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Books > Music > Western music, periods & styles > Romantic music (c 1830 to c 1900)
In the years approaching the centenary of Mahler's death, this book provides both summation of, and starting point for, an assessment and reassessment of the composer's output and creative activity. Authored by a collection of leading specialists in Mahler scholarship, its opening chapters place the composer in socio-political and cultural contexts, and discuss his work in light of developments in the aesthetics of musical meaning. Part II examines from a variety of analytical, interpretative and critical standpoints the complete range of his output, from early student works and unfinished fragments to the sketches and performing versions of the Tenth Symphony. Part III evaluates Mahler's role as interpreter of his own and other composers' works during his lifelong career as operatic and orchestral conductor. Part IV addresses Mahler's fluctuating reception history from scholarly, journalistic, creative, public and commercial perspectives, with special attention being paid to his compositional legacy.
Combining musical insight with the most recent research, William Kinderman's Beethoven is both a richly drawn portrait of the man and a guide to his music. Kinderman traces the composer's intellectual and musical development from the early works written in Bonn to the Ninth Symphony and the late quartets, looking at compositions from different and original perspectives that show Beethoven's art as a union of sensuous and rational, of expression and structure. In analyses of individual pieces, Kinderman shows that the deepening of Beethoven's musical thought was a continuous process over decades of his life. In this new updated edition, Kinderman gives more attention to the composer's early chamber music, his songs, his opera Fidelio, and to a number of often-neglected works of the composer's later years and fascinating projects left incomplete. A revised view emerges from this of Beethoven's aesthetics and the musical meaning of his works. Rather than the conventional image of a heroic and tormented figure, Kinderman provides a more complex, more fully rounded account of the composer. Although Beethoven's deafness and his other personal crises are addressed, together with this ever-increasing commitment to his art, so too are the lighter aspects of his personality: his humor, his love of puns, his great delight in juxtaposing the exalted and the commonplace.
Schumann's Late Style is the first study in English devoted to Robert Schumann's little-known music from the 1850s. The reason most often given for these works having been considered lesser achievements than the earlier song and piano cycles is that Schumann's mental illness had a detrimental effect on his compositions. However, this study demonstrates that there were several other, still more complex, reasons why the music from the 1850s sounded different. Schumann had started to compose 'in a new manner', depending more on preliminary sketches; he also began to write for larger forces (orchestra and chorus), which required a more 'public' style of music, as is also apparent in his works on nationalist themes, and in his more commercial pieces for children. This book thus attempts to disentangle assumptions about Schumann's late style from biographical interpretations, and to consider it in broader artistic, social and cultural contexts.
This second anthology of Russian writing on Russian music begins in 1880 (where the first volume concluded) and ends in 1917. It brings the thoughts of leading Russian music critics to an English-speaking readership as they react to the Russian music that is new to them, during a period when all aspects of musical life were developing rapidly. Music criticism had become more sure-footed, if no less opinionated. These reviews demonstrate greater awareness both of music history and of contemporary music abroad. The period covers the late careers of Tchaikovsky and Rimsky-Korsakov as well as late works by Borodin and Balakirev, and the emergence of Mussorgsky's compositions. Works by the intervening generation, including Arensky, Glazunov and Lyadov, are also reviewed and the book concludes with coverage of works by the Moscow School, including Medtner, Rachmaninoff and Skryabin and the early compositions of Stravinsky and Prokoviev.
A characteristic feature of Wagnerian and post-Wagnerian opera is the tendency to link scenes with numerous and often surprisingly lengthy orchestral interludes, frequently performed with the curtain closed. Often taken for granted or treated as a filler by audiences and critics, these interludes can take on very prominent roles, representing dream sequences, journeys and sexual encounters, and in some cases becoming a highlight of the opera. Christopher Morris investigates the implications of these important but strangely overlooked passages. Combining close readings of individual musical texts with an investigation of the critical discourse surrounding the operas, Morris shows how the interludes shed light not only on the representational and narrative capacities of the orchestra, but also on the supposed 'absolute' realm of instrumental music, a concept to which many critics appealed when they associated the interludes with 'purely musical' and 'symphonic' qualities.
