Art music, orchestral and formal music Books

Book SynopsisNostalgia for the Future is the first collection in English of the writings and interviews of Luigi Nono (19241990). One of the most prominent figures in the development of new music after World War II, he is renowned for both his compositions and his utopian views. His many essays and lectures reveal an artist at the center of the analytical, theoretical, critical, and political debates of the time. This selection of Nono's most significant essays, articles, and interviews covers his entire career (19481989), faithfully mirroring the interests, orientations, continuities, and fractures of a complex and unique personality. His writings illuminate his intensive involvements with theatre, painting, literature, politics, science, and even mysticism. Nono's words make vividly evident his restless quest for the transformative possibilities of a radical musical experience, one that is at the same time profoundly engaged with its performers and spaces, its audiences, and its human and social motivations and ramifications.Trade Review"The appeal of what the English music historian Harriet Boyd-Bennett called Nono's 'sonic hubub' is elucidated in this long overdue collection of the composer's writings and interviews. A comparable French edition of this material appeared back in 1993, which indicates how belated, albeit still timely, its insights are for opera lovers undeterred by avant garde sounds." * Opera Now *Table of ContentsPreface Introduction EXERGO: Clarifications (1956) EXCURSUS I. An Autobiography of the Author Recounted by Enzo Restagno (1987) PART ONE. MUSICAL ANALYSIS AND COMPOSITION 1. Luigi Dallapiccola and the Sex Carmina Alcaei (ca. 1948) 2. On the Development of Serial Technique (1956) 3. The Development of Serial Technique (1957) 4. Text—Music—Song (1960) 5. [About Il canto sospeso] (1976) EXCURSUS II. A Letter from Los Angeles (1965) PART TWO. MUSIC ONSTAGE: FROM A "THEATER OF IDEAS" TO THE "TRAGEDY OF LISTENING" 1. Some Clarifications on Intolleranza 1960 (1962) 2. Possibility and Necessity of a New Music Theater (1962) 3. Play and Truth in the New Music Theater (1962) 4. Die Ermittlung: A Musical and Theatrical Experience with Weiss and Piscator [Music and Theater] (1966) 5. Toward Prometeo: Journal Fragments (1984) EXCURSUS III. Interview with Renato Garavaglia (ca. 1979–80) PART THREE. "CONSCIENCE, FEELINGS, COLLECTIVE REALITY" 1. Historical Presence of Music Today (1959) 2. Music and Resistance (1963) 3. Replies to Seven Questions by Martine Cadieu (1966) 4. Music and Power (1969) 5. In the Sierra and in the Parliament (1971) EXCURSUS IV. Technology to Discover a Universe of Sounds: Interview with Walter Prati and Roberto Masotti (1983) PART FOUR. PORTRAITS AND DEDICATIONS 1. Josef Svoboda (1968) 2. Remembering Two Musicians (1973) 3. Victor Jara’s Song (1974) 4. Preface to Arnold Schoenberg’s Harmonielehre (1977) 5. Bartók the Composer (1981) 6. For Helmut (1983) 7. For Marino Zuccheri (1986) EXCURSUS V. Interview with Michelangelo Zurletti (1987) PART FIVE. THE "POSSIBLE INFINITIES" 1. Error as a Necessity (1983) 2. Other Possibilities for Listening (1985) 3. Lecture at the Chartreuse in Villeneuve-les-Avignon (1989) EXCURSUS VI. “Proust” Questionnaire (1986) Notes and Abbreviations Bibliographical Notes and Comments to the Texts Chronology of Nono’s Works Index

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Book SynopsisGabriel Fauré's mélodies offer an inexhaustible variety of style and expression that havemade them the foundation of the French art song repertoire. During the second half of his long career, Fauré composed all but a handful of his songs within six carefully integrated cycles. Fauré moved systematically through his poetic contemporaries, exhausting Baudelaire's Les fleurs du mal before immersing himself in the Parnassian poets. He would set nine poems by Armand Silvestre in swift succession (1878-84), seventeen by Paul Verlaine (1887-94), and eighteen by Charles Van Lerberghe (1906-14). As an artist deeply engaged with some of the most important cultural issues of the period, Fauré reimagined his musical idiom with each new poet and school, and his song cycles show the same sensitivity to the poetic material. Far more than Debussy, Ravel, or Poulenc, he crafted his song cycles as integrated works, reordering poems freely and using narratives, key schemes, and even leitmotifs to unify the individual songs. The Fauré Song Cycles explores the peculiar vision behind each synthesis of music and verse, revealing the astonishing imagination and insight of Fauré's musical readings. This book offers not only close readings of Fauré's musical works but an interdisciplinary study of how he responded to the changing schools and aesthetic currents of French poetry.Table of ContentsList of Music Examples Preface Acknowledgments 1. Romancing the mélodie A Hugo Cycle? 2. Ascending Parnassus Poème d’un jour, op. 21 3. The Discovery of MusicCinq mélodies "de Venise," op. 58 4. Wagnerian correspondancesLa bonne chanson, op. 61 5. Theatrical SongLa chanson d’Ève, op. 95 6. Writing in the SandLe jardin clos, op. 106 7. Neoclassical VoyagesMirages, op. 113 and L’horizon chimérique, op. 118 Notes Bibliography Index

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Book SynopsisStravinsky in the Americas explores the pre-Craft period of Igor Stravinsky's life, from when he first landed on American shores in 1925 to the end of World War II in 1945. Through a rich archival trove of ephemera, correspondence, photographs, and other documents, eminent musicologist H. Colin Slim examines the twenty-year period that began with Stravinsky as a radical European art-music composer and ended with him as a popular figure in American culture. This collection traces Stravinsky's rise to famecatapulted in large part by his collaborations with Hollywood and Disney and marked by his extra-marital affairs, his grappling with feelings of anti-Semitism, and his encounters with contemporary musicians as the music industry was emerging and taking shape in midcentury America. Slim's lively narrative records the composer's larger-than-life persona through a close look at his transatlantic tours and domestic excursions, where Stravinsky's personal and professional life collided in often-dramatic ways.Trade Review"This meticulously documented book sheds new light on the first two decades of Stravinsky's association with America, from the time of his first concert tour in 1925 to the premiere of the Symphony in Three Movements at Carnegie Hall in Janunary 1946. . . . This is not only a book to delight lovers of Stravinskian minutiae but also one that provides a richly documented study of a period in Stravinsky's life that has received relatively little attention." * Gramophone *Table of ContentsList of Illustrations Foreword by Richard Taruskin Preface Acknowledgments Introduction PART I: FIVE TRANSATLANTIC TOURS (1925–1940) 1. Tour I (1925) 2. Tour II (1935) 3. Tour III (1936) 4. Tour IV (1937) 5. Tour V (October 1939–Late May 1940) PART II: DOMESTIC EXCURSIONS FROM WARTIME LOS ANGELES (1940–1946) 6. Excursions (1940–1941) 7. Excursions (1942) 8. Excursions (1943) 9. Excursions (1944) 10. Excursions (1945–Early 1946) Appendix: Stravinsky and “Neoclassicism” Notes Bibliography Index

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Book SynopsisThis volume collects one hundred of the most important and beloved Late Antique and Medieval Latin hymns from Western Europe. Ranging from Ambrose in the late fourth century to Bonaventure in the thirteenth, the authors meditate on the ineffable, from Passion to Paradise, and cover a broad gamut of poetic forms and meters.

