridge-Taylor belonged to two decidedly different cultures. Therefore, his compositional style was affected by two underlying currents: the classical tradition that dominated his training at the Royal College of Music, and the African and African-American folk music that was introduced to him through contacts with members of his father's race. This revised second edition, equipped with both an updated and expanded discography and bibliography, traces the development of his compositional style from his final years at the Royal College of Music to the time of his death in 1912. Also included is a list of his arrangements and later editions of his music. The author uses examples from selected works to show the influence of classical texts, West African and African-American elements, and English poetical dramas. Of particular interest are eight rare and/or never-before seen articles by and about this ground-breaking composer.

This study of the 19th century Austrian composer, Anton Bruckners, grew out of a 1998 doctoral dissertation at the University of Aarhus, Denmark. Bruckners' works have for years evaded categorization due to their wide variety in style and vastly different effects on the listener. As a result the author delves into a detailed analysis of the problems associated with symphonic typology and places the composerAes pieces into a unique position somewhere between sympathy and abstraction. The discussion continues with an application of the psychological theories of Wilhelm Dilthey, Carl Jung, and Wilhelm Worringer to offer a fresh interpretation of the processual and conceptual elements of the symphony. Text in German.

This collection provides an in-depth look at musical criticism between the mid-nineteenth and the mid-twentieth century. British music between the mid-nineteenth and the mid-twentieth century reflected changes and developments in society, education, philosophy, aesthetics, politics and the upheaval of wars, often signifying a distinctively British national history. All of these changes informed the published work of contemporary music critics. This collection provides an in-depth look at musical criticism during this period. It focusses on major figures such as Grove,Parry, Shaw, Dent, Newman, Heseltine, Vaughan Williams, Dyson, Lambert and Keller, yet does not neglect less influential but nevertheless significant critics. Sometimes a seminal work forms the subject of investigation; in otherchapters, a writer's particular stance is highlighted. Further contributions closely analyse the now famous polemics by Shaw, Heseltine and Lambert. The book covers a range of themes from the historical, scientific and philosophical to matters of repertoire, taste, interdisciplinary influence, musical democratisation and analysis. It will be of interest to scholars and students of nineteenth- and early twentieth-century British music and music in Britain as well as to music enthusiasts attracted to standard works of popular music criticism. JEREMY DIBBLE is Professor of Music at Durham University. JULIAN HORTON is Professor of Music at Durham University. Contributors: KAREN ARRANDALE, SEAMAS DE BARRA, PHILIP ROSS BULLOCK, JONATHAN CLINCH, SARAH COLLINS, JEREMY DIBBLE, JULIAN HORTON, PETER HORTON, CHRISTOPHER MARK, AIDAN J. THOMSON, PAUL WATT, HARRY WHITE, BENNETT ZON, PATRICKZUK

Second edition of a book which caused huge controversy in its first printing - now completely revised and updated. Argues that research into the cultural history of music can significantly help our understanding of the evolution of English national identity. Only book of its kind to cover such a revolutionary period in British music. Looks at how music reflected the privileged elite, ignoring the vast majority of 'music lovers', and was crucial in the construction of a British national identity. The second edition features a new and expanded introduction, a new chapter on Mendelssohn's Elijah - and the complete text has also been updated and revised. -- .

Felix Mendelssohn is one of the most celebrated figures of the early Romantic period. As a composer of sacred texts, he is chiefly remembered today for the oratorios Paulus (1836) and Elijah (1846). In this groundbreaking study, Siegwart Reichwald offers a meticulous analysis of Paulus, beginning with a general overview of the oratorio traditions of the early nineteenth century. He details the phases of the compositional process of Paulus as well as principles governing its development. Numerous musical examples, figures, and tables accompany the text. This thorough treatment of Paulus, while shedding light on Mendelssohn's approach to the oratorio and to sacred music in general, will be of interest to students of musicology.

This absorbing and award-winning biography tells the story of the tragedies and triumphs of Clara Wieck Schumann (1819 1896), a musician of remarkable achievements. At once artist, composer, editor, teacher, wife, and mother of eight children, she was an important force in the musical world of her time. To show how Schumann surmounted the obstacles facing female artists in the nineteenth century, Nancy B. Reich has drawn on previously unexplored primary sources: unpublished diaries, letters, and family papers, as well as concert programs. Going beyond the familiar legends of the Schumann literature, she applies the tools of musicological scholarship and the insights of psychology to provide a new, full-scale portrait.

The book is divided into two parts. In Part One, Reich follows Clara Schumann's life from her early years as a child prodigy through her marriage to Robert Schumann and into the forty years after his death, when she established and maintained an extraordinary European career while supporting and supervising a household and seven children. Part Two covers four major themes in Schumann's life: her relationship with Johannes Brahms and other friends and contemporaries; her creative work; her life on the concert stage; and her success as a teacher.

