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The collection of essays in this volume offer an overview of
Schubertian reception, interpretation and analysis. Part I surveys
the issue of Schubert's alterity concentrating on his history and
biography. Following on from the overarching dualities of Schubert
explored in the first section, Part II focuses on interpretative
strategies and hermeneutic positions. Part III assesses the
diversity of theoretical approaches concerning Schubert's handling
of harmony and tonality whereas the last two parts address the
reception of his instrumental music and song. This volume
highlights the complexity and diversity of Schubertian scholarship
as well as the overarching concerns raised by discrete fields of
research in this area.
Offering a concise introduction to one of the most important and
influential piano concertos in the history of Western music, this
handbook provides an example of the productive interaction of music
history, music theory and music analysis. It combines an account of
the work's genesis, Schumann's earlier, unsuccessful attempts to
compose in the genre and the evolving conception of the piano
concerto evident in his critical writing with a detailed yet
accessible analysis of each movement, which draws on the latest
research into the theory and analysis of nineteenth-century
instrumental forms. This handbook also reconstructs the Concerto's
critical reception, performance history in centres including
London, Vienna, Leipzig and New York, and its discography, before
surveying piano concertos composed under its influence in the
century after its completion, including well-known concertos by
Brahms, Grieg, Tchaikovsky and Rachmaninov, as well as lesser-known
music by Scharwenka, Rubinstein, Beach, Macdowell and Stanford.
This collection provides an in-depth look at musical criticism
between the mid-nineteenth and the mid-twentieth century. British
music between the mid-nineteenth and the mid-twentieth century
reflected changes and developments in society, education,
philosophy, aesthetics, politics and the upheaval of wars, often
signifying a distinctively British national history. All of these
changes informed the published work of contemporary music critics.
This collection provides an in-depth look at musical criticism
during this period. It focusses on major figures such as
Grove,Parry, Shaw, Dent, Newman, Heseltine, Vaughan Williams,
Dyson, Lambert and Keller, yet does not neglect less influential
but nevertheless significant critics. Sometimes a seminal work
forms the subject of investigation; in otherchapters, a writer's
particular stance is highlighted. Further contributions closely
analyse the now famous polemics by Shaw, Heseltine and Lambert. The
book covers a range of themes from the historical, scientific and
philosophical to matters of repertoire, taste, interdisciplinary
influence, musical democratisation and analysis. It will be of
interest to scholars and students of nineteenth- and early
twentieth-century British music and music in Britain as well as to
music enthusiasts attracted to standard works of popular music
criticism. JEREMY DIBBLE is Professor of Music at Durham
University. JULIAN HORTON is Professor of Music at Durham
University. Contributors: KAREN ARRANDALE, SEAMAS DE BARRA, PHILIP
ROSS BULLOCK, JONATHAN CLINCH, SARAH COLLINS, JEREMY DIBBLE, JULIAN
HORTON, PETER HORTON, CHRISTOPHER MARK, AIDAN J. THOMSON, PAUL
WATT, HARRY WHITE, BENNETT ZON, PATRICKZUK
Few genres of the last 250 years have proved so crucial to the
course of music history, or so vital to public musical experience,
as the symphony. This Companion offers an accessible guide to the
historical, analytical and interpretative issues surrounding this
major genre of Western music, discussing an extensive variety of
works from the eighteenth century to the present day. The book
complements a detailed review of the symphony's history with
focused analytical essays from leading scholars on the symphonic
music of both mainstream composers, including Haydn, Mozart and
Beethoven and lesser-known figures, including Carter, Berio and
Maxwell Davies. With chapters on a comprehensive range of topics,
from the symphony's origins to the politics of its reception in the
twentieth century, this is an invaluable resource for anyone with
an interest in the history, analysis and performance of the
symphonic repertoire.
Offering a concise introduction to one of the most important and
influential piano concertos in the history of Western music, this
handbook provides an example of the productive interaction of music
history, music theory and music analysis. It combines an account of
the work's genesis, Schumann's earlier, unsuccessful attempts to
compose in the genre and the evolving conception of the piano
concerto evident in his critical writing with a detailed yet
accessible analysis of each movement, which draws on the latest
research into the theory and analysis of nineteenth-century
instrumental forms. This handbook also reconstructs the Concerto's
critical reception, performance history in centres including
London, Vienna, Leipzig and New York, and its discography, before
surveying piano concertos composed under its influence in the
century after its completion, including well-known concertos by
Brahms, Grieg, Tchaikovsky and Rachmaninov, as well as lesser-known
music by Scharwenka, Rubinstein, Beach, Macdowell and Stanford.
Schubert's late music has proved pivotal for the development of
diverse fields of musical scholarship, from biography and music
history to the theory of harmony. This collection addresses current
issues in Schubert studies including compositional technique, the
topical issue of 'late' style, tonal strategy and form in the
composer's instrumental music, and musical readings of the
'postmodern' Schubert. Offering fresh approaches to Schubert's
instrumental and vocal works and their reception, this book argues
that the music that the composer produced from 1822-8 is central to
a paradigm shift in the history of music during the nineteenth
century. The contributors provide a timely reassessment of
Schubert's legacy, assembling a portrait of the composer that is
very different from the sentimental Schubert permeating
nineteenth-century culture and the postmodern Schubert of more
recent literature.