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Book SynopsisIt is a common article of faith that Mozart composed the most beautiful music we can know. But few of us ask why. Why does the beautiful in Mozart stand apart, as though untouched by human hands? This title describes a range of musical effects of Mozart's music to other domains of human significance, including expression, intimation, and more.Trade ReviewWinner of the 2014 Otto Kinkeldey Award, American Musicological Society One of Choice's Outstanding Academic Titles for 2013 "Here is analysis and commentary written with considerable enthusiasm and affection... Mozart's Grace is written with great fervour and yes, grace, together with a deep love of Mozart's music."--Classical Music Magazine "The premise: identify some of the best bits in Mozart's works, then discover why they succeed so well. The idea is so starkly simple that one could expect a puerile result. However, Burnham, an eminent teacher, writer, and Mozartean, produces something rather wonderful... [Mozart's Grace] is a book that does justice to its subject matter."--Choice "This book has only deepened my admiration for its author."--Leo Black, Musical Times "Mozart's Grace is written with great fervor and yes, grace, together with a deep love of Mozart's music. In these tough economic times one is heartened to see the publication of such a book."--John Robert Brown, Classical Music "Burnham offers a stirring, erudite, and deeply poetic treatment of around fifty select passages as a culmination of some three decades of thought and discussion... Through delightfully written prose bursting with musical metaphors that extend to all five senses, Scott Burnham argues persuasively for why we relentlessly submit ourselves to Mozart."--Steven D. Mathews, Notes "[Burnham's] writing, sentence by sentence, is clear as air yet shimmers with revelatory understanding of the effects that Mozart's music makes on the listener, illustrating and supporting his discoveries with penetrating and meticulous explication of details in the musical examples. In doing so he offers some of the most sensitive, nuanced, perceptive, and eloquent commentary about music (of any kind) I've read."--American Record Guide "Rarely does love pour from musicological writing as generously as it does from Scott Burnham's ingenious, congenial paean. At 169 pages of text including generous musical examples throughout, Mozart's Grace teaches us a great deal about Mozart, concision, and well-turned prose."--David Schneider, Music and LettersTable of ContentsAcknowledgments ix Invitation 1 I Beauty and Grace 7 II Thresholds 37 III Grace and Renewal 117 Knowing Innocence 165 Notes 171 Bibliography 183 Index 187

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Book SynopsisThrough Victorian art, opera, and novels, this title examines how sexuality and desire, the politics of culture, and the role of religion in society were considered and debated through the Victorian obsession with antiquity. It offers insights into how the Victorian sense of antiquity and our sense of the Victorians came into being.Trade ReviewWinner of the 2012 Robert Lowry Patten Award, SEL Studies in English Literature 1500-1900, Rice University "[I]mmensely scholarly, highly-entertaining and broad-ranging... Goldhill's timescale offers a new and contentious definition of the term 'Victorian', stretching from 1760 to the 1980s."--Jane Thomas, Times Higher Education Supplement "[G]ripping."--Literary Review "Simon Goldhill, a professor at Cambridge, is a leading expert on Greek literature and culture; if you want to know more about the world of Aeschylus and Euripides, Goldhill is your man."--Daniel Snowman, Literary Review "Using reception theory, Goldhill examines paintings, operas, and novels produced in Europe that appropriate stories from the ancient Greeks, Romans, and Hebrews. He shows how artists and writers retold these ancient stories to further their political and religious agendas. The author is persuasive in arguing that in the 19th century the classics were used to bolster an agenda of anti-Semitism, setting the state for WW II. The book contains beautiful color plates and also black-and-white photos showing works of art of the period and poses drawn from classical statuary... The book is well written and the thesis well worth development."--Choice "[T]he book is of interest from a Wagnerian perspective in the insight it offers into the concerns of a society contemporary with Wagner and just across the water... In its main topics, the painting and historical novel of Britain in the 19th century, this book is an eye-opener in its fascinating material and its approach."--Michael Dyson, Wagner Journal "In its scope and verve, Victorian Culture and Classical Antiquity clearly signals just how far reception studies has come within the field of classics, but remains, as well, a timely reminder of just how far we have to go if we are to achieve a true, lasting, and abiding interdisciplinarity."--Thomas E. Jenkins, New England Classic Journal "[O]ne of the many virtues of Goldhill's work ... is his ability to draw connections across centuries."--William Baker, Years Work in English Studies "[T]his is an extremely good book. If it finds the readership it deserves, this volume, which is at once humane and scholarly in its historical account of culture and its vicissitudes, will not only illuminate central issues in Victorian culture; it will also open up new lines of research while closing off fruitless lines of generalization about the classics in the nineteenth century."--Jonah Siegel, Victorian Studies "This is certainly an important and well researched book. Above all, it provides a valuable reminder to those working in classical reception studies of the importance of historicity."--H. Ellis, English Historical Review "Goldhill's book is a fascinating contribution to the study of the Victorian reception of the Classics. It provides many new angles on an important area of Reception Studies, and throws new light on more familiar ones."--Richard Warren, Anzeiger fur AltertumwissenschaftTable of ContentsList of Illustrations vii INTRODUCTION: Discipline and Revolution: Classics in Victorian Culture 1 PART 1. ART AND DESIRE CHAPTER ONE: The Art of Reception: J. W. Waterhouse and the Painting of Desire in Victorian Britain 23 Fleshliness and Purity 26 Visualizing Desire, Elsewhere 45 Off the Chocolate Box 62 CHAPTER TWO: The Touch of Sappho 65 Viewed in the Light of Greece 66 Touching 72 Sappho on the Strand 79 PART 2. MUSIC AND CULTURAL POLITICS CHAPTER THREE: Who Killed Chevalier Gluck? 87 Revolutionary Opera 90 The Art of Crying and the Happy Ending 97 Disinterring a Classic 104 The German Way 112 London Fashion 116 CHAPTER FOUR: Wagner's Greeks: The Politics of Hellenism 125 "To be half a day a Greek!" 127 Staging the Sonderweg 134 Endeavoring to Forget 140 PART 3. FICTION: VICTORIAN NOVELS OF ANCIENT ROME CHAPTER FIVE: For God and Empire 153 Every Book Needs a Hero 153 Whose History? 163 Fictionalizing the Past 177 CHAPTER SIX: Virgins, Lions, and Honest Pluck 193 The Knebworth Apollo 193 The Fiction of the Church 202 The Best-Selling Novel in America 215 The Harry Potter Effect 223 Jews, Egyptians, and Other Cliches of the Popular Sublime 231 SEVEN: Only Connect! 245 The Life of the Author 245 Victoria's Historian, Darwin's Parson 251 The Fight for the Middle Ground 258 CODA 265 Notes 273 Bibliography 313 Index 341