Throughout, excerpts from diaries and letters in Reich's own translations clear up misconceptions about her life and achievements and her partnership with Robert Schumann. Highlighting aspects of Clara Schumann's personality and character that have been neglected by earlier biographers, this candid and eminently readable account adds appreciably to our understanding of a fascinating artist and woman.

For this revised edition, Reich has added several photographs and updated the text to include recent discoveries. She has also prepared a Catalogue of Works that includes all of Clara Schumann's known published and unpublished compositions and works she edited, as well as descriptions of the autographs, the first editions, the modern editions, and recent literature on each piece. The Catalogue also notes Schumann's performances of her own music and provides pertinent quotations from letters, diaries, and contemporary reviews."

A study on the influence which the German novelist Jean Paul Friedrich Richter had upon Robert Schumann's music. Robert Schumann frequently expressed his deep admiration for the novels of Jean Paul Friedrich Richter, the late-eighteenth-century German novelist, essayist, and satirist. Schumann imitated Jean Paul's prose style in his own fiction and music criticism, and said once that he learned "more counterpoint from Jean Paul than from my music teacher." Drawing on the recent, groundbreaking work in musico-literary analysis of scholars such as Anthony Newcomb,John Daverio, and Lawrence Kramer, Erika Reiman embarks on a comparative study of Jean Paul's five major novels and Schumann's piano cycles of the 1830s, many of which are staples in the repertoire of concert pianists today. The present study begins with a thorough review of Jean Paul's literary style, emphasizing the digressions, intertextuality, self-reflexivity, and otherworldliness that distinguish it. The similarly digressive style that Schumanndeveloped is then examined in his earliest works, including the enduring and highly original Carnaval [1835], and in cycles of the later 1830s, notably Davidsbundlertanze and Faschingsschwank aus Wien. Finally, an analysis of three one-movement works from 1838-39 reveals links with Jean Paul's exploration of the idyll, an ancient genre that had experienced an eighteenth-century revival. Throughout, the author attempts to keep inmind the actual sound and performed experience of the works, and suggests ways in which an awareness of Jean Paul's style might change the performance and hearing of the cycles. Erika Reiman, received her Ph.D. in Musicology from the University of Toronto [1999] and has taught at Brock University, Wilfrid Laurier University, the University of Guelph, and the University of Toronto; she is also active as a pianist and chamber musician.

An extraordinary prodigy of Mozartean abilities, Felix Mendelssohn Bartholdy was a distinguished composer and conductor, a legendary pianist and organist, and an accomplished painter and classicist. Lionized in his lifetime, he is best remembered today for several staples of the concert hall and for such popular music as "The Wedding March" and "Hark, the Herald Angels Sing."
Now, in the first major Mendelssohn biography to appear in decades, R. Larry Todd offers a remarkably fresh account of this musical giant, based upon painstaking research in autograph manuscripts, correspondence, diaries, and paintings. Rejecting the view of the composer as a craftsman of felicitous but sentimental, saccharine works (termed by one critic "moonlight with sugar water"), Todd reexamines the composer's entire oeuvre, including many unpublished and little known works. Here are engaging analyses of Mendelssohn's distinctive masterpieces--the zestful Octet, puckish Midsummer Night's Dream, haunting Hebrides Overtures, and elegiac Violin Concerto in E minor. Todd describes how the composer excelled in understatement and nuance, in subtle, coloristic orchestrations that lent his scores an undeniable freshness and vividness. He also explores Mendelssohn's changing awareness of his religious heritage, Wagner's virulent anti-Semitic attack on Mendelssohn's music, the composer's complex relationship with his sister Fanny Hensel, herself a child prodigy and prolific composer, his avocation as a painter and draughtsman, and his remarkable, polylingual correspondence with the cultural elite of his time.
Mendelssohn: A Life offers a masterful blend of biography and musical analysis. Readers will discovermany new facets of the familiar but misunderstood composer and gain new perspectives on one of the most formidable musical geniuses of all time.

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 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.

A vivid picture of the public and private life of a professional musician in late eighteenth- and early nineteenth-century London. This well-documented life of Samuel Wesley gives a vivid picture of the life of a professional musician in late eighteenth and early nineteenth-century London. Wesley was born in 1766, the son of the Methodist hymn-writer CharlesWesley and nephew of the preacher John Wesley. He was the finest composer and organist of his generation, but his unconventional behaviour makes him of more than ordinary interest. He lived through a crucial stage of English musicfrom the immediately post-Handel generation to the early Romantic period, and his large output includes piano and organ music, orchestral music, church music, glees, and songs. He also taught and lectured on music, and was involved in journalism, publishing, and promoting the music of J. S. Bach. This book draws on letters, family papers, and other contemporary documents to offer a full study of Wesley, his music, and his life and times. PHILIP OLLESON is Professor of Historical Musicology at the University of Nottingham. He has edited The Letters of Samuel Wesley: Professional and Social Correspondence, 1797-1837, is the joint author (with Michael Kassler) of Samuel Wesley (1766-1837): A Source Book, and has written extensively about other aspects of music in England in the eighteenth and nineteenth centuries.