Schubert's late music has proved pivotal for the development of
diverse fields of musical scholarship, from biography and music
history to the theory of harmony. This collection addresses current
issues in Schubert studies including compositional technique, the
topical issue of 'late' style, tonal strategy and form in the
composer's instrumental music, and musical readings of the
'postmodern' Schubert. Offering fresh approaches to Schubert's
instrumental and vocal works and their reception, this book argues
that the music that the composer produced from 1822-8 is central to
a paradigm shift in the history of music during the nineteenth
century. The contributors provide a timely reassessment of
Schubert's legacy, assembling a portrait of the composer that is
very different from the sentimental Schubert permeating
nineteenth-century culture and the postmodern Schubert of more
recent literature.
Few genres of the last 250 years have proved so crucial to the
course of music history, or so vital to public musical experience,
as the symphony. This Companion offers an accessible guide to the
historical, analytical and interpretative issues surrounding this
major genre of Western music, discussing an extensive variety of
works from the eighteenth century to the present day. The book
complements a detailed review of the symphony's history with
focused analytical essays from leading scholars on the symphonic
music of both mainstream composers, including Haydn, Mozart and
Beethoven and lesser-known figures, including Carter, Berio and
Maxwell Davies. With chapters on a comprehensive range of topics,
from the symphony's origins to the politics of its reception in the
twentieth century, this is an invaluable resource for anyone with
an interest in the history, analysis and performance of the
symphonic repertoire.
Few works in the nineteenth-century repertoire have aroused such
extremes of hostility and admiration, or have generated so many
scholarly problems, as Anton Bruckner's symphonies. In this 2004
book, Julian Horton seeks fresh ways of understanding the
symphonies and the problems they have accrued by treating them as
the focus for a variety of inter-disciplinary debates and
methodological controversies. He isolates problematic areas in the
works' analysis and reception, and approaches them from a range of
analytical, historical, philosophical, literary, critical and
psychoanalytical viewpoints. The symphonies are thus explored in
the context of a number of crucial and sometimes provocative
themes, including the political circumstances of the works'
production, Bruckner and post-war musical analysis, issues of
musical influence, the problem of editions, Bruckner and
psychobiography, and the composer's controversial relationship to
the Nazis.
Few works in the nineteenth-century repertoire have aroused such
extremes of hostility and admiration, or have generated so many
scholarly problems, as Anton Bruckner's symphonies. In this 2004
book, Julian Horton seeks fresh ways of understanding the
symphonies and the problems they have accrued by treating them as
the focus for a variety of inter-disciplinary debates and
methodological controversies. He isolates problematic areas in the
works' analysis and reception, and approaches them from a range of
analytical, historical, philosophical, literary, critical and
psychoanalytical viewpoints. The symphonies are thus explored in
the context of a number of crucial and sometimes provocative
themes, including the political circumstances of the works'
production, Bruckner and post-war musical analysis, issues of
musical influence, the problem of editions, Bruckner and
psychobiography, and the composer's controversial relationship to
the Nazis.
In Rethinking Schubert, today's leading Schubertians offer fresh
perspectives on the composer's importance and our perennial
fascination with him. Subjecting recurring issues in historical,
biographical and analytical research to renewed scrutiny, the
twenty-two chapters yield new insights into Schubert, his music,
his influence and his legacy, and broaden the interpretative
context for the music of his final years. With close attention to
matters of style, harmonic and formal analysis, and text setting,
the essays gathered here explore a significant portion of the
composer's extensive output across a range of genres. The most
readily explicable aspect of Schubert's appeal is undoubtedly our
continuing engagement with the songs. Schubert will always be the
first port of call for scholars interested in the relationship
between music and the poetic text, and several essays in Rethinking
Schubert offer welcome new inquiries into this subject. Yet perhaps
the most striking feature of modern scholarship is the new depth of
thought that attaches to the instrumental works. This music's
highly protracted dissemination has combined with a habitual
critical hostility to produce a reception history that is hardly
congenial to musical analysis. Empowered by the new momentum behind
theories of nineteenth-century harmony and form and
recently-published source materials, the sophisticated approaches
to the instrumental music in Rethinking Schubert show decisively
that it is no longer acceptable to posit Schubert's instrumental
forms as flawed lyric alternatives to Beethoven. What this volume
provides, then, is not only a fresh portrait of one of the most
loved composers of the nineteenth century but also a conspectus of
current Schubertian research. Whether perusing unknown repertoire
or refreshing canonical works, Rethinking Schubert reveals the
extraordinary methodological variety that is now available to
research, painting a portrait of Schubert that is vibrant, plural,
trans-national, and complex.
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