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Book SynopsisCamille Saint-Sans - perhaps the foremost French musical figure of the late nineteenth century and a composer who wrote in every musical genre, from opera and the symphony to film music - is now being rediscovered after a century of modernism overshadowed his importance. This book deconstructs the multiple realities behind the man and his music.Trade Review"This study of a versatile, tasteful and often endearing composer, and a serious, playful and sometimes prickly man, may be thoroughly recommended."--Classical Music Magazine "This compilation of masterful scholarship is likely to become a preeminent source for information on Saint-Saens."--Choice "Jann Pasler's edited collection thus offers a significant contribution to Saint-Saens studies, and to the field of nineteenth- and early twentieth century French music as a whole."--Helen Abbott, French Studies "[T]his book represents [quite an] achievement. Saint-Saens is revealed and yet remains intensely private: the book speaks volumes on the composer's life, views, working methods, and cultural and social status."--Clair Rowden, H-France ReviewTable of ContentsAcknowledgments and Permissions viii Introduction: Deconstructing Saint-Saens xi PART I SAINT-SAENS THE PERSON Camille Saint-Saens in (Semi-)Private 2 MITCHELL MORRIS Saint-Saens, The Playful 8 PAUL VIARDOT Inspired by the Skies? Saint-Saens, Amateur Astronomer 12 LEO HOUZIAUX Changes on the Moon, Optical Illusions, The Stars 17 CAMILLE SAINT-SAENS Business and Politics, with Humor: Saint-Saens and Auguste Durand 26 JANN PASLER Rivals and Friends: Saint-Saens, Massenet, and Thais 33 JEAN-CHRISTOPHE BRANGER Massenet-Saint-Saens Correspondence 40 CAMILLE SAINT-SAENS, JULES AND LOUISE MASSENET Saint-Saens and Lecocq: An Unwavering Friendship 48 YVES GERARD PART II SAINT-SAENS THE MUSICIAN Saint-Saens and the Performer's Prestige 56 DANA GOOLEY Le Ma'itre and the "Strange Woman," Marie Jaell: Two Virtuoso-Composers in Resonance 85 FLORENCE LAUNAY AND JANN PASLER Saint-Saens's Improvisations on the Organ (1862) 102 WILLIAM PETERSON Providing Direction for French Music: Saint-Saens and the Societe Nationale 109 MICHAEL STRASSER Saint-Saens as President of the Societe des Compositeurs (1887-1891) 118 LAURE SCHNAPPER Saint-Saens at the Societe des Concerts du Conservatoire de Paris (1903-1904) 125 D. KERN HOLOMAN PART III SAINT-SAENS THE GLOBETROTTER Saint-Saens: The Traveling Musician 134 STEPHANE LETEURE Saint-Saens in Germany 142 MICHAEL STEGEMANN Saint-Saens in England: His Organ Symphony 161 SABINA TELLER RATNER Analytical and Historical Programme for His New Symphony in C Minor and Major 167 CAMILLE SAINT-SAENS Saint-Saens, "Algerian by Adoption" 173 JANN PASLER Friendship and Music in Indochina 184 JANN PASLER Saint-Saens in New York 191 CAROLYN GUZSKI Saint-Saens and Latin America 201 CAROL A. HESS PART IV SAINT-SAENS, AESTHETICS PAST AND PRESENT What's in a Song? Saint-Saens's Melodies 210 ANNEGRET FAUSER Saint-Saens and the Ancient World: From Africa to Greece 232 JANN PASLER Saint-Saens, Writer 260 MAIRE-GABRIELLE SORET Saint-Saens and Rameau's Keyboard Music 266 KATHARINE ELLIS Preface, Rameau's Pieces de Clavecin (Durand, 1895) 271 CAMILLE SAINT-SAENS Lyres and Citharas of Antiquity 275 MARIE-GABRIELLE SORET Ancient Lyres and Citharas 280 CAMILLE SAINT-SAENS Saint-Saens and d'Indy in Dialogue 287 JANN PASLER PART V SAINT-SAENS IN THE 20TH CENTURY Saint-Saens's Advocacy of Music Education in Elementary School 304 JANN PASLER Report of M. Saint-Saens 309 CAMILLE SAINT-SAENS Saint-Saens and the Future of Music 312 BYRON ADAMS AND JANN PASLER Musical Evolution 318 CAMILLE SAINT-SAENS The Fox in the Henhouse, or Saint-Saens at the SMI 324 MICHEL DUCHESNEAU Saint-Saens, Ravel, and Their Piano Concertos: Sounding Out a Legacy 334 MICHAEL J. PURI Saint-Saens and Silent Film / Sound Film and Saint-Saens 357 MARTIN MARKS Beyond the Conceits of the Avant-Garde: Saint-Saens, Romain Rolland, and the Musical Culture of the Nineteenth Century 370 LEON BOTSTEIN Index 405 Notes on the Contributors 419

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Book SynopsisCamille Saint-Sans - perhaps the foremost French musical figure of the late nineteenth century and a composer who wrote in every musical genre, from opera and the symphony to film music - is now being rediscovered after a century of modernism overshadowed his importance. This book deconstructs the multiple realities behind the man and his music.Trade Review"This study of a versatile, tasteful and often endearing composer, and a serious, playful and sometimes prickly man, may be thoroughly recommended."--Classical Music Magazine "This compilation of masterful scholarship is likely to become a preeminent source for information on Saint-Saens."--Choice "Jann Pasler's edited collection thus offers a significant contribution to Saint-Saens studies, and to the field of nineteenth- and early twentieth century French music as a whole."--Helen Abbott, French Studies "[T]his book represents [quite an] achievement. Saint-Saens is revealed and yet remains intensely private: the book speaks volumes on the composer's life, views, working methods, and cultural and social status."--Clair Rowden, H-France ReviewTable of ContentsAcknowledgments and Permissions viii Introduction: Deconstructing Saint-Saens xi PART I SAINT-SAENS THE PERSON Camille Saint-Saens in (Semi-)Private 2 MITCHELL MORRIS Saint-Saens, The Playful 8 PAUL VIARDOT Inspired by the Skies? Saint-Saens, Amateur Astronomer 12 LEO HOUZIAUX Changes on the Moon, Optical Illusions, The Stars 17 CAMILLE SAINT-SAENS Business and Politics, with Humor: Saint-Saens and Auguste Durand 26 JANN PASLER Rivals and Friends: Saint-Saens, Massenet, and Thais 33 JEAN-CHRISTOPHE BRANGER Massenet-Saint-Saens Correspondence 40 CAMILLE SAINT-SAENS, JULES AND LOUISE MASSENET Saint-Saens and Lecocq: An Unwavering Friendship 48 YVES GERARD PART II SAINT-SAENS THE MUSICIAN Saint-Saens and the Performer's Prestige 56 DANA GOOLEY Le Ma'itre and the "Strange Woman," Marie Jaell: Two Virtuoso-Composers in Resonance 85 FLORENCE LAUNAY AND JANN PASLER Saint-Saens's Improvisations on the Organ (1862) 102 WILLIAM PETERSON Providing Direction for French Music: Saint-Saens and the Societe Nationale 109 MICHAEL STRASSER Saint-Saens as President of the Societe des Compositeurs (1887-1891) 118 LAURE SCHNAPPER Saint-Saens at the Societe des Concerts du Conservatoire de Paris (1903-1904) 125 D. KERN HOLOMAN PART III SAINT-SAENS THE GLOBETROTTER Saint-Saens: The Traveling Musician 134 STEPHANE LETEURE Saint-Saens in Germany 142 MICHAEL STEGEMANN Saint-Saens in England: His Organ Symphony 161 SABINA TELLER RATNER Analytical and Historical Programme for His New Symphony in C Minor and Major 167 CAMILLE SAINT-SAENS Saint-Saens, "Algerian by Adoption" 173 JANN PASLER Friendship and Music in Indochina 184 JANN PASLER Saint-Saens in New York 191 CAROLYN GUZSKI Saint-Saens and Latin America 201 CAROL A. HESS PART IV SAINT-SAENS, AESTHETICS PAST AND PRESENT What's in a Song? Saint-Saens's Melodies 210 ANNEGRET FAUSER Saint-Saens and the Ancient World: From Africa to Greece 232 JANN PASLER Saint-Saens, Writer 260 MAIRE-GABRIELLE SORET Saint-Saens and Rameau's Keyboard Music 266 KATHARINE ELLIS Preface, Rameau's Pieces de Clavecin (Durand, 1895) 271 CAMILLE SAINT-SAENS Lyres and Citharas of Antiquity 275 MARIE-GABRIELLE SORET Ancient Lyres and Citharas 280 CAMILLE SAINT-SAENS Saint-Saens and d'Indy in Dialogue 287 JANN PASLER PART V SAINT-SAENS IN THE 20TH CENTURY Saint-Saens's Advocacy of Music Education in Elementary School 304 JANN PASLER Report of M. Saint-Saens 309 CAMILLE SAINT-SAENS Saint-Saens and the Future of Music 312 BYRON ADAMS AND JANN PASLER Musical Evolution 318 CAMILLE SAINT-SAENS The Fox in the Henhouse, or Saint-Saens at the SMI 324 MICHEL DUCHESNEAU Saint-Saens, Ravel, and Their Piano Concertos: Sounding Out a Legacy 334 MICHAEL J. PURI Saint-Saens and Silent Film / Sound Film and Saint-Saens 357 MARTIN MARKS Beyond the Conceits of the Avant-Garde: Saint-Saens, Romain Rolland, and the Musical Culture of the Nineteenth Century 370 LEON BOTSTEIN Index 405 Notes on the Contributors 419

