Using Schumann's Eichendorff Liederkreis as the primary example, this book sheds new light on the structure of nineteenth century song cycles and on the Schumann's particular response to the problem of musical coherence in large scale works. Drawing on analysis, literary criticism, and source studies, this book argues for a new conception of the nineteenth-century song cycle. Rather than a unified whole, the cycle is seen as a fragmentary and open-ended form that enables Schumann to express the romantic themes of transcendence and ineffability in musical terms. THe book begins with a general discussion of the cycle as a genre. The heart of the book is a series of closely argued analyses of five of the Eichendorff songs, with particular attention on the relationship between text and music. Ferris concludes by setting the Liederkreis within the context of Schumann's other 1840 song cycles.

This book argues that French musical meanings and values in the years from 1898 to 1914 are best explained not in terms of contemporary artistic movements, but rather in terms of the political culture, which was undergoing subtle but profound transformation as nationalist leagues enlarged the arena of political action. Applying recent insights from French history, sociology, political anthropology, and literary theory, the book reveals how nationalists used critics, educational institutions, concert series and lectures to disseminate their values through a discourse on French music; and it demonstrates how the Republic and Left responded to this challenge through their own discourses on French musical values. Against this background Fulcher traces the impact of this politicized musical culture on composers such as d'Indy, Charpentier, Magnard, Debussy, and Satie.

During his short life, Franz Schubert (1797-1828) produced an astonishing amount of music. Yet who was the man who composed such an amazing succession of masterpieces, so many of which were either entirely ignored or regarded as failures during his lifetime?

This biography, now available in paperback, fully describes the background to Schubert's personal world - including his family and friends , his school and college, and the flourishing and influential musical societies. For the first time, his mildly manic-depressive temperament, which was partly responsible for social inadequacies, professional ineptitude, and idiosyncracies in his music, is explored at some length, together with his uneven physical decline (after contracting syphilis), his hedonism, and the cause and circumstances of his death at the age of thirty-one.

This is the first study in modern times dealing exclusively with the flutes used in the Renaissance, Baroque, and Classical eras. It details the history of the transverse flute from 1500 until the early nineteenth century. Advice is given on acquiring instruments, and their care and maintenance. Additional chapters guide the reader to sources about relevant technique and style, recommend repertoire, and give general advice to the modern player. The text is enhanced by numerous photographs of important historic flutes.

This volume explores the way in which composers, performers, and critics shaped individual and collective identities in music from Europe and the United States from the 1860s to the 1950s. Selected essays and articles engage with works and their reception by Richard Wagner, Georges Bizet (in an American incarnation), Lili and Nadia Boulanger, William Grant Still, and Aaron Copland, and with performers such as Wanda Landowska and even Marilyn Monroe. Ranging in context from the opera house through the concert hall to the salon, and from establishment cultures to counter-cultural products, the main focus is how music permits new ways of considering issues of nationality, class, race, and gender. These essays - three presented for the first time in English translation - reflect the work in both musical and cultural studies of a distinguished scholar whose international career spans the Atlantic and beyond.

Robert Schumann is one of the most intriguing-and enigmatic-composers of the nineteenth century. Extraordinarily gifted in both music and literature, many of his compositions were inspired by poetry and novels. For much of his life he was better known as a music critic than as a composer. But whether writing as critic or composer, what he produced was created by him as a reflection of his often turbulent life. Best known was the tempestuous courtship of his future wife, the pianist Clara Wieck. Though marriage and family life seemed to provide a sense of constancy, he increasingly experienced periods of depression and instability. Mounting criticism of his performance as music director at Dusseldorf led to his attempted suicide in 1854. Schumann was voluntarily committed to an insane asylum near Bonn where, despite indications of improvement and dissatisfaction with his treatment, he spent the final two years of his life.
Drawing on original research and newly published letters and journals from the time, author Eric Frederick Jensen presents a balanced portrait of the composer with both scholarly authority and engaging clarity. Biographical chapters alternate with discussion of Schumann's piano, chamber, choral, symphonic, and operatic works, demonstrating how the circumstances of his life helped shape the music he wrote. Chronicling the romance of Robert and Clara, Jensen offers a nuanced look at the evolution of their relationship, one that changed dramatically after marriage. He also follows Schumann's creative musical criticism, which championed the burgeoning careers of Chopin, Liszt, and Brahms and challenged the musical tastes of Europe.

