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If the invective of Nietzsche and Shaw is to be taken as an
endorsement of the lasting quality of an artist, then Felix
Mendelssohn Bartholdy takes pride of place beside Tennyson and
Brahms in the canon of great nineteenth-century artists.
Mendelssohn Perspectives presents valuable new insights into
Mendelssohn's music, biography and reception. Critically engaging a
wide range of source materials, the volume combines traditional
musical-analytical studies with those that draw on other humanistic
disciplines to shed new light on the composer's life, and on his
contemporary and posthumous reputations. Together, these essays
bring new historical and interpretive dimensions to Mendelssohn
studies. The volume offers essays on Mendelssohn's Jewishness, his
vast correspondence, his music for the stage, and his relationship
with music of the past and future, as well as the compositional
process and handling of form in the music of both Mendelssohn and
his sister, the composer Fanny Hensel. German literature and
aesthetics, gender and race, philosophy and science, and issues of
historicism all come to bear on these new perspectives on
Mendelssohn.
If the invective of Nietzsche and Shaw is to be taken as an
endorsement of the lasting quality of an artist, then Felix
Mendelssohn Bartholdy takes pride of place beside Tennyson and
Brahms in the canon of great nineteenth-century artists.
Mendelssohn Perspectives presents valuable new insights into
Mendelssohn's music, biography and reception. Critically engaging a
wide range of source materials, the volume combines traditional
musical-analytical studies with those that draw on other humanistic
disciplines to shed new light on the composer's life, and on his
contemporary and posthumous reputations. Together, these essays
bring new historical and interpretive dimensions to Mendelssohn
studies. The volume offers essays on Mendelssohn's Jewishness, his
vast correspondence, his music for the stage, and his relationship
with music of the past and future, as well as the compositional
process and handling of form in the music of both Mendelssohn and
his sister, the composer Fanny Hensel. German literature and
aesthetics, gender and race, philosophy and science, and issues of
historicism all come to bear on these new perspectives on
Mendelssohn.
An innovative and incisive reassessment of a seminal figure in
nineteenth-century musical life, through a fresh consideration of
his aesthetic, critical, and autobiographical writings. Rethinking
Hanslick: Music, Formalism, and Expression is the first extensive
English-language study devoted to Eduard Hanslick--a seminal figure
in nineteenth-century musical life. Bringing together eminent
scholars from several disciplines, this volume examines Hanslick's
contribution to the aesthetics and philosophy of music and looks
anew at his literary interests. The essays embrace ways of thinking
about Hanslick's writings that go beyond the polarities that have
long marked discussion of his work such as form/expression,
absolute/program music, objectivity/subjectivity, and
formalist/hermeneutic criticism. This approach takes into
consideration both Hanslick's important On the Musically Beautiful
and his critical and autobiographical writings, demonstrating
Hanslick's rich insights into the context in which a musical work
is composed, performed, and received. Rethinking Hanslick serves as
an invaluable companion to Hanslick's prodigious scholarship and
criticism, deepening our understanding of the major themes and
ideas of one of the most influential music critics of the
nineteenth century. Contributors: David Brodbeck, James Deaville,
Chantal Frankenbach, Lauren Freede, Marion Gerards, Dana Gooley,
Nicole Grimes, David Kasunic, David Larkin, Fred Everett Maus,
Timothy R. McKinney, Nina Noeske, Anthony Pryer,Felix Woerner
Nicole Grimes is Marie Curie Fellow at University College Dublin
(UCD) and the University of California, Irvine. Siobhan Donovan is
a college lecturer at the School of Languages and Literatures, UCD.
Wolfgang Marx is a senior lecturer at the School of Music, UCD.
Nicole Grimes provides a compellingly fresh perspective on a series
of Brahms's elegiac works by bringing together the disciplines of
historical musicology, German studies, and cultural history. Her
exploration of the expressive potential of Schicksalslied, Nanie,
Gesang der Parzen, and the Vier ernste Gesange reveals the
philosophical weight of this music. She considers the German
tradition of the poetics of loss that extends from the
late-eighteenth-century texts by Hoelderlin, Schiller and Goethe
set by Brahms, and includes other philosophical and poetic works
present in his library, to the mid-twentieth-century aesthetics of
Adorno, who was preoccupied as much by Brahms as by their shared
literary heritage. Her multifaceted focus on endings - the end of
tonality, the end of the nineteenth century, and themes of loss in
the music - illuminates our understanding of Brahms and lateness,
and the place of Brahms in the fabric of modernist culture.
Nicole Grimes provides a compellingly fresh perspective on a series
of Brahms's elegiac works by bringing together the disciplines of
historical musicology, German studies, and cultural history. Her
exploration of the expressive potential of Schicksalslied, Nanie,
Gesang der Parzen, and the Vier ernste Gesange reveals the
philosophical weight of this music. She considers the German
tradition of the poetics of loss that extends from the
late-eighteenth-century texts by Hoelderlin, Schiller and Goethe
set by Brahms, and includes other philosophical and poetic works
present in his library, to the mid-twentieth-century aesthetics of
Adorno, who was preoccupied as much by Brahms as by their shared
literary heritage. Her multifaceted focus on endings - the end of
tonality, the end of the nineteenth century, and themes of loss in
the music - illuminates our understanding of Brahms and lateness,
and the place of Brahms in the fabric of modernist culture.
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