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Book SynopsisBrings together an international roster of scholars to explore fresh perspectives on the life and music of Igor Stravinsky. Situating Stravinsky in intellectual and musical contexts, this title includes essays that focuses on one of the important composers of the twentieth century.Trade Review"Framed by Jonathan Cross's stylish response to the theme 'Stravinsky in exile', and Leon Botstein's thoughts on the rewards of considering the composer alongside fellow Russian exile Vladimir Nabokov, the book seeks new angles on Stravinsky and Russia in the years after 1912, and on the role of Russians ... during Stravinsky's time in France... [L]evitz herself can be unsparing in drawing a detailed, warts-and-all portrait of the great composer."--Arnold Whittall, Musical TimesTable of ContentsPreface and Acknowledgments vii A Note on Transliteration and Titles of Works xiv Credits and Permissions xv Stravinsky in Exile JONATHAN CROSS 3 Who Owns Mavra? A Transnational Dispute INTRODUCTION AND NOTES BY TAMARA LEVITZ; TRANSLATIONS BY BRIDGET BEHRMANN, KATYA ERMOLAEV, LAUREL E. FAY, ALEXANDRA GRABARCHUK, AND TAMARA LEVITZ 21 Stravinsky's Russian Library TATIANA BARANOVA MONIGHETTI 61 The Futility of Exhortation: Pleading in Stravinsky's Oedipus Rex and Orpheus GRETCHEN HORLACHER 79 Symphonies and Funeral Games: Lourie's Critique of Stravinsky's Neoclassicism KLARA MORICZ 105 Arthur Lourie's Eurasianist and Neo-Thomist Responses to the Crisis of Art INTRODUCTION AND NOTES BY KLARA MORICZ; TRANSLATION BY BRIDGET BEHRMANN, KATYA ERMOLAEV, YASHA KLOTS, TAMARA LEVITZ, KLARA MORICZ, AND BORIS WOLFSON 127 Igor the Angeleno: The Mexican Connection TAMARA LEVITZ 141 Stravinsky Speaks to the Spanish-Speaking World INTRODUCTION BY LEONORA SAAVEDRA; INTERVIEWS TRANSLATED BY MARIEL FIORI IN COLLABORATION WITH TAMARA LEVITZ; DOCUMENT NOTES BY TAMARA LEVITZ 177 The Poetique musicale: A Counterpoint in Three Voices VALERIE DUFOUR; TRANSLATED BY BRIDGET BEHRMANN AND TAMARA LEVITZ225 Stravinsky: The View from Russia SVETLANA SAVENKO; TRANSLATED BY PHILIPP PENKA 255 Stravinsky's Cold War: Letters About the Composer's Return to Russia, 1960-1963 LETTERS TRANSLATED BY PHILIPP PENKA WITH ALEXANDRA GRABARCHUK; INTRODUCTION, COMMENTARY, AND NOTES BY TAMARA LEVITZ 273 "The Precision of Poetry and the Exactness of Pure Science": The Parallel Lives of Vladimir Nabokov and Igor Stravinsky LEON BOTSTEIN 319 Index 349 Notes on Contributors 365

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Book SynopsisDuring the years between the restoration of the Medici to Florence and the election of Cosimo I, the Medici family sponsored a series of splendid public festivals, reconstructed here by Anthony M. Cummings. Cummings has utilized unexpectedly rich sources of information about the musical life of the time in contemporary narrative accounts of these oTable of ContentsIllustrationsPreface and AcknowledgmentsPartial Genealogy of the Medici FamilyTo the ReaderIntroduction: Some Aspects of Methodology3Pt. IThe First Years of the Medici Restoration: The Union of Florence and RomeCh. 1The Restoration11Ch. 2The 1513 Carnival15Ch. 3The Election of Leo X42Ch. 4Giuliano de Medici's Capitoline Investiture53Ch. 5Leo X's 1515 Florentine Entrata67Pt. IIToward the Principato: Lorenzo De Medici, 1513-1519Ch. 6Archbishop Giulio's Possesso85Ch. 7The 1514 Feast of San Giovanni87Ch. 8Lorenzo de Medici, Captain General of the Florentine Militia and Duke of Urbino93Ch. 9The Wedding of Lorenzo and Madeleine99Pt. IIIAlessandro De Medici and the Establishment of the PrincipatoCh. 10The First Years of Clement's Pontificate117Ch. 11The Coronation of Charles V128Ch. 12Alessandro, Duke of the Florentine Republic140Ch. 13The Wedding of Alessandro and Margaret151Conclusion: Toward a Typology of Florentine Festival Music of the Early Cinquecento163Notes173Index251

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Book SynopsisWe know Robert Schumann in many ways: as a visionary composer, a seasoned journalist, a cultured man of letters, and a genius who, having passed his mantle on to the young Brahms, succumbed to mental illness in 1856. Drawing on recent pathbreaking research, this collection offers new perspectives on this seminal nineteenth-century figure. In PartTrade Review"The seven studies of [Robert Schumann] and his music cover the composer's inspirations, his sources, and his relations with numerous interesting people... [a] well-rounded and interesting picture of the composer and his times."--Library Journal "This volume ... edited by the American scholar Larry R. Todd, contains a substantial essay on the composer's cultural background, ... a comparably comprehensive piece ... linking sociological to psychological motives, ... and a fascinating account by the editor of Schumann's use of quotation and self-quotation... Parts 2 and 3 of the book reprint letters, memoirs and critical commentaries by Schumann's contemporaries and successors."--Times Literary Supplement "Rich in new ideas."--ChoiceTable of ContentsPrefaceAcknowledgmentsHistory, Rhetoric, and the Self: Robert Schumann and Music Making in German-Speaking Europe, 1800-18603Schumann's Homelessness47On Quotation in Schumann's Music80Schumann's Symphonic Finales113Schumann's "New Genre for the Concert Hall": Das Paradies und die Peri in the Eyes of a Contemporary129The Intentional Tourist: Romantic Irony in the Eichendorff Liederkreis of Robert Schumann156"Actually, Taken Directly from Family Life": Robert Schumann's Album fur die Jugend171The Correspondence between Clara Wieck Schumann and Felix and Paul Mendelssohn205Reminiscences of Robert Schumann (1878)233Robert Schumann in Endenich (1899)268Schumanniana (1925)288On Robert Schumann's Piano Compositions (1844)303Robert Schumann with Reference to Mendelssohn-Bartholdy and the Development of Modern Music in General (1845)317Robert Schumann (1855)338Schumanniana No. 4: The Present Musical Epoch and Robert Schumann's Position in Music History (1861)362On Schumann as Symphonist (1904-1906)375Index of Names and Compositions385List of Contributors395