The first history of keyboard improvisation in European music in the postclassical and romantic periods, Free Play: Fantasies of Improvisation in Nineteenth-Century Music documents practices of improvisation on the piano and the organ, with a particular emphasis on free fantasies and other forms of free playing. Case studies of performers such as Abbe Vogler, J. N. Hummel, Ignaz Moscheles, Robert Schumann, Carl Loewe, and Franz Liszt describe in detail the motives, intentions, and musical styles of the nineteenth century's leading improvisers. Grounded in primary sources, the book further discusses the reception and valuation of improvisational performances by colleagues, audiences, and critics, which prompted many keyboardists to stop improvising. Author Dana Gooley argues that amidst the decline of improvisational practices in the first half of the nineteenth century there emerged a strong and influential "idea" of improvisation as an ideal or perfect performance. This idea, spawned and nourished by romanticism, preserved the aesthetic, social, and ethical values associated with improvisation, calling into question the supposed triumph of the "work."

This fascinating collection of letters, notes, and miscellanea from the archives of the Tchaikovsky State House-Museum sheds new light on the world of Pyotr Ilyich Tchaikovsky. Most of these documents have never before been available in English, and they reveal the composer's daily concerns, private thoughts, and playful sense of humor. Often intimate and sometimes bawdy, these texts also offer a new perspective on Tchaikovsky's upbringing, his relations with family members, his patriotism, and his homosexuality, collectively contributing to a greater understanding of a major artist who had a profound impact on Russian culture and society. This is an essential compendium for cultural and social historians as well as musicologists and music lovers.

Much of Franz Liszt's musical legacy has often been dismissed as 'trivial' or 'merely showy,' more or less peripheral contributions to nineteenth-century European culture. But Liszt was a mainstream composer in ways most of his critics have failed to acknowledge; he was also an incessant and often extremely successful innovator. Liszt's mastery of fantasy and sonata traditions, his painstaking settings of texts ranging from erotic verse to portions of the Catholic liturgy, and the remarkable self-awareness he demonstrated even in many of his most 'entertaining' pieces: all these things stamp him not only as a master of Romanticism and an early Impressionist, but as a precursor of Postmodern 'pop.' Liszt's Music places Liszt in historical and cultural focus. At the same time, it examines his principal contributions to musical literature -- from his earliest operatic paraphrases to his final explorations of harmonic and formal possibilities. Liszt's compositional methods, including his penchant for revision, problems associated with early editions of some of his works, and certain aspects of class and gender issues are also discussed. The first book-length assessment of Liszt as composer since Humphrey Searle's 1956 volume, Liszt's Music is illustrated with well over 100 musical examples.

Victorian Vocalists is a masterful and entertaining collection of 100 biographies of mid- to late-19th-century singers and stars. Kurt Ganzl paints a vivid picture of the Victorian operatic and concert world, revealing the backgrounds, journeys, successes, failures and misdemeanours of these singers. This volume is not only an outstanding reference work for anyone interested in vocalists of the era, but also a compelling, meticulously researched picture of life in the vast shark tank that was Victorian music.

John Philip Sousa's mature career as the indomitable leader of his own touring band is well known, but the years leading up to his emergence as a celebrity have escaped serious attention. In this revealing biography, Patrick Warfield explains how the March King came to be by documenting Sousa's early life and career. Covering the period 1854 to 1893, this study focuses on the community and training that created Sousa, exploring the musical life of late nineteenth-century Washington, D.C., and Philadelphia as a context for Sousa's development. Warfield examines Sousa's wide-ranging experience composing, conducting, and performing in the theater, opera house, concert hall, and salons, as well as his leadership of the United States Marine Band and the later Sousa Band, early twentieth-century America's most famous and successful ensemble. Sousa composed not only marches during this period but also parlor, minstrel, and art songs; parade, concert, and medley marches; schottisches, waltzes, and polkas; and incidental music, operettas, and descriptive pieces. Warfield's examination of Sousa's output reveals a versatile composer much broader in stylistic range than the bandmaster extraordinaire remembered as the March King. In particular, Making the March King demonstrates how Sousa used his theatrical training to create the character of the March King. The exuberant bandmaster who pleased audiences was both a skilled and charismatic conductor and a theatrical character whose past and very identity suggested drama, spectacle, and excitement. Sousa's success was also the result of perseverance and lessons learned from older colleagues on how to court, win, and keep an audience. Warfield presents the story of Sousa as a self-made business success, a gifted performer and composer who deftly capitalized on his talents to create one of the most entertaining, enduring figures in American music.

