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Essays highlight the interplay between opera, art and ideology
across three centuries. Three broad themes are opened up from a
variety of approaches: nationalism, cosmopolitanism and national
opera; opera, class and the politics of enlightenment; and opera
and otherness. Opera, that most extravagant of the performing arts,
is infused with the contexts of power-brokering and cultural
display in which it was conceived and experienced. For individual
operas such contexts have shifted over time and new meanings
emerged, often quite remote from those intended by the original
collaborators; but tracing this ideological dimension in a work's
creation and reception enables us to understand its cultural and
political role more clearly - sometimes conflicting with its status
as art and sometimes enhancing it. This collection is a Festschrift
in honour of Julian Rushton, one of the most distinguished opera
scholars of his generation and highly regarded for his innovative
studies of Gluck, Mozart and Berlioz, among many others.
Colleagues, associates and former students pay tribute to his work
with essays highlighting the interplay between opera, art and
ideology across three centuries. Three broad themes are opened up
from a variety of approaches: nationalism, cosmopolitanism and
national opera; opera, class and the politics of enlightenment; and
opera and otherness. British opera is represented bystudies of
Grabu, Purcell, Dibdin, Holst, Stanford and Britten, but the
collection sustains a truly European perspective rounded out with
essays on French opera funding, Bizet, Mozart, Mendelssohn, Verdi,
Puccini, Janacek, Nielsen, Rimsky-Korsakov and Schreker. Several
works receive some of their first extended discussion in English.
RACHEL COWGILL is Professor of Musicology at Liverpool Hope
University. DAVID COOPER is Professor of Music and Technology at
the University of Leeds. CLIVE BROWN is Professor of Applied
Musicology at the University of Leeds. Contributors: MARY K.
HUNTER, CLIVE BROWN, PETER FRANKLIN, RALPH LOCKE, DOMINGOS DE
MASCARENHAS,DAVID CHARLTON, KATHARINE ELLIS, BRYAN WHITE, PETER
HOLMAN, RACHEL COWGILL, ROBERTA MONTEMORRA MARVIN, DAVID COOPER,
RICHARD GREENE, J.P.E. HARPER-SCOTT, DANIEL GRIMLEY, STEPHEN MUIR,
JOHN TYRRELL.
The past ten years have seen a rapidly growing interest in performing and recording Classical and Romantic music with period instruments; yet the relationship of composers' notation to performing practices during that period has received only sporadic attention from scholars, and many aspects of composers' intentions have remained uncertain. Brown here identifies areas in which musical notation conveyed rather different messages to the musicians for whom it was written than it does to modern performers, and seeks to look beyond the notation to understand how composers might have expected to hear their music realized in performance. There is ample evidence to demonstrate that, in many respects, the sound worlds in which Mozart, Beethoven, Wagner, and Brahms created their music were more radically different from ours than is generally assumed.
Since his death in 1847, Felix Mendelssohn's music and personality
have been both admired and denigrated to extraordinary degrees. In
this valuable book Clive Brown weaves together a rich array of
documents-letters, diaries, memoirs, reviews, news reports, and
more-to present a balanced and fascinating picture of the composer
and his work. Rejecting the received view of Mendelssohn as a
facile, lightweight musician, Brown demonstrates that he was in
fact an innovative and highly cerebral composer who exerted a
powerful influence on musical thought into the twentieth century.
Brown discusses Mendelssohn's family background and education; the
role of religion and race in his life and reputation; his
experiences as practical musician (pianist, organist, string
player, conductor) and as teacher and composer; the critical
reception of his works; and the vicissitudes of his posthumous
reputation. The book also includes a range of hitherto unpublished
sketches made by Mendelssohn. The result is an unprecedented
portrayal of the man and his achievements as viewed through his own
words and those of his contempories.
Published in Spohr's 200th anniversary year, this book is the first
to deal at length with both the life and the works of a composer
who exerted a strong influence on the development of
nineteenth-century music. Spohr was hailed in his own day as a
worthy successor to Mozart and Beethoven, yet in the present
century his former renown has gone largely unrecognised. Clive
Brown gives an account of Spohr's life and character, and examines
the areas in which his impact was most profound. He discusses
Spohr's compositions critically and provides a stylistic and
aesthetic assessment of his work. The chronological account of
Spohr's life unfolds in parallel with the description of his
musical output; a final chapter considers the decline of his
reputation after his death. This volume will be of interest not
only to scholars and students but also to general musical readers.
And, since so little of Spohr's very substantial output is
available in modern editions and is seldom performed, the book will
also prove useful to practical musicians in search of worthwhile
music for performance.
This is an essential book for all performers and students of Classical and Romantic music. Problems of performing practice did not disappear with the death of Handel. This book is the first to examine the changing relationship, during the period 1750-1900, between what composers committed to paper and what performers were expected to play. From the Foreword by Sir Roger Norrington: `This is the book we have been waiting for ... Music-making must always involve guesses and inspirations, creative hunches and improvised strategies, above all, instinct and imagination. But if we don't have all the answers, the least we can do is to set out on our journey with the right questions. These questions and indeed many of the possible answers, Clive Brown gives in wonderful profusion. I cannot recommend this book too highly.'
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