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Book SynopsisTable of Contents*Frontmatter, pg. i*ACKNOWLEDGMENTS, pg. v*PREFACE, pg. vii*CONTENTS, pg. ix*SCHOENBERG'S FIVE PIECES FOR ORCHESTRA, pg. 1*ANALYSIS OF THE FOUR ORCHESTRAL SONGS OPUS 22, pg. 25*THREE ESSAYS ON SCHOENBERG, pg. 47*MOSES UND ARON: SOME GENERAL REMARKS, AND ANALYTIC NOTES FOR ACT I, SCENE 1, pg. 61*A STUDY OF HEXACHORD LEVELS IN SGHOENBERG'S VIOLIN FANTASY, pg. 78*SCHOENBERG AND THE ORGAN, pg. 93*ARNOLD SCHOENBERG IN SOVIET RUSSIA, pg. 111*PROBLEMS OF PITCH ORGANIZATION IN STRAVINSKY, pg. 123*STRAVINSKY: THE PROGRESS OF A METHOD, pg. 156*REMARKS ON THE REGENT STRAVINSKY, pg. 165*NOTES ON STRAVINSKY'S ABRAHAM AND ISAAC, pg. 186*NOTES ON STRAVINSKY'S VARIATIONS, pg. 210*SOME NOTES ON STRAVINSKY'S REQUIEM SETTINGS, pg. 223*DISCOGRAPHIES, pg. 251

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Book SynopsisAn absorbing account of the influence of African rhythms on contemporary black Brazilian music and the development of music world wideTrade Review'Peter Fryer has now taken the study of the history of Brazilian music to another level' -- Journal of Iberian and Latin American StudiesTable of ContentsMaps List of illustrations Preface Introduction 1. The heritage of Nigeria and Benin: music for worship 2. The Angola heritage: capoeira and berimbau 3. The 'Angola warble': street cries and worksongs 4. Brazil's dramatic dances 5. Three vanished instruments 6. The African dance heritage 7. Brazil's Atlantic dances 8. The emergence of Brazilian popular music 9. Maxixe and urban samba Appendix A: Continuity and change in the music of the Kongo-Angola culture area Appendix B: African musical instruments in Brazil Appendix C: The Brazilian musical heritage in Nigeria and Benin Appendix D: The music and dance of Cape Verde Appendix E: Relaçaõ da fofa que veya agora da Bahia: extract Discography Notes Index

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Book SynopsisYouens addresses the different aspects of the Winterreise: its cultural milieu, the genesis of both the poetry and the music, Schubert's transformation of poetic cycle into music, the philosophical dimension of the work, and its musical structure.Trade ReviewSusan Youens displays a rare ability at making penetrating comments on both poetry and music, as well as their interrelationship, and her book is full of interesting observations of details easily overlooked by those who have not studied the song cycle closely. * Times Higher Education Supplement *Susan Youens's Retracing a Winter's Journey is the most successful and appealing of the various recent studies of Winterreise. Youens is a true Schubertian, able to find the subtlety of the cycle and to take the reader through it in a way that broadens the understanding regardless of how familiar one may be with the work. She pays special attention to the texts, interpreting Müller's various images with a skill born of wide knowledge of the poet's other works as well as those of his contemporaries, and proceeding to an illumination of the role and importance of the texts in the musical setting.... The author's lucid and elegant writing never allows one to falter through the retracing of this fascinating journey. * Music and Letters *This is a book of considerable importance. Given the quantity of distinguished writing about Schubert's great song-cycle it is the author's outstanding achievement to have written a study that for scope, insight, and sheer readability eclipses previous responses to the challenge.... Youens combines to a degree as rare as it is admirable the sensitivities and deep knowledge of literary historian and musicologist. * German History *This is the definitive book on the subject, by one of the world's leading lieder scholars. * Time Out New York *Table of ContentsPrefacePart I. The Poet and the Composer1. Genesis and Sources 2. The Texts of Winterreise 3. The Music of WinterreisePart II. The Songs1. Gute Nacht 2. Die Wetterfahne 3. Gefror'ne Tränen 4. Erstarrung 5. Der Lindenbaum 6. Wasserflut 7. Auf dem Fluße 8. Rückblick 9. [Das] Irrlicht 10. Rast 11. Frühlingstraum 12. Einsamkeit 13. Die Post 14. Der greise Kopf 15. Die Krähe 16. Letzte Hoffnung 17. Im Dorfe 18. Der stürmische Morgen 19. Täuschung 20. Der Wegweiser 21. Das Wirtshaus 22. Mut 23. Die Nebensonnen 24. Der LeiermannPostludeAppendix. Ludwig Uhland's Wander-LiederSelected Bibliography Index

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Book SynopsisIs birdsong music? The most frequent answer to this question in the Middle Ages was resoundingly "no." In Sung Birds, Elizabeth Eva Leach traces postmedieval uses of birdsong within Western musical culture. She first explains why such melodious sound...Trade Review"An interesting and encouraging intersection between the 'two cultures' of science and humanities is the emergence of books and conferences on whether or not the delightful songs of birds can be considered a form of music, situated as it is in a time of fascination with questions of animal consciousness with the realization that under sexual selection, animals make choices based on signals; and birdsongs are surely signals that appeal to other birds, but even to humans but wholly aesthetic reasons. There is a surge in interest among ethologists as well as musicians as to whether we can judge the often melodic and even haunting songs of some birds as musical. Thus, Elizabeth Eva Leach's book, Sung Birds: Music, Poetry, and Nature in the Later Middle Ages is a timely contribution, in addition to its welcome fresh look at an aural relationship that has existed between the natural world and humans that stretches back to the origins of the latter. It is clear that musical scholars, even in the later Middle Ages, have been taking the measure of birdsong in cognitive, anthropocentric terms. Music was composed and appreciated in terms of a mathematically precise order: intervals separating tones were defined within a ratio system that had its origins with the Pythagoreans (3:2 for fifths, etc.). This book will be attractive to an audience beyond its target of musicologists and historians. Anyone interested in the ways the natural world affects the artist, and those naturalists interested in birds, including birdwatchers (and listeners) as well as environmentalists who enjoy music, will be rewarded by reading this book." -- Ronald R. Hoy, Cornell University"Despite the ubiquity of recorded music in contemporary society, according to Leach, music now possesses a rather watered-down existence as mere 'organized sound.' The medieval conception of music was much richer.... This is a fine book and is all the more useful for bringing the technical skills of the medieval musicologist to bear on issues important to any historian of medieval court life and the complex interplay between orality and literacy." -- Dallas G. Denery II, American Historical Review, December 2007"Elizabeth Eva Leach's Sung Birds is a refreshing examination of the late medieval fascination with the intersection of human song, bird song, animal sounds, and the words of poetry. One of the most imaginative and accomplished scholars of music and literature writing today, Leach examines the question, 'what kind of thing is music?' Her analysis is interdisciplinary in the original sense, the work of a scholar who uses her secure base of musical knowledge to illuminate a range of other subjects from mythology (the song of Sirens) to technology (the lasting changes wrought by musical notation) to the poetry of Machaut and Chaucer. Sung Birds deserves an honored place among the best work of a talented group of younger scholars in medieval studies." -- Mary Carruthers, Remarque Professor of Literature, New York University"Sung Birds is highly original and genuinely opens up a new way of reading (or hearing) much late-medieval vernacular lyric. It is representative of relatively new, potentially very exciting, directions in medieval musicology that involve reaching out to other disciplines and placing the study of music in a much broad theoretical and cultural context. Elizabeth Eva Leach covers a lot of ground and makes some complex arguments, pulling together a wide range of material in a way that is easy to follow." -- Sylvia Huot, University of Cambridge"With this intriguing book, Elizabeth Eva Leach invites us into the world of musical theory and practice of the European Middle Ages, with a particular emphasis on fourteenth-century music. Her rigorous, wide-ranging study combines examination of key theoretical texts, analysis of music and songs, and discussion of the significance of all of this for musicology today. It is a beguiling read for anyone, and although readers with musical expertise will appreciate the central chapters of musical analysis most, anyone can keep up, as Leach is careful to explain terms.... This is a dense and rich book. A particular pleasure are the very attentive readings of both individual theoretical texts and musical pieces, uncovering layers of meaning, and always embedded in the wider cultural context, and to which I have not even attempted to do justice here. Mention should also be made of the many interesting illustrations, and the useful appendices that help us trace some of Leach's close readings. Clearly aimed at musicologists too, this book is in fact a fascinating and important read for anyone with an interest in the history of ideas." -- Nicola McLelland, H-German, H-Net Reviews, September 2007