Edward Elgar (1857-1934) is undoubtedly one of the most fascinating, important, and influential figures in the history of British music. He rose from humble beginnings and achieved fame with music that to this day is beloved by audiences in England, and his work has secured an enduring legacy worldwide. Leading scholars examine the composer's life in "Edward Elgar and His World," presenting a comprehensive portrait of both the man and the age in which he lived.

Elgar's achievement is remarkably varied and wide-ranging, from immensely popular works like the famous "Pomp and Circumstance" March no. 1--a standard feature of American graduations--to sweeping masterpieces like his great oratorio "The Dream of Gerontius." The contributors explore Elgar's Catholicism, which put him at odds with the prejudices of Protestant Britain; his glorification of British colonialism; his populist tendencies; his inner life as an inspired autodidact; the aristocratic London drawing rooms where his reputation was made; the class prejudice with which he contended throughout his career; and his anguished reaction to World War I. Published in conjunction with the 2007 Bard Music Festival and the 150th anniversary of Elgar's birth, this elegant and thought-provoking volume illuminates the greatness of this accomplished English composer and brings vividly to life the rich panorama of Victorian and Edwardian Britain.

The contributors are Byron Adams, Leon Botstein, Rachel Cowgill, Sophie Fuller, Daniel M. Grimley, Nalini Ghuman Gwynne, Deborah Heckert, Charles Edward McGuire, Matthew Riley, Alison I. Shiel, and Aidan J. Thomson.

"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 discourse of Victorian liberalism has long been explored by scholars of literature, with reference to politics, ethics and aesthetics. Yet little attention has been paid to music's role in the context of these debates, leaving a rich collection of historical and archival detail on the periphery of our understanding. From the impact of the National Sunday League to the reception of Wagner in London, this collection of essays aims to nuance current approaches to the aesthetic facets of liberalism, examining the interaction between music and liberal ideas in a variety of social contexts. The significance of music for modern conceptions of self-hood and community is uncovered, revealing a new dimension of Victorian liberalism.

This work is part of a series of comprehensive practical guides for the solo piano. A reference book for all levels - amateur, student, teacher and professional - the purpose of the series is to help pianists with their choice of music to suit their own styles and capabilities, and to discuss their technical and interpretive demands. This volume provides a complete survey of Chopin's music for solo piano, including a graded list of his works together with detailed suggestions for study and performance. An extended introduction places Chopin in the context of his time, distancing him from the romantic misconceptions that have dogged his reputation through successive generations.

Camille Saint-Saens--perhaps the foremost French musical figure of the late nineteenth century and a composer who wrote in nearly every musical genre, from opera and the symphony to film music--is now being rediscovered after a century of modernism overshadowed his earlier importance. In a wide-ranging and trenchant series of essays, articles, and documents, "Camille Saint-Saens and His World" deconstructs the multiple realities behind the man and his music. Topics range from intimate glimpses of the private and playful Saint-Saens, to the composer's interest in astronomy and republican politics, his performances of Mozart and Rameau over eight decades, and his extensive travels around the world. This collection also analyzes the role he played in various musical societies and his complicated relationship with such composers as Liszt, Massenet, Wagner, and Ravel. Featuring the best contemporary scholarship on this crucial, formative period in French music, "Camille Saint-Saens and His World" restores the composer to his vital role as innovator and curator of Western music.

The contributors are Byron Adams, Leon Botstein, Jean-Christophe Branger, Michel Duchesneau, Katharine Ellis, Annegret Fauser, Yves Gerard, Dana Gooley, Carolyn Guzski, Carol Hess, D. Kern Holoman, Leo Houziaux, Florence Launay, Stephane Leteure, Martin Marks, Mitchell Morris, Jann Pasler, William Peterson, Michael Puri, Sabina Teller Ratner, Laure Schnapper, Marie-Gabrielle Soret, Michael Stegemann, and Michael Strasser."