A provocative re-examination of a major romantic composer, Rethinking Schumann provides fresh approaches to Schumann's oeuvre and its reception from the perspectives of literature, visual arts, cultural history, performance studies, dance, and film. Traditionally, research has focused on biographical links between the composer and his music, encouraging the assumption that Schumann was solitary, divorced from reality, and frequently associated with "untimeliness." These eighteen new essays argue from a multitude of perspectives that Schumann was in fact very much a man of his time, informed not only by music but also the culture and society around him. The book further reveals that the composer's reputation has been shaped significantly by, for example, changes in attitudes towards German romanticism and its history, and recent developments in musical scholarship and performance. Rethinking Schumann takes into account cultural and social-institutional frameworks, engages with ongoing and new issues of reception and historiography, and offers fresh music-analytical insights. As a whole, the essays assemble a portrait of the artist that reflects the different ways in which Schumann has been understood and misunderstood over the past two hundred years. The volume is, in short, a timely reassessment of this ultimately non-untimely figure's legacy.
While the essays consider some of Schumann's most famous music (Dichterliebe, Kinderszenen and the Piano Quintet), they also provide crucial adjustment to judgments against the composer's later works by explaining their musical features not as the result of diminishing creative capacity but as reflections of the political and social situations of mid-nineteenth-century German culture and technological developments. Schumann is revealed to have been a musician engaged by and responsive to his surroundings, whose reputation was formed to a great extent by popular culture, both in his own lifetime as he responded to particular poets and painters, and later, as his life and works were responded to by subsequent generations.

In an era of heightened patriotic fervor following France's defeat in the Franco-Prussian War, Parisians packed concert halls to hear performances of Handel's oratorios and Bach's organ works. At the same time, both royalists and republicans called for the re-evaluation of the once detested musique francaise of the ancien regime. Musicologist Katharine Ellis examines these unlikely aspects of cultural life in the new Republic as part of a broader study of the early music revival in nineteenth-century France. This revival gives us a vivid sense of how music's cultural meanings were contested, distilled into dominant visions, and then often revised. Peppering the century are famous fakes, pastiches and other creative negotiations between past and present. Descriptions of these phenomena by contemporary witnesses reveal how dissent could run along social, religious and political lines, and why certain genres became idealized while others were disparaged. After providing an overview of trends and contexts throughout the century, Ellis examines specific repertoires that evoked unusually spirited advocacy and debate. She explores the attempts to revive French Baroque stage music in the 1870s; arguments on the appropriateness of Palestrina's liturgical music; the reception of Bach and Handel, and their relation to French choral activity; and, finally, musical "Frenchness." Four case-study chapters focus on key debates and repertories stretching from Adam de la Halle to Rameau, via Josquin, Janequin, Palestrina, Bach and Handel. Interpreting the Musical Past discusses what is at stake in the construction of a musical heritage, and how ideology informs musical value judgements. In its focus on the nature of musical experience and the meaning of music in society, the book explores amateur and professional music-making; working-class, aristocratic and bourgeois cultural life; national pride; religious politics; and ritual, both liturgical and secular. Based on extensive primary research in Paris and the French regions, Interpreting the Musical Past is at once a history of culture, of reception, and of historiography. Covering five centuries of music (from the mid-thirteenth to the mid-eighteenth centuries) and a century of French history, it explains long-term changes of cultural meaning while celebrating the richness of local detail. This study of musical revivalism offers a penetrating analysis of what lies at the heart of the construction, championing, and development of a musical cultural memory.