This book is about three sets of etudes by Liszt: the Etude en douze exercices (1826), its reworking as Douzes grandes etudes (1837), and their reworking as Douzes etudes d'execution transcendante (1851). At the same time it is a book about nineteenth-century instrumental music in general, in that the three works invite the exploration of features characteristic of the early Romantic era in music. These include: a composer-performer culture, the concept of virtuosity, the significance of recomposition, music and the poetic, and the consolidation of a musical work-concept. A central concern is to illuminate the relationship between the work-concept and a performance- and genre-orientated musical culture. At the same time the book reflects on how we might make judgements of the 'Transcendentals', of the Symphonic Poem Mazeppa (based on the fourth etude), and of Liszt's music in general.
Berlioz's Orchestration Treatise is a classic textbook which has been used as a guide to orchestration and as a source book for the understanding both of Berlioz's music and of orchestral practice in the nineteenth century. This was the first English translation of Berlioz's complete text since 1856, and it is accompanied throughout by Hugh Macdonald's extensive and authoritative commentary on the instruments of Berlioz's time and on his own orchestral practice, as revealed in his scores. It also includes extracts from Berlioz's writings on instruments in his Memoirs and in his many articles for the Parisian press. The Treatise has been highly valued both for its technical information about instruments but also for its poetic and visionary approach to the art of instrumentation. Berlioz was not only one of the great orchestrators of the nineteenth century, he was also the author with the clearest understanding of the art.
Tchaikovsky not only composed, he also wrote about music. This substantial anthology of Russian writing on Russian music features the most influential critics of music in nineteenth-century Russia. They wrote on the first two generations of Russian composers from Glinka to Musorgsky, Tchaikovsky and Rimsky-Korsakov. The volume reveals through contemporary Russian eyes how the foundations of the hugely popular Russian classical repertory were laid, providing a vivid picture of the musical life of the opera house and the concert hall from which this repertory sprang. Featuring most extensively the critical writing of Odoyevsky, Serov, Cui and Laroche, the volume contains the first authoritative review of key works, such as Musorgsky's Boris Godunov, Tchaikovsky's Romeo and Juliet and Rimsky-Korsakov's First Symphony.
This book is the first major publication devoted to the music of Janacek, now widely regarded as one of the most important composers of the early twentieth century. The essays, all by leading scholars, deal with a broad range of subjects relating to opera, symphonic poem, instrumental music, cultural context and reception. Some topics, such as the sources of Janacek's musical expressivity, questions of narrative, Janacek as musical analyst and Janacek as realist, are considered seriously for the first time, whilst other more conventional topics, such as 'speech melody' and Janacek's ethnographic activities, are reappraised. A transcription of Janacek's analytical study of 'Jeux de vagues' from Debussy's La mer is published for the first time, and this document is considered in the light of Janacek's theory of music as a whole and of the reception of La mer.
Wolf has been regarded as a composer who followed the style and aesthetics of Wagnerian music drama without question, while writing in a genre often seen as less challenging than the symphony or opera. This 1999 book re-examines the evidence concerning Wolf's responses to Wagner and Wagnerism and suggests ways in which he voiced his criticism through song, and his one completed opera Der Corregidor. This opens up insights into the kind of impact Wagner had on those following in his wake, and into the complexity and subtlety of the late nineteenth-century Lied. From this perspective, Wolf emerges as a persuasive and articulate figure of wide musical and artistic significance.
