Described in Germany as the 'most thought-provoking' book of the bicentennial year, Georg Knepler's acclaimed study of Mozart is now available in paperback. The book explores Mozart's life and works from many new perspectives, providing fresh insights into his music and the tempestuous times through which he lived. Based on a close reading of the family correspondence and a careful consideration of Mozart's entire musical output, the book sheds new light on the composer's creative psyche, his political leanings, his relation to the thoughts and currents of the Enlightenment, and the underlying basis of his musical expression.

Matthew's Gospel is the most significant Jewish-Christian document of the New Testament. For Matthew, the story of Jesus is the underlying tale of his own community, summoned from Israel by the living Jesus and now, following Israel's rejection, sent to the Gentiles. Matthew's Jesus story bears much the same relation to the Matthean community as does the Pentateuch to Israel, hence the profoundly Jewish basis of his theology. This book, first published in 1995, both outlines and elucidates the story told in Matthew's Gospel, emphasising its focal points: the Sermon on the Mount, the miracles, the renunciation of possessions and particularly the theology of judgement by works, an idea which represents both a challenge, in its quest for a church set apart from non-Christians by deeds alone, and a burden, through its traumatic origin in the breach between the Matthean community and the Israelite majority.

This magnificent survey of the most popular period in music history is an extended essay embracing music, aesthetics, social history, and politics, by one of the keenest minds writing on music in the world today.
Dahlhaus organizes his book around "watershed" years--for example, 1830, the year of the July Revolution in France, and around which coalesce the "demise of the age of art" proclaimed by Heine, the musical consequences of the deaths of Beethoven and Schubert, the simultaneous and dramatic appearance of Chopin and Liszt, Berlioz and Meyerbeer, and Schumann and Mendelssohn. But he keeps us constantly on guard against generalization and cliche. Cherished concepts like Romanticism, tradition, nationalism vs. universality, the musical culture of the bourgeoisie, are put to pointed reevaluation. Always demonstrating the interest in socio-historical influences that is the hallmark of his work, Dahlhaus reminds us of the contradictions, interrelationships, psychological nuances, and riches of musical character and musical life.
"Nineteenth-Century Music" contains 90 illustrations, the collected captions of which come close to providing a summary of the work and the author's methods. Technical language is kept to a minimum, but while remaining accessible, Dahlhaus challenges, braces, and excites. This is a landmark study that no one seriously interested in music and nineteenth-century European culture will be able to ignore.