Few can match Charles Rosen's cultivation and discernment, whether as pianist, music historian, or critic. Here he gives us a performance of literary criticism as high art, a critical conjuring of the Romantic period by way of some of its central texts. "What is the real business of the critic?" Rosen asks of George Bernard Shaw in one of his essays. It is a question he answers throughout this collection as he demonstrates and analyzes various critical approaches. In writing about the Romantic poets Lord Byron, William Wordsworth, William Cowper, and Friedrich Hoelderlin, he examines the kind of criticism which attempts to uncover concealed code. He investigates the relationship between Romantic aesthetic theory and artworks, and explores the way Romantic art criticism has been practiced by critics from Friedrich Schlegel to Walter Benjamin. In essays on Honore de Balzac, Robert Schumann, Gustave Flaubert, and others, he highlights the intersections between Romantic art and music; the artist's separation of life and artistic representations of it; and the significance of the established text. With an apt comparison or a startling juxtaposition, Rosen opens whole worlds of insight, as in his linking of Caspar David Friedrich's landscape painting and Schumann's music, or in his review of the theory and musicology of Heinrich Schenker alongside the work of Roman Jakobson. Throughout this volume we hear the voice of a shrewd aesthetic interpreter, performing the critic's task even as he redefines it in his sparkling fashion.

Why do so many operas end in suicide, murder, and death? Why do many characters in large-scale operas exhibit neurotic behaviours worthy of psychoanalysis? Why are the legendary "grands operas" so seldom performed today? Anselm Gerhard argues in this text that such questions can only be answered by recognizing that daily life in rapidly urbanized mid-19th-century Paris introduced not just new social forces, but also new modes of perception and expectations of art. He attempts to provide a realistic portrayal of life in a metropolic, librettists and composers of "grand opera" developed new forms and conventions, as well as new staging performance practices. For example, the "tableau", in which the chorus typically plays the role of a destructive mob. These larger urban and social concerns are brought to bear in Gerhard's discussions of eight operas, composed by Rossini, Auber, Meyebeer, Verdi, and Louise Bertin.

The complex status of Chopin in our culture--he was a native Pole and adopted Frenchman, and a male composer writing in "feminine" genres--is the subject of Jeffrey Kallberg's absorbing book. Combining social history, literary theory, musicology, and feminist thought, "Chopin at the Boundaries" is the first book to situate Chopin's music within the construct of his somewhat marginal sexual identity and to explore how this should figure in our understanding of his compositional methods. Through this novel approach, Kallberg reveals a new Chopin, one situated precisely where questions of gender open up into the very important question of genre.

Though central to our concert and recording repertory, and crucial to the history of the symphony, the four symphonies of Johannes Brahms have proved surprisingly resistant to critical analysis. In this brief, elegant book, a premier musicologist conducts us through the Second Symphony to show us what is unique and remarkable about this particular work and what it reveals about the composer and his time.

Reinhold Brinkmann guides us through the symphony movement by movement, examining musical ideas in all their compositional facets and placing them in the context of major trends in the intellectual history of late nineteenth-century Europe. He delineates connections between this symphony and the composer's other works and traces its relation to the music of Brahms's predecessors, particularly Beethoven. The product of a long and deep engagement with the music of Brahms, "Late Idyll" captures the spirit of the composer, probes the impulses behind his revisions of the original manuscript, and explores the meaning of the disparity between the first two movements of the symphony and the last. The result is a penetrating reading of a perplexing and important composition, clearly placed within its biographical, historical, and artistic context. It will engage and enlighten students and concertgoers alike.

Forced by a hand injury to abandon a career as a pianist, Robert Schumann went on to become one of the world's great composers. Among many works, his Spring Symphony (1841), Piano Concerto in A Minor (1841/1845), and the Third, or Rhenish, Symphony (1850) exemplify his infusion of classical forms with intense, personal emotion. His musical influence continues today and has inspired many other famous composers in the century since his death. Indeed Brahms, in a letter of January 1873, wrote: "The remembrance of Schumann is sacred to me. I will always take this noble pure artist as my model."

Now, in Robert Schumann: Herald of a "New Poetic Age," John Daverio presents the first comprehensive study of the composer's life and works to appear in nearly a century. Long regarded as a quintessentially romantic figure, Schumann also has been portrayed as a profoundly tragic one: a composer who began his career as a genius and ended it as a mere talent. Daverio takes issue with this Schumann myth, arguing instead that the composer's entire creative life was guided by the desire to imbue music with the intellectual substance of literature. A close analysis of the interdependence among Schumann's activities as reader, diarist, critic, and musician reveals the depth of his literary sensibility. Drawing on documents only recently brought to light, the author also provides a fresh outlook on the relationship between Schumann's mental illness--which brought on an extended sanitarium stay and eventual death in 1856--and his musical creativity. Schumann's character as man and artist thus emerges in all its complexity. The book concludes with an analysis of the late works and a postlude on Schumann's influence on successors from Brahms to Berg.