Schubert's Late Lieder is a study of selected songs for voice and piano composed by Schubert between 1822 and his death on 19 November 1828. Circa late 1822, Schubert was diagnosed with syphilis, and many of the songs discussed in this book were written under the seal of impending death. It is possible to locate in these songs a 'late song style', full of elegiac references to Schubert's other death-haunted works and marked by distinctive variation techniques. The songs on poems by Schubert's Austrian contemporaries are less well known than they should be, and yet the backdrop to these works is often fascinating. In this book, Susan Youens introduces the poets Matthaus von Collin, Johann Ladislaus Pyrker, Carl Gottfried Ritter von Leitner, Johann Anton Friedrich Reil, Franz von Schlechta, and Johann Gabriel Seidl and discusses Schubert's songs to their poetry, revealing much about the poet and about Austrian history and culture.
Brahms once complained that singers never performed his songs in the groups in which he had published them, which he likened to 'song bouquets'. Over a century later, many singers and musicologists continue to ignore Brahms's wishes and focus on the individual songs rather than the bouquet groups. This is the first detailed study of the implications of Brahms's comments. Following an examination of contemporary aesthetic and generic frameworks, the book traces Brahms's Lieder from their conception, to the arrangement into bouquets, to performance and reception, and examines the sometimes contradictory roles played by poet, composer, performer and recipient in creating coherence in song collections. An investigation of the graphic cycles of Max Klinger reveals a startling visual analogue of Brahms's conception of the song bouquet, and a final examination of the evidence of Brahms's aesthetic outlook reveals that his intentions may have been cyclic in more than one sense.
This second volume of Brahms studies contains twelve contributions by leading international authorities on various music. Like the preceding volume of the same title (edited by Robert Pascall), Michael Musgrave's volume aims to provide original scholarly material on different facets of a major composer still inadequately discussed in book form and employs more precise methods of analysis and more critical approaches to materials then generally available in writings on Brahms in English. Half of the volume takes the music itself as focus, though from very different vantage points. There are two studies of a single opus (the two String Quartets Op. 51 Nos, 1 and 2), discussions of the Fourth Symphony and the motet 'Warum', and a view of Brahms's harmony. The underlying historical theme emerges more openly in an account of Brahms's interest in German Renaissance music. The remaining essays give details of the state of Brahms's unpublished compositions and arrangements at his death and the problematic disposal of his possessions (including musical ones), explore his own attitude to his historical position, and outline the reception of his music in Germany and, to begin with, in England.
Julian Budden, one of the world's foremost scholars of Italian
opera and author of a monumental three-volume study of Verdi's
works, now offers music lovers a major new biography of one of the
giants of Italian opera, Giacomo Puccini.
Once tainted by association with Hitler and Nazism, Richard Wagner's work has experienced an international cultural renaissance in the last 25 years. His magnum opus, ""Der Ring des Nibelungen"", which took him over 20 years to finish, is a complex tale with themes of greed, corruption and loss, spun out in more than 16 hours of powerfully moving opera. This book, with provocative essays for both the uninitiated and the seasoned fan, examines Wagner's Ring cycle from a wide array of modern perspectives. Divided into six parts, this anthology first offers a foundation for the ""Ring"", with a chronology and an introduction, along with a look at Wagner as an enterprising marketer. Part Two explores different interpretations of the ""Ring"", with reference to politics, romanticism and international inspirations. Part Three studies the complex relationship between Wagner's ""Ring"" and Germany, with a summary of the opera's influence on German culture and a discussion of its Munich premiere. Part Four offers a production history, including studies of the ""Ring's"" effects in America and its influence on world literature. Part Five provides a technical examination of language in the ""Ring"", as well as an interview with the famous Wagnerian soprano Jane Eaglen. The book concludes with an essay on the trouble with Wagnerian opera and an overview of the recorded ""Ring"" on disc, video and print.
Hundreds of the letters that Gustav Mahler addressed to his parents
and siblings survive, yet they have remained virtually unknown.
Now, for the first time Mahler scholar Stephen McClatchie presents
over 500 of these letters in a clear, lively translation in The
Mahler Family Letters. Drawn primarily from the Mahler-Rose
Collection at the University of Western Ontario, the volume
presents a complete, well-rounded view of the family's
correspondence.