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Book Synopsis"No one knows more about Franz Liszt than Alan Walker."—Malcolm Bowie, Times Literary Supplement In a series of lively essays that tell us much not only about the phenomenon that was Franz Liszt but also about the musical and cultural life of...Trade ReviewThe collection of essays is a sort of appendix to Alan Walker's three-volume biography of Liszt. That was not a study of the music, though it commented selectively on the music as part of the composer's life, but it was—is—one of the most readable and engrossing biographies of any subject ever written. -- Adrian Jack * BBC Music Magazine *Walker is unashamedly a Lisztian, of course, but his advocacy is never fanatical. Rather, it is mantled in terse, accomplished prose, supported by faultless research, and buttressed by copious musical examples and musicological argument. In this indispensable book, Walker has strengthened his case for a reevaluation of the composer's accomplishments with care, detail, and—the word is not too strong—virtuosity. -- Conor Farrington * Times Literary Supplement *No one knows more about Franz Liszt than Alan Walker. -- Malcolm Bowie * Times Literary Supplement *Table of ContentsPrologue1. Beethoven's Weihekuss Revisited2. Liszt and the Beethoven Symphonies3. Liszt and the Schubert Song Transcriptions4. Schumann, Liszt, and the C Major Fantasie, op. 17: A Study in Declining Relationships5. Liszt and His Pupils: Three Character SketchesCarl Tausig: A Polish Wunderkind — Hans von Bülow: Heir and Successor — Walter Bache: An English Disciple of Liszt6. Liszt’s Sonata in B Minor7. Liszt and the Lied8. Liszt as Editor9. Liszt’s Technical Studies: Some Thoughts and Afterthoughts10. Liszt the Writer: On Music and MusiciansEpilogue: An Open Letter to Franz LisztSourcesIndex

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Book SynopsisYouens addresses the different aspects of the Winterreise: its cultural milieu, the genesis of both the poetry and the music, Schubert's transformation of poetic cycle into music, the philosophical dimension of the work, and its musical structure.Trade ReviewSusan Youens displays a rare ability at making penetrating comments on both poetry and music, as well as their interrelationship, and her book is full of interesting observations of details easily overlooked by those who have not studied the song cycle closely. * Times Higher Education Supplement *Susan Youens's Retracing a Winter's Journey is the most successful and appealing of the various recent studies of Winterreise. Youens is a true Schubertian, able to find the subtlety of the cycle and to take the reader through it in a way that broadens the understanding regardless of how familiar one may be with the work. She pays special attention to the texts, interpreting Müller's various images with a skill born of wide knowledge of the poet's other works as well as those of his contemporaries, and proceeding to an illumination of the role and importance of the texts in the musical setting.... The author's lucid and elegant writing never allows one to falter through the retracing of this fascinating journey. * Music and Letters *This is a book of considerable importance. Given the quantity of distinguished writing about Schubert's great song-cycle it is the author's outstanding achievement to have written a study that for scope, insight, and sheer readability eclipses previous responses to the challenge.... Youens combines to a degree as rare as it is admirable the sensitivities and deep knowledge of literary historian and musicologist. * German History *This is the definitive book on the subject, by one of the world's leading lieder scholars. * Time Out New York *Table of ContentsPrefacePart I. The Poet and the Composer1. Genesis and Sources 2. The Texts of Winterreise 3. The Music of WinterreisePart II. The Songs1. Gute Nacht 2. Die Wetterfahne 3. Gefror'ne Tränen 4. Erstarrung 5. Der Lindenbaum 6. Wasserflut 7. Auf dem Fluße 8. Rückblick 9. [Das] Irrlicht 10. Rast 11. Frühlingstraum 12. Einsamkeit 13. Die Post 14. Der greise Kopf 15. Die Krähe 16. Letzte Hoffnung 17. Im Dorfe 18. Der stürmische Morgen 19. Täuschung 20. Der Wegweiser 21. Das Wirtshaus 22. Mut 23. Die Nebensonnen 24. Der LeiermannPostludeAppendix. Ludwig Uhland's Wander-LiederSelected Bibliography Index

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Book SynopsisThis volume of nine essays draws together leading scholars in anthropology, social history, musicology, and ethnomusicology to address the roles and functions of music in the Chinese ritual context.Table of ContentsIntroduction Bell Yung, Evelyn S. Rawski, Rubie S. Watson 1. The nature of Chinese ritual sound Bell Yung Part I. Behind the Scenes: Creating Legitimacy: 2. Ritual and musical politics in the court of Ming Shizong Joseph S. C. Lam 3. State sacrificial music and Korean identity Robert C. Provine 4. Musical assertion of status among the Naxi of Lijiang County, Yunnan Helen Rees Part II. Musical Transformations: Rites of Passage: 5. Chinese bridal laments: the claims of a dutiful daughter Rubie S. Watson 6. Processional music in traditional Taiwanese funerals Ping-Hui Li 7. The creation of an Emperor in eighteenth-century China Evelyn S. Rawski 8. Sing to the spirits of the dead: a Daoist ritual of salvation Judith Magee Boltz 9. Ritual opera and the bonds of authority: transformation and transcendence Ellen R. Judd Notes Index.

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Book SynopsisWith this volume, Howard Smither completes his monumental History of the Oratorio. Here, Smither surveys the history of nineteenth- and twentieth-century oratorio, stressing the main geographic areas of oratorio composition and performance: Germany, Britain, America, and France.Trade ReviewSmither brings to a triumphant conclusion his survey of the oratorio. . . . Smither's treatment of this large and sprawling topic is exemplary. . . . All in all, this volume is an outstanding achievement, both in its own right and as the final installment of The History of the Oratorio. The four volumes together stand as an invaluable survey of the oratorio genre over five centuries, to be read with profit and pleasure by musicologists, music students, social historians, and the general musical public. Smither and his publisher, the University of North Carolina Press, are to be congratulated on the successful completion of one of the most important musicological projects of recent times.--Music Library Association Notes|""Smither is to be congratulated that this huge project--a quarter-century in the undertaking--has led to a final volume which, like its predecessors, combines wide-ranging scholarly research with a style that is both accessible and enjoyable. No one with a passion for oratorio should miss it: no one with even a vague interest in the subject can fail to have that interest stimulated further. . . . A splendid final volume to a series which I am sure will remain a valuable source of information and reference for decades to come.""--The Musical Times|""With this massive volume Howard Smither brings to a triumphant conclusion his masterly history of a notoriously problematic genre. . . . [He] must be congratulated on this major contribution to historical scholarship.""--Music and Letters|""This book completes one of the most important historical surveys that has been offered to musical scholarship in this generation. Smither has maintained the high levels of research and writing established in the other volumes. His selection of works for detailed treatment amounts to a historical judgment of value which he alone is qualified to make.""--Nicholas Temperley, University of Illinois|""Howard Smither has written what will no doubt become the standard reference work on the history of the oratorio. His painstaking research sheds new light on the social contexts, aesthetic theory, and stylistic development of the genre. The rise and fall of the oratorio is meticulously examined through probing discussions of the familiar masterworks and extended treatments of the various national traditions. All in all, a splendid achievement.""--R. Larry Todd, Duke University

