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First Published in 2005. Routledge is an imprint of Taylor &
Francis, an informa company.
Robert Schumann was a unique personality in 19th century music: a
celebrated music critic and champion of new composers as well as a
talented performer and composer himself, he did much to modernize
the literature and performance style for the piano. This book
covers the key period of c. 1815-55, exploring how the generation
that came after Beethoven was central in reshaping and refining the
conception of the concerto style, and particularly the piano
concerto. It relates Schumann's own compositional development to
his musical environment, recreating the exciting milieu in which
Schumann and his contemporaries lived and worked. Written in
scholarly, but non-technical language, "Robert Schumann and the
Development of the Piano Concerto" will appeal to college and
conservatory teachers and students, as well as music connoisseurs.
Also includes 60 musical examples.
Seventeen studies by noted experts that demonstrate recent
approaches toward the creative interpretation of primary sources
regarding Renaissance and Baroque music, Mozart, Beethoven,
Mendelssohn, Verdi, Debussy, and beyond. How do we know what notes
a composer intended in a given piece? -- how those notes should be
played and sung? -- the nature of musical life in Bach's Leipzig,
Schubert's Vienna? -- how music related to literature and other
arts and social currents in different times and places? -- what
attitudes musicians and music lovers had toward the music that they
heard and made? We know all this from musical manuscripts and
prints, opera libretti, composers'letters, reviews in newspapers
and magazines, archival data, contemporary pedagogical writings,
essays on aesthetics, and much else. Some of these categories of
sources are the bedrock of music history and musicology. Others
havebegun to be examined only in recent years. Furthermore,
musicologists -- including biographers of famous composers -- now
explore these various kinds of sources in a variety of ways, some
of them richly traditional and others exciting and novel. These
seventeen essays, all newly written, use a wide array of source
materials to probe issues pertaining to a cross section of musical
works and musical life from the sixteenth through the twentieth
centuries. The resulting, pluralistic profile of current musicology
will prove welcome to anyone fascinated by the problems of
reconstructing -- reimagining, sometimes -- the evanescent musical
art of the past and pondering its implications for musical life
today and in the future. Roberta Montemorra Marvin is a Research
Fellow at the Obermann Center for Advanced Studies at the
University of Iowa where she is also Director of the Institute for
Italian Opera Studies; Stephen A. Crist is associate professor and
chair of the Music Department at Emory University.
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