Although there are many accounts of Mozart's life, and countless descriptions and analyses of his music, this is the first attempt to portray Mozart's creative life as a composer. Küster selects forty works or groups of works covering virtually every important stage in Mozart's career, from the first keyboard compositions of the young Wunderkind to Mozart's final days and the Requiem. He draws on Mozart's letters, documentary material, and textual and musical quotations to illuminate his interpretation of Mozart's musical personality.

Anselm Gerhard explores the origins of "grand opera, arguing that its aesthetic innovations (both musical and theatrical) reflected not bourgeois tastes, but changes in daily life and psychological outlook produced by the rapid urbanization of Paris. These larger urban and social concerns--crucial to our understanding of nineteenth-century opera--are brought to bear in fascinating discussions of eight operas composed by Rossini, Auber, Meyerbeer, Verdi, and Louise Bertin."
""An invaluable look at this fascinating genre."--George W. Loomis, Opera News"

Previous studies of Wagner's operas have tended to approach the works as chunks of autobiography, philosophical speculations or historical-political comments on the age in which they were written. Professor Dahlhaus dissociated himself from all such ventures. His aim is to reveal, by careful analysis of the works from Der fliegende Hollander to Parsifal, the dominant features of 'music drama' and how Wagner achieves such profound, unified effects. Professor Dahlhaus cites music examples only when they are germane to his argument and requires from his readers no more than a limited amount of technical musical knowledge. This is not, therefore, an exclusively specialist study. Rather it will help the enthusiastic beginner to come to terms with these great works of art as well as offering many valuable insights to the experienced Wagnerian. The book will be of interest to students and scholars of music history, theory, opera and philosophy.

This reprint is of the first English paperback edition of Richard Wagner's autobiography. This is a primary document of enormous importance for all Wagner enthusiasts, being virtually the sole source of information of the composer's childhood and youth. Written for Wagner's second wife, Cosima, and his patron, King Ludwig II, the autobiography runs from the composer's birth up to the eve of his fifty-first birthday in 1864. Given the intended readership and the circumstances of its composition it is hardly surprising that Wagner should either omit or distort facts from time to time: he does not linger over previous affairs, he portrays his relationship with his first wife, Minna, as a good deal more distant than it really was and he plays down his involvement in the Dresden uprising of 1849. Despite all this, the book presents a panoramic view of Wagner's times and contemporaries and offers a unique perspective on the operas themselves. This translation is of the complete edition published in Munich in 1963 and based on the manuscript in the Wagner Archives in Bayreuth. Wagner's slips of memory are noted, as are references to obscure names and events.

Originally published in 1981, this is a one-volume paperback edition of Dr von Westernhagen's distinguished biography, first published in English by Cambridge University Press as a hardcover edition in two volumes. Its distinction was that it made use of fresh archive material, and took as its starting point the supreme greatness of Wagner's artistry. Dr von Westerhagen quotes extensively from letters and diaries to throw light, for example, on Wagner's estrangement from Nietzsche. The author also consulted the contents of the composer's Dresden library and teenage composition exercises written for his teacher, Theodor Weinlig, to establish early influences upon him. Particularly useful features of this study are the appendices which include a chronological summary of Wagner's life, a complete list of his musical and literary compositions and a large bibliography. This is a definitive biography which stands beside Newman's classic work as an indispensable reference book for all studies of Wagner.

Mozart's unfinished Requiem has long been shrouded in mystery. Mozart undertook the commission for an Austrian nobleman, little knowing that he was to write a requiem for himself. Inevitably, the secrecy surrounding the anonymous commission, the circumstances of Mozart's death, the unfinished state of the work, and its completion under the direction of Mozart's widow, Constanze, have precipitated two centuries of romantic speculation and scholarly controversy.
Christoph Wolff provides a critical introduction to the Requiem in its many facets. Part I of his study focuses on the tangled genesis and completion of the work and its fascinating early reception history until Constanze's death. Wolff summarizes the current state of research on the subject, provides new perspectives on Mozart's conception of the whole work, and surveys his contributions to the movements composed posthumously by his assistant, Sussmayr. Part II provides a musical analysis of Mozart's composition, including contextual, structural, and interpretive aspects. Part III consists of an annotated collection of the principal literary documents (1791-1839) that illuminate the fascinating early history of the Requiem.
The book concludes with a complete edition of the work that is at the center of Wolff's study, the authentic score of the Requiem--Mozart's fragment--supplemented by crucial excerpts from Sussmayr's 1792 Requiem completion.

Carl Dahlhaus here treats Nietzsche's youthful analysis of the contradictions in Wagner's doctrine (and, more generally, in romantic musical aesthetics); the question of periodicization in romantic and neo-romantic music; the underlying kinship between Brahms's and Wagner's responses to the central musical problems of their time; and the true significance of musical nationalism. Included in this volume is Walter Kauffman's translation of the previously unpublished fragment, "On Music and Words," by the young Nietzsche.

"The History of Italian Opera" marks the first time a team of scholars has worked together to investigate the entire Italian operatic tradition, rather than limiting its focus to major composers and their masterworks. Including both musicologists and historians of other arts, the contributors approach opera not only as a distinctive musical genre but also as a form of extravagant theater and a complex social phenomenon.
This sixth volume in the series centers on the sociological and critical aspects of opera in Italy, considering the art in the context of an Italian literary and cultural canon rarely revealed in English and American studies. In its six chapters, contributors survey critics' changing attitudes toward opera over several centuries, trace the evolution of formal conventions among librettists, explore the historical relationships between opera and Italian literature, and examine opera's place in Italian popular and national culture. In perhaps the volume's most striking contribution, German scholar Carl Dahlouse offers his most important statement on the dramaturgy of opera.

Why do so many operas end in suicide, murder, and death? Why do many characters in large-scale operas exhibit neurotic behaviours worthy of psychoanalysis? Why are the legendary "grands operas" so seldom performed today? Anselm Gerhard argues in this text that such questions can only be answered by recognizing that daily life in rapidly urbanized mid-19th-century Paris introduced not just new social forces, but also new modes of perception and expectations of art. He attempts to provide a realistic portrayal of life in a metropolic, librettists and composers of "grand opera" developed new forms and conventions, as well as new staging performance practices. For example, the "tableau", in which the chorus typically plays the role of a destructive mob. These larger urban and social concerns are brought to bear in Gerhard's discussions of eight operas, composed by Rossini, Auber, Meyebeer, Verdi, and Louise Bertin.