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Book SynopsisThe definitive source of firsthand information on the early life of the great Vaslav Nijinsky (1889-1950)Trade Review"Early Memoirs . . . is a book that not only paints a detailed canvas of ballet in turn-of-the-century Russia, but does so with an attention to fact and an appreciation of artistic issues that reflect the same analytical intelligence that Nijinska revealed in her own choreography."—Lynn Garafola, author of Diaghilev's Ballets Russes

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Book SynopsisTrade Review"This book counters the monolithic notions of who the ‘postmodern’ dancers are. As Lamb at the Altar identifies the contemporary work of an artist usually associated with the Judson Dance Theater of the 60s it reveals someone who has evolved, gained a new but no less creative maturity, and who now sees her work very differently than in those old days of protest and rebellion. The intertextual format is engaging, multifaceted, and modern, probably like the dance itself."—Marcia B. Siegel, author of Tail of the Dragon: New Dance, 1976–1982 "This is a remarkable and wonderful text whose publication will benefit the dance community enormously. It contributes crucial new dimensions to the process of documenting both dancing and dance-making. It breaks new ground as writing about the choreographic process, and at the same time, it reflects beautifully on the work of an exceptional artist."—Susan L. Foster, author of Reading Dancing

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Book SynopsisRaymond Knapp traces the musical legacy of German Idealism as it led to the declining prestige of composers such as Haydn while influencing the development of American popular music in the nineteenth century, showing how the existence of camp in Haydn and American music offer ways of reassessing Haydn's oeuvre.Trade Review“Making Light will surely spark many fruitful and interesting discussions, and lead to ever clearer and more meaningful ways of looking at performance.” -- Michael E. Ruhling * Haydn *“As a writer and thinker, Raymond Knapp is a congenial musicologist—eschewing the obscurities of hard theoretical labor and preferring colorful insights. Highly recommended.” -- M. Dineen * Choice *"I recommend Making Light strongly; it is provocative, stimulating and overflowing in original and insightful argument. [Knapp] moves the study of Haydn in a new direction, while developing new ways of understanding how idealistic perspectives on music have shaped the values attached to different forms of music-making." -- Derek B. Scott * Popular Music *"A rich and timely study. . . . Readers interested in fresh approaches to Haydn’s catalogue or camp in American musical culture will find Making Light an intriguing study of marginalized musical features across canonic boundaries." -- Jon Churchill * Current Musicology *

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Book SynopsisDean Duncan provides a critical survey of the aesthetics of classical music in film. Exploring tensions between high art and commercial culture, he examines how directors quote themes and classical passages in genres ranging from the Soviet avant garde to Hollywood romances.Trade Review“Illuminating . . . original and provocative . . . in the vanguard of film music scholarship.”---—Kathryn Kalinak, Author of Settling the Score: Classical Music and the Hollywood Film

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Book SynopsisDean Duncan provides a critical survey of the aesthetics of classical music in film. Exploring tensions between high art and commercial culture, he examines how directors quote themes and classical passages in genres ranging from the Soviet avant garde to Hollywood romances.Trade Review“Illuminating . . . original and provocative . . . in the vanguard of film music scholarship.”---—Kathryn Kalinak, Author of Settling the Score: Classical Music and the Hollywood Film

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Book SynopsisA lyrical meditation on listening, this work examines sound in relation to the human body. It also explores the mystery of music and of its effects on the listener.Trade Review"In Charlotte Mandell's splendid translation of Jean-Luc Nancy's brief but passionate A l'ecoute, the French philosopher gives us a glimpse of this completely different philosophy of music" -Current Musicology "Listening adds a much needed poetic register to the philosophy of music and sonic culture." -Parallax

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Book SynopsisHistoric accounts and new material illuminate the creation, early history and artistic intentions of Britten's first opera.The premiere of Peter Grimes on 7 June 1945 announced the emergence of the first great composer of opera in English since Purcell. Surviving documents offer evidence of the complex interaction of differing ideas about the possible shape and content of the new work, most notably the composition draft, which these essays are particularly concerned to illuminate. They juxtapose historic material with fresh studies: three items written by members of theteam involved in the 1945 production are set alongside specially-commissioned articles, with the three-fold intention of presenting the views of some of the creators of the opera, outlining the work's early history, and offeringcontemporary perspectives on its historical context and its message.Professor PAUL BANKS is Research Development Fellow at the Royal College of Music.Contributors: PAUL BANKS, PHILIP BRETT, BENJAMIN BRITTEN, ERIC CROZIER, DONALDMITCHELL, PETER PEARS, PHILIP REED, ROSAMUND STRODE. Packed away in its pages is a very large amount of new information. TIMES LITERARY SUPPLEMENT A fitting tribute to the opera's enduring international stature, and undoubtedly [a] significant achievement in Britten studies. MUSIC AND LETTERSTrade ReviewPacked away in its pages is a very large amount of new information. TIMES LITERARY SUPPLEMENT A fitting tribute to the opera's enduring international stature, and undoubtedly [a] significant achievement in Britten studies. * MUSIC AND LETTERS *Table of ContentsPreface - Paul Banks Peter Grimes (1965) - Eric Crozier

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Book SynopsisInvestigation into the influence of Eastern music on Britten's composition.Benjamin Britten's interest in the musical traditions of the Far East had a far-reaching influence on his compositional style; this book is the first to investigate the highly original cross-cultural synthesis he was able to achieve through the use of material borrowed from Balinese, Japanese and Indian music. Britten's visit to Indonesia and Japan in 1955-6 is reconstructed from archival sources, and shown to have had a profound impact on his subsequent work: the techniques of Balinese gamelan music were used in the ballet The Prince of the Pagodas (1957), and then became an essential feature of Britten's compositional style, at their most potent in Death in Venice(1973). The No drama and Gagaku court music of Japan were the inspiration for the trilogy of church parables Britten composed in the 1960s. The precise nature of these influences is discussed; Britten's sporadic borrowings from Indian music are also fully analysed. There is a survey of critical responses to Britten's cross-cultural experiments. Dr MERVYN COOKE lectures in music at the University of Nottingham.Trade ReviewFor anyone wanting to get to grips with Britten's music and his eclectic compositional style - crucial reading. * MUSIC AND LETTERS *Fascinating and persuasive blend of documentary and critical study. * MUSICAL TIMES *An intelligent and detailed study. * THE JAPAN SOCIETY *Table of ContentsList of illustrations viii List of musical examples on compact disc x Acknowledgements xi Glossary of Indonesian and Japanese terms xiii 1 Making Tonic and Dominant Seem like Ghosts 1 2 Britten and Colin McPhee 23 3 Bali 50 4 The Prince of the Pagodas 90 5 Japan 112 6 From No to Church Parable: the Evolution of Curlew River, 1956-64 130 I The No Theatre 130 II Sumidagawa and the Curlew River libretto 137 III Curlew River and the dramatic style of No 153 IV Curlew River and European mediaeval drama 160 V The musical style of Curlew River: No and Gagaku 165 7 The Later Church Parables 190 I The Burning Fiery Furnace 190 II The Prodigal Son 205 8 Stylistic Synthesis: Death in Venice 220 9 The Composer and his Critics 245 Bibliography 259 Index 272

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Book SynopsisEdited from unpublished material after the author's death, this book is of great importance to anyone with an interest in Scotland's musical history.This collection of studies presents unpublished material from the book Isobel Woods Preece was planning at the time of her death. It contains articles published by her and extracts from her dissertation on the Carvor Choirbook. There are also newly written chapters on medieval chant and polyphony by Warwick Edwards and on the music of the Reformed Church by Gordon Munro. Both scholarly and accessible, this work will be of importance to all with an interestin Scotland's Christian musical heritage. ISOBEL WOODS PREECE (1956-1997) was a major pioneer within Scottish music research. A graduate of the University of Glasgow, she subsequently become a Rotary International Graduate Fellow at Princeton University, where she wrote her doctoral dissertation under the supervision of Margaret Bent. She held the posts of lecturer, and later senior lecturer, in the Music Department at the University of Newcastle, where she was greatly respected as a scholar, teacher, administrator, conductor and performer.

