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.

No artist's achievement connects more directly with early experience than that of Berlioz. David Cairns draws on a wealth of family papers to recreate in authentic and intimate detail the provincial milieu of Berlioz's boyhood, showing how the son of a village doctor was already transforming himself into the composer of the Fantastic Symphony. Berlioz's desperate attempts to win his father's approval for his vocation, his struggles to establish himself on the Parisian musical scene, and his passionate pursuit of love are all brought vividly to life in this first volume of David Cairn's award-winning biography.

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

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

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

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

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

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

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

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

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

Passionate and pioneering, Liszt's biography of Chopin flaunts its author's celebrity while straddling the divide between the scholarly and the popular. In this volume Meirion Hughes combines a new translation of the first edition with an introduction that places the work in its cultural and political context. In his introduction Hughes explores the complex relationship between the two composers, the highly charged political context in which the book was written, and the discourse of cultural nationalism and progressivism that dominates content. He argues that Chopin (put in italics) was more than a tribute to an erstwhile friend, but rather a polemic of national music rooted in the politics of that 'year of revolutions', 1848-9. Hughes remains faithful to the original while putting clarity before strict adherence to what is, by general agreement, a quirky text. Controversial in its approach, Liszt's 'Chopin' challenges the long-held view of the memoir is as lightweight, inaccurate portrait of its subject, but rather as one of the most important and daring musical biographies of the nineteenth century. -- .

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

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

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

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

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

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

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

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

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

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

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

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

Debussy himself had little regard for Clair de Lune, and scholars have thus far followed suit-until now. Claude Debussy's Clair de Lune is the first book wholly dedicated to an historical, cultural, and analytical investigation of the French composer's famous composition for piano. Author Gurminder Kaur Bhogal explores why, over any other piece in Debussy's repertoire for piano, Clair de Lune achieved stardom in the decades following the composer's death, and how, as the third movement of the Suite Bergamasque, it managed to almost fully eclipse the other movements. Drawing on a broad range of excerpts from classical and popular music, commercials, film, and video games, Bhogal examines the various ways in which listeners have engaged with the piece. She also places it in its proper artistic context, through analysis alongside the poetry of Paul Verlaine and the paintings of Jean-Antoine Watteau. A wide range of aural, visual, and video examples energize the narrative, and demonstrate how Clair de Lune has come to achieve an iconic status within and beyond Debussy's oeuvre.

John Philip Sousa (1854-1932) is an American icon. Most famous for his military marches, the composer-bandmaster led a disciplined group of devoted musicians on numerous American tours and around the world, shaping a new cultural landscape. Paul E. Bierley documents every aspect of the "March King's" band: its history, its star performers, its appearances on recordings and radio, and the problems they faced on their 1911 trip around the world. Enhanced by more than 120 images and photographs, "The Incredible Band of John Philip Sousa" also contains six statistical appendixes detailing where the band played, a complete list of musicians, instrumentation of the band, program listings, and a discography

In 1950, as Arnold Schoenberg anticipated the publication of a collection of 15 of his most important writings, Style and Idea, he was already at work on a second volume to be called Program Notes. Inspired by this idea, Schoenberg's Program Notes and Musical Analyses can boast the most comprehensive study of the composer's writings about his own music yet published. Schoenberg's insights emerge not only in traditional program notes, but also in letters, sketch materials, pre-concert talks, public lectures, contributions to scholarly journals, newspaper articles, interviews, pedagogical materials, and publicity fliers. The editions of the texts in this collection, based almost exclusively on Schoenberg's original manuscript sources, include many items appearing in print in English for the first time, as well as more familiar texts that preserve musical and textual information eliminated from previous editions. The book also reveals how Schoenberg, desirous to communicate with and educate an audience, took every advantage of changes in technology during his lifetime, utilizing print media, radio broadcasts, record jackets-and had he lived, television-for this purpose. In addition to four chapters in which Schoenberg illuminates 42 of his own compositions, the book begins with chapters on his development and influences, his thoughts about trends in modern music, and, in a nod to the importance of the radio in providing a venue for music analysis, a chapter about Schoenberg's radio broadcasts.

One of the most controversial figures in the history of ideas as well as music, Richard Wagner continues to stimulate debate whenever his works are performed. Drawing upon the scholarship of The New Grove Dictionary of Opera, the most comprehensive dictionary of opera in the world, Barry Millington offers a concise, portable survey and guide, which will make a welcome addition to the shelf of anyone who loves opera.
Millington has completely updated the original pieces and contributed four new chapters on Wagner, including a summary of Wagner productions from 1876 to the present day, a suggested listening and viewing gyide, complete chronology of Wagner's operas, and a glossary of terms that will delight any opera-goer. In addition, there are detailed entries on each of Wagner's operas, a main biographical section, and a group of separate articles on such topics as Leitmotif and Gesamtkunstwerk, as well as a newly revised updated article on Bayreuth.
Complete with a new preface, updated bibliography, glossary, and discography--including first release dates of each recording--The New Grove Guide to Wagner and his Operas furnishes both seasoned Wagner-lovers and neophytes with all they require for an in-depth appreciation of this unique historical figure.

As a composer, Hector Berlioz embodied his century as the quintessential Romantic artist. Niccolo Paganini called him "Beethoven's only heir," and for a young Richard Wagner, he was dazzling as a composer, orchestra conductor, and critic. But Berlioz was known as much for his writings as for his music, and for decades Berlioz scholars have stressed the need for a good English-language anthology of his criticism. Featuring new translations and commentary by Katherine Kolb and Samuel N. Rosenberg, Berlioz on Music: Selected Criticism 1824-1837 is that volume. Berlioz's centrality as a critic results from his literary brilliance, his location in Paris - the music capital of the nineteenth century - and his 28-year tenure at the powerful Journal des debats. As one of its founding editors and principal writers, Berlioz contributed about 250 articles to the publication. Berlioz on Music comprises articles from the first 14 years of Berlioz's public writings, given in chronological order and, with few exceptions, in their entirety. Following chronology affords an overview of Berlioz's evolution as critic and of a key phase in the development of modern musical culture. The volume also presents explanatory data in engagingly composed introductions and footnotes, which elucidate Berlioz's references to persons, musical and literary works, historical events, and more. The reader is allowed to follow musical events during one of the richest periods in French cultural history, including the revolutionary decade surrounding 1830, a year marked by Victor Hugo's victory for the Romantics in the Classical bastion of the Theatre-Francais, by the premiere of Berlioz's Fantastic Symphony, and by the toppling of the Restoration monarchy. The result is an engaging collection of Berlioz's lively prose, presented with scholarly rigor and rendered in accessible English. Music historians, both professional and amateur, as well 19th century European history enthusiasts will find Berlioz on Music a compelling introduction to one of the richest periods of French culture.