This well-researched study of Schumann interprets the composer's creative legacy in the context of his life and times, combining nineteenth-century cultural and intellectual history with a fascinating analysis of the works themselves.

The book prints the words of German poems set to music by Beethoven, Schubert, Schumann, Wagner, Brahms, Wolf, Mahler, and Richard Strauss. In between each line of German text are printed word-for-word literal English translations, and a clear prose translation is also provided for each poem.

The lasting popularity of Chopin's music has reached `from salon to slum'. He captured and expressed the spirit of the age of Romanticism, its ardour and idealism, its longing and restlessness, its love of spontaneity, with an authority his contemporaries immediately recognized and which successive generations have admired and loved. Much of the Chopin literature in English is biographical, but this book is a critical study of the music itself and of the creative process which is central to the life of any composer. Professor Samson provides a detailed analysis of the style and structure of the music in the light of recent Chopin scholarship on the one hand and recent analytical methods on the other. The early chapters deal mainly with the sources and the characteristic profile of Chopin's musical style, relating his music to a wider context in social and stylistic history. Later chapters look rather at the structure of his music and how it functions, with many examples highlighting the discussion.

With two volumes of reflections on conducting the orchestral music of Beethoven already published, Norman Del Mar now embarks on the wider repertoire, beginning with Brahms, whose output forms the backbone of serious music study and concert programmes. Del Mar's own interpretations of Brahms have been hailed as sincere and thoughtful, and it is these attributes, together with Del Mar's strong sense of the music's architecture, which will be of value to interpreters. Del Mar writes on the four Symphonies, the Concertos, the Haydn Variations, and the Overtures and Serenades, offering descriptions of conducting styles and thoughts on orchestral bowing and rehearsal psychology. The book concludes by examining the background and text of a major choral work, this time the German Requiem.

"'Must' reading for any pianist concerned with Beethoven's music, which is to say almost every pianist alive." —William Rothstein, Musical Times

In this provocative new study, William Newman presents to the reader "whatever intentions on Beethoven's part can be documented or can be supported by reasoning and analysis in the primary sources for his music." His aim, in brief, is to get as close as possible to the performance practices Beethoven himself had in mind for his piano music, both solo and ensemble works.

Since one can document Beethoven's intentions with hard evidence only infrequently, the author has had to depend on deductive reasoning to a great extent, lending a mystery-story quality to this fascinating investigation. Dr. Newman systematically examines such vital issues as tempo, articulation, ornamentation, dynamic direction, and rhythmic grouping. Keyboard techniques are viewed both as clues to Beethoven's own endowments and as the consequences thereof.

Lavishly illustrated with over 250 music examples and plates, this work not only fills a conspicuous gap in the literature, but deals authoritatively with many questions that have confronted every inquiring performer and teacher of Beethoven's piano music.

Few musical works loom as large in Western culture as Richard Wagner's four-part Ring of the Nibelung. In Finding an Ending, two eminent philosophers, Philip Kitcher and Richard Schacht, offer an illuminating look at this greatest of Wagner's achievements, focusing on its far-reaching and subtle exploration of problems of meanings and endings in this life and world.
Kitcher and Schacht plunge the reader into the heart of Wagner's Ring, drawing out the philosophical and human significance of the text and the music. They show how different forms of love, freedom, heroism, authority, and judgment are explored and tested as it unfolds. As they journey across its sweeping musical-dramatic landscape, Kitcher and Schacht lead us to the central concern of the Ring--the problem of endowing life with genuine significance that can be enhanced rather than negated by its ending, if the right sort of ending can be found. The drama originates in Wotan's quest for a transformation of the primordial state of things into a world in which life can be lived more meaningfully. The authors trace the evolution of Wotan's efforts, the intricate problems he confronts, and his failures and defeats. But while the problem Wotan poses for himself proves to be insoluble as he conceives of it, they suggest that his very efforts and failures set the stage for the transformation of his problem, and for the only sort of resolution of it that may be humanly possible--to which it is not Siegfried but rather Brunnhilde who shows the way.
The Ring's ending, with its passing of the gods above and destruction of the world below, might seem to be devastating; but Kitcher and Schacht see a kind of meaning in and throughthe ending revealed to us that is profoundly affirmative, and that has perhaps never been so powerfully and so beautifully expressed.

An illustrated history of musical thought in the nineteenth century and its relationship to the Romantic movement.