David Kopp's book develops a model of chromatic chord relations in nineteenth-century music by composers such as Schubert, Beethoven, Chopin, Schumann and Brahms. The emphasis is on explaining chromatic third relations and the pivotal role they play in theory and practice. The book traces conceptions of harmonic system and of chromatic third relations from Rameau through nineteenth-century theorists such as Marx, Hauptmann and Riemann, to the seminal twentieth-century theorists Schenker and Schoenberg and on to the present day. Drawing on tenets of nineteenth-century harmonic theory, contemporary transformation theory and the author's own approach, the book presents a clear and elegant means for characterizing commonly acknowledged but loosely defined elements of chromatic harmony, and integrates them as fully fledged entities into a chromatically based conception of harmonic system. The historical and theoretical argument is supplemented by plentiful analytic examples.

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.

Essays by the noted authority on nineteenth-century music, the topics ranging from Beethoven and Schubert to comic opera to Scriabin and Janacek. In Beethoven's Century: Essays on Composers and Themes, world-renowned musicologist Hugh Macdonald draws together many of his richest essays on music from Beethoven's time into the early twentieth century. The essays are here revised and updated, and some are printed in English for the first time. Beethoven's Century addresses perennial questions of what music meant to the composer and his audiences, how it was intended to be played, andhow today's audiences can usefully approach it. Opening with a revealing analysis of Beethoven's not always generous regard for his listeners, the essays probe aspects of Schubert's musical personality, the brief friendshipbetween Berlioz and Schumann, Liszt's abilities as a conductor, and Viennese views of Wagner as expressed by Hugo Wolf. Essays on comic opera and trends in French opera libretti in the late nineteenth century reflect the author's long-standing sympathy for French music, and strikingly eccentric personalities in the world of music, such as Paganini, Alkan, Skryabin, and Janacek, are brought to life. Beethoven's Century concludes with a wrylook at some startling developments in early twentieth-century music that have often been overlooked. Hugh Macdonald has taught music at the Universities of Cambridge, Oxford, and Glasgow, and since 1987 has been Avis H. Blewett Distinguished Professor of Music at Washington University, St. Louis. He has written books on Skryabin and Berlioz, and is a regular pre-concert speaker for the Boston and St. Louis Symphony Orchestras.

"Programming the Absolute" discusses the notorious opposition between absolute and program music as a true dialectic that lies at the heart of nineteenth-century German music. Beginning with Beethoven, Berthold Hoeckner traces the aesthetic problem of musical meaning in works by Schumann, Wagner, Liszt, Mahler, and Schoenberg, whose private messages and public predicaments are emblematic for the cultural legacy of this rich repertory.

After Romanticism had elevated music as a language "beyond" language, the ineffable spurred an unprecedented proliferation of musical analysis and criticism. Taking his cue from Adorno, Hoeckner develops the idea of a "hermeneutics of a moment," which holds that musical meaning crystallizes only momentarily--in a particular passage, a progression, even a single note. And such moments can signify as little as a fleeting personal memory or as much as the whole of German music.

Although absolute music emerged with a matrix of values--the integrity of the subject, the aesthetic autonomy of art, and the intrinsic worth of high culture--that are highly contested in musicology today, Hoeckner argues that we should not completely discard the ideal of a music that continues to offer moments of transcendence and liberation.

Passionately and artfully written, Hoeckner's quest for an "essayistic musicology" displays an original intelligence willing to take interpretive risks. It is a provocative contribution to our knowledge about some of Europe's most important music--and to contemporary controversies over how music should be understood and experienced.

Looks at ancient and oriental music and traces the history of western music from medieval times to the twentieth century.

All solo music not in other volumes, including Symphonic Etudes, Phantasie, 13 other choice works. Definitive Breitkopf & Härtel edition.

Emslie's study of Wagner's creativity examines the centrality of love - and its obverse, hate - to the composer's world view. Richard Wagner and the Centrality of Love is a bold book which argues that Wagner's music dramas cannot be understood if treated separately from his essays, his life, the intellectual and artistic climate of his day, and the broader history of Germany. Wagner attempts a range of reconciliations that are radical in content and form and appear to succeed partly because he is in well-nigh complete command of the aesthetic product; not only text and music, but also production practice. Nonetheless, all the reconciliations ultimately break down, but in a manner that is illuminating. This is not a celebration of the seamless work of art, but a radical unpicking of the seemingly seamless. 'Love' is the central organising concept of the whole Wagnerian project. Love - sexual and spiritual, egotistical and charitable, love of the individual and of the race - is the key Wagnerian driving force. And therefore so is hate. Of course Wagner cannot employ love without its opposite, and it is critically significant that his anti-semitism is based upon his view that the Jews are 'loveless'. The book handles Wagner's anti-semitism (andthe ongoing row about it) in a unique way, in that it is shown to be aesthetically and intellectually productive (for him!). This leads to a radical reinterpretation of Wagner's music dramas. BARRY EMSLIE is an independent scholar who lives and teaches in Berlin.