Enrique Granados (1867-1916) is one of the most compelling figures
of the late-Romantic period in music. During his return voyage to
Spain after the premiere of his opera Goyescas at New York's
Metropolitan Opera in 1916, a German submarine torpedoed the ship
on which he and his wife were sailing, and they perished in the
waters of the English Channel. His death was mourned on both sides
of the Atlantic as a stunning loss to the music world, for he had
died at the pinnacle of his career, and his late works held the
promise of greater things to come.
This is the first book-length study of the rich operatic repertory written and performed in France during the last two decades of the nineteenth century. Steven Huebner gives an accessible and colorful account of such operatic favorites as Manon and Werther by Massenet, Louise by Charpentier, and lesser-known gems such as Chabrier's Le Roi malgr lui and Chausson's Le Roi Arthus.
"This book is a substantial and timely contribution to Brahms studies. Its strategy is to focus on a single critical work, the C-Minor Piano Quartet, analyzing and interpreting it in great detail, but also using it as a stepping-stone to connect it to other central Brahms works in order to reach a new understanding of the composer s technical language and expressive intent. It is an original and worthy contribution on the music of a major composer." Patrick McCreless Expressive Forms in Brahms s Instrumental Music integrates a wide variety of analytical methods into a broader study of theoretical approaches, using a single work by Brahms as a case study. On the basis of his findings, Smith considers how Brahms s approach in this piano quartet informs analyses of similar works by Brahms as well as by Beethoven and Mozart. Musical Meaning and Interpretation Robert S. Hatten, editor"
Georges Barrere (1876-1944) holds a preeminent place in the history
of American flute playing. Best known for two of the landmark works
that were written for him--the Poem of Charles Tomlinson Griffes
and Density 21.5 by Edgard Varese--he was the most prominent early
exemplar of the Paris Conservatoire tradition in the United States
and set a new standard for American woodwind performance.
The French flute player and conductor Paul Taffanel (1844-1908) was
an extraordinary virtuoso and a major figure in fin de siecle
Parisian musical life. Based on a treasure trove of private
documents of Taffanel's previously unpublished letters and papers,
Taffanel: Genius of the Flute recounts the rich story of his
multi-faceted career as a player, conductor, composer, teacher, and
leader of musical organizations.
"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 French flute player and conductor Paul Taffanel (1844-1908) was
an extraordinary virtuoso and a major figure in fin-de-siecle
Parisian musical life. Based on a treasure trove of private
documents of Taffanel's previously unpublished letters and papers,
Taffanel: Genius of the Flute
This resource is an interesting look at how European culture, particularly European music, related to the social and cultural experiences of the residents of ninteenth-century Rio de Janeiro. The focus is on how Cariocas (residents of Rio de Janeiro) responded to and often imitated different musical styles imported from Europe. After introducing the local musical setting and showing how musical life in imperial Rio de Janeiro reflected Parisian models, the author discusses the importation of operatic repertory, the use of German classical music as the basis of an elite social class, the role of European music in Brazilian theater, and finally, the emergence of a "national" music. Overall, this study reveals European music as a powerful force in the internal processes of political, cultural, social, and ethnic negotiations during the 19th century government of Emperor Pedro II. Musicologists, Latin American historians, and anyone with an interest in urban studies will find much of interest in this book.
This multidisciplinary collection addresses Chopin s life and oeuvre in various cultural contexts of his era. Fourteen original essays by internationally-known scholars suggest new connections between his compositions and the intellectual, literary, artistic, and musical environs of Warsaw and Paris. Individual essays consider representations of Chopin in the visual arts; reception in the United States and in Poland; analytical aspects of the mazurkas and waltzes; and political, literary, and gender aspects of Chopin s music and legacy. Several senior scholars represent the fields of American, Western European, and Polish history; Slavic literature; musicology; music theory; and art history." |
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Topics in Musical Interpretation
Sezi Seskir, David Hyun-Su Kim
Hardcover
R4,141
Discovery Miles 41 410
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