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Book SynopsisThis volume presents reprints of the prefaces to representative collections of metrical psalms. Psalm-singing, an essentially popular form of music, required some musical knowledge in the singers, and it was in these prefaces thatthe compilers gave basic information on the staves, clefs and note-values of contemporary notation. Dr Rainbow's introduction is a fascinating guide to the changing tastes and needs shown by the carefully selected reprints.

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Book SynopsisThe first extensive study of the life and music of the Swiss composer, Richard Flury (1896-1967).The late-Romantic composer Richard Flury (1896-1967) was born in Biberist, a tiny town outside the Baroque city of Solothurn in northern Switzerland. He went to school in Solothurn, later taught there, conducted its orchestra, andhad his operas and ballets performed at the local theatre by its semi-professional ensemble. But Flury was more than just another conservative composer stuck in the provinces. His teachers included Ernst Kurth and JosephMarx of Vienna, and his music was performed by conductors such as Felix Weingartner and Hermann Scherchen and star instrumentalists like Wilhelm Backhaus and Georg Kulenkampff. His first opera was conducted by a former student ofBerg and Schoenberg who became his staunch advocate, and during the Second World War Flury worked closely with several Jewish emigré writers and musicians from Germany and Czechoslovakia.In his music of the early 1930s, the influence of Berg and Hindemith became apparent as Flury dabbled in modernism and free tonality before moving back to a more traditionalist stance; but he was also a fine tunesmith who loved writing Viennese waltzes and violin miniatures after the manner of Kreisler. In both his aesthetic and his career, Flury offers a fascinating case of a man negotiating constantly between the centre and the periphery - and composing some very good music in the process.The book includes a 23 track CD of Flury's music. CHRIS WALTON teaches music history at the Basel University of Music in Switzerland. He is the author of Othmar Schoeck: Life and Works (2009) and Richard Wagner's Zurich: The Muse of Place (2007).Trade ReviewProfessor Walton, himself a most engaging writer, beautifully evokes the provincial musical life, rural culture and landscapes of the German-speaking part of Switzerland in the first half of the 20th century. * MUSICAL TIMES *

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Book SynopsisThe first English language discussion of the life and music of this twentieth century Norwegian composer.The Norwegian composer Ludvig Irgens-Jensen (1894-1969) was one of the towering creative figures of his native land, although his dignified and powerful music does not receive the attention its quality deserves, either at home orabroad. The success of his dramatic symphony Heimferd (Homecoming) in 1930 brought him national fame, but the post-War triumph of modernism, coupled with his personal modesty, pushed Irgens-Jensen's tonal music into the shadows: its contrapuntally based textures and its modally tinged harmonies were seen as things of the past. But a growing number of recordings is revealing him as one of the most distinguished and distinctive voices in twentieth-century music, a figure of international importance who wrote music of striking nobility and strength of purpose - with some meltingly lovely melodic lines. Arvid O. Vollsnes' Ludvig Irgens-Jensen: The Life and Music of a Norwegian Composer is the first discussion in English of this profoundly decent man and his life-enhancing music. A review of the original Norwegian publication of this book in Aftenposten, the main Norwegian daily paper, described it as 'a gripping biographical portrait. As well as Irgens-Jensen's life we get a broad picture of Norwegian musical life from the 1920s to his death in 1969'. A CD of extracts from Irgens-Jensen's works has been prepared to accompany the English edition, providing readers with an introduction to his highly individual and immediately appealing sound-world.Trade ReviewThis is thorough and solid first biography and Vollsnes is a passionate advocate of his subject. Beryl Foster's translation . . . is clear and nuanced. * GRAMOPHONE *Vollsnes . . . gives Irgens-Jensen's work the scholarly scrutiny it deserves, in the full context of the composer's eventful life. Extensive appendices, a discography, an index, and an accompanying music CD round out this superb resource especially recommended for music scholars and college library collections. * MIDWEST BOOK REVIEW *

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Book SynopsisSchoenberg's quartets and trio, composed over a nearly forty-year period, occupy a central position among twentieth-century chamber music. This volume, based on papers presented at a conference in honor of David Lewin, collects a wide range of approaches to Schoenberg's pieces.

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Book SynopsisThis book encourages a debate over musical modernity; a debate considering the question whether an examination of the history of European art music may enrich our picture of modernity and whether our understanding of music’s development may be transformed by insights into the nature of modernity provided by other historical disciplines.

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Book SynopsisBach and Mozart stand as towering representatives of European music of the 18th century, composers whose works reflect intellectual, religious, and aesthetic trends of the period. This collection of essays by leading authorities offers new perspectives on the two composers, as well as some of their important contemporaries, Haydn in particular.Trade ReviewEvery reader will have his or her own favorite essays in this exemplary collection… [It] makes a major contribution to l8th-century studies as well as music. -- J. P. Ambrose * Choice *Table of ContentsEighteenth-Century Music in its Intellectual Contexts The German Eighteenth Century: Marking Time David Blackbourn, Harvard University Fundamenta Partiturae: Thorough-Bass and Foundations of Eighteenth-Century Composition Pedagogy Thomas Christensen, University of Chicago Mishmash or Synthesis? On the Psychagogic Form of The Creation Hermann Danuser, Humboldt-Universitat zu Berlin Six of One: The Opus Concept in the Eighteenth Century Elaine Sisman, Columbia University Composing and Hearing Music in the Eighteenth Century Bach's Passions and the Textures of Time John Butt, University of Glasgow Bach and Hypocrisy: Appearance and Truth in Cantatas 136 and 179 Eric Chafe, Brandeis University Tartini and his Texts Sergio Durate, Universita di Padova Sources and Transmission The Evolution of "Und wenn die Welt voll Teufel war" BWV 80/5 Daniel R. Melamed, Indiana University Bach and Mozart: From the Perspective of Different Documentary Evidence Hans-Joachim Schulze, Bach-Archiv Leipzig On Johann Sebastian Bach's Creative Process: Observations from His Drafts and Sketches Peter Wollny, Bach-Archiv Leipzig One More Time: Mozart and His Cadenzas Neal Zaslaw, Cornell University Issues in Historiography On Ancient Languages: The Historical Idiom in the Music of Wolfgang Amadeus Mozart Ulrich Konrad, Institut fur Musikwissenschaft der Universitat Wurzburg Eighteenth-Century Music as a Socio-Political Metaphor? Reinhard Strohm, University of Oxford The Century of Handel and Haydn James Webster, Cornell University Mozart's Fantasy, Haydn's Caprice: What's in a Name? Gretchen Wheelock, Eastman School of Music Interpreting Eighteenth-Century Music The Clavier Speaks Christopher Hogwood, