This volume presents a colourful and entertaining overview of German intellectual history by a central figure in its development. Heinrich Heine (1797-1856), famous poet, journalist, and political exile, studied with Hegel and was personally acquainted with the leading figures of the most important generation of German writers and philosophers. In his groundbreaking History he discusses the history of religion, philosophy, and literature in Germany up to his time, seen through his own highly opinionated, politically aware, philosophically astute, and always ironic perspective. This work, and other writings focussing especially on Heine's rethinking of Hegel's philosophy, are presented here in a new translation by Howard Pollack-Milgate. The volume also includes an introduction by Terry Pinkard which examines Heine both in relation to Hegel and Nietzsche and as a thinker in his own right.

A composer of enormous musical innovation and influence, Marc Blitzstein remains one of the most versatile and fascinating figures in the history of American music, his creative works running the gamut from Broadway musicals and film scores to concert and chamber pieces. As an open homosexual and a prominent leftist, Blitzstein constantly pushed the boundaries of acceptability in mid-century America in both his music and his life. Award-winning music historian Howard Pollack's new biography is the first to put Blitzstein's music on equal footing with his politics, theatrical innovation, and other aspects of the composer's life. Pollack covers Blitzstein's life in full, from his childhood in Philadelphia to his violent death in Martinique at age 58. The author describes how this student of contemporary luminaries Arnold Schoenberg and Nadia Boulanger became swept up in the stormy political atmosphere of the 1920s and 1930s and throughout his career walked the fine line between his formal training and his populist principles in his composition. Indeed, Blitzstein developed a unique sound that drew on everything contemporary, from the high modernism of Schoenberg to swing and jazz. Pollack captures the astonishing breadth of Blitzstein's musical language-?from politically scandalous Broadway musicals like The Cradle Will Rock and No for an Answer, to the patriotic Airborne Symphony, to lesser known early pieces, film scores, and chamber works. A fearless artist, Blitzstein translated Bertolt Brecht and Kurt Weill's The Threepenny Opera during the heyday of McCarthyism and the red scare, and, with Leonard Bernstein and Lotte Lenya, turned it into an off-Broadway sensation. Beautifully written, drawing on new interviews with friends and family of the composer, and making extensive use of new archival and secondary sources, Marc Blitzstein presents the most complete biography of this quintessentially American composer.

A composer and lyricist of enormous innovation and influence, Marc Blitzstein remains one of the most versatile and fascinating figures in the history of American music, his creative output running the gamut from films scores and Broadway operas to art songs and chamber pieces. A prominent leftist and social maverick, Blitzstein constantly pushed the boundaries of convention in mid-century America in both his work and his life. Award-winning music historian Howard Pollack's new biography covers Blitzstein's life in full, from his childhood in Philadelphia to his violent death in Martinique at age 58. The author describes how this student of contemporary luminaries Nadia Boulanger and Arnold Schoenberg became swept up in the stormy political atmosphere of the 1920s and 1930s and throughout his career walked the fine line between his formal training and his populist principles. Indeed, Blitzstein developed a unique sound that drew on everything contemporary, from the high modernism of Stravinsky and Hindemith to jazz and Broadway show tunes. Pollack captures the astonishing breadth of Blitzstein's work-from provocative operas like The Cradle Will Rock, No for an Answer, and Regina, to the wartime Airborne Symphony composed during his years in service, to lesser known ballets, film scores, and stage works. A courageous artist, Blitzstein translated Bertolt Brecht and Kurt Weill's The Threepenny Opera during the heyday of McCarthyism and the red scare, and turned it into an off-Broadway sensation, its "Mack the Knife" becoming one of the era's biggest hits. Beautifully written, drawing on new interviews with friends and family of the composer, and making extensive use of new archival and secondary sources, Marc Blitzstein presents the most complete biography of this important American artist.

Born into a poor Virginian family, John Treville Latouche (1914-56), in his short life, made a profound mark on America's musical theater as a lyricist, book writer, and librettist. The wit and skill of lyrics elicited comparisons with the likes of Ira Gershwin, Lorenz Hart, and Cole Porter, but he had too, noted Stephen Sondheim, "a large vision of what musical theater could be," and he proved especially venturesome in helping to develop a lyric theater that innovatively combined music, word, dance, and costume and set design. Many of his pieces, even if not commonly known today, remain high points in the history of American musical theater. "A great American genius" in the words of Duke Ellington, Latouche initially came to wide public attention in his early twenties with his cantata for soloist and chorus, Ballad for Americans (1939), with music by Earl Robinson-a work that swept the nation during the Second World War. Other milestones in his career included the all-black musical fable, Cabin in the Sky (1940), with Vernon Duke; an interracial updating of John Gay's classic, The Beggar's Opera, as Beggar's Holiday (1946), with Duke Ellington; two acclaimed Broadway operas with Jerome Moross: Ballet Ballads (1948) and The Golden Apple (1954); one of the most enduring operas in the American canon, The Ballad of Baby Doe (1956), with Douglas Moore; and the operetta Candide (1956), with Leonard Bernstein and Lillian Hellman. Extremely versatile, he also wrote cabaret songs, participated in documentary and avant-garde film, translated poetry, adapted plays, and much else. Meanwhile, as one of Manhattan's most celebrated raconteurs and hosts, he developed a wide range of friends in the arts, including, to name only a few, Paul and Jane Bowles (whom he introduced to each other), Yul Brynner, John Cage, Jack Kerouac, Frederick Kiesler, Carson McCullers, Frank O'Hara, Dawn Powell, Ned Rorem, Virgil Thomson, Gore Vidal, and Tennessee Williams-a dazzling constellation of diverse artists working in sundry fields, all attracted to Latouche's brilliance and joie de vivre, not to mention his support for their work. This book draws widely on archival collections both at home and abroad, including Latouche's diaries and the papers of Bernstein, Ellington, Moore, Moross, and many others, to tell for the first time, the story of this fascinating man and his work.

A pivotal twentieth-century composer, Samuel Barber earned a long list of honors and accolades that included two Pulitzer Prizes for Music and the public support of conductors like Arturo Toscanini, Serge Koussevitzky, and Leonard Bernstein. Barber’s works have since become standard concert repertoire and continue to flourish across high art and popular culture. Acclaimed biographer Howard Pollack (Aaron Copland, George Gershwin) offers a multifaceted account of Barber’s life and music while placing the artist in his social and cultural milieu. Born into a musical family, Barber pursued his artistic ambitions from childhood. Pollack follows Barber’s path from his precocious youth through a career where, from the start, the composer consistently received prizes, fellowships, and other recognition. Stylistic analyses of works like the Adagio for Strings, the Violin Concerto, Knoxville: Summer of 1915 for voice and orchestra, the Piano Concerto, and the operas Vanessa and Antony and Cleopatra, stand alongside revealing accounts of the music’s commissioning, performance, reception, and legacy. Throughout, Pollack weaves in accounts of Barber’s encounters with colleagues like Aaron Copland and Francis Poulenc, performers from Eleanor Steber and Leontyne Price to Vladimir Horowitz and Van Cliburn, patrons, admirers, and a wide circle of eminent friends and acquaintances. He also provides an eloquent portrait of the composer’s decades-long relationship with the renowned opera composer Gian Carlo Menotti. Informed by new interviews and immense archival research, Samuel Barber is a long-awaited critical and personal biography of a monumental figure in twentieth-century American music.

This volume presents a colourful and entertaining overview of German intellectual history by a central figure in its development. Heinrich Heine (1797-1856), famous poet, journalist, and political exile, studied with Hegel and was personally acquainted with the leading figures of the most important generation of German writers and philosophers. In his groundbreaking History he discusses the history of religion, philosophy, and literature in Germany up to his time, seen through his own highly opinionated, politically aware, philosophically astute, and always ironic perspective. This work, and other writings focussing especially on Heine's rethinking of Hegel's philosophy, are presented here in a new translation by Howard Pollack-Milgate. The volume also includes an introduction by Terry Pinkard which examines Heine both in relation to Hegel and Nietzsche and as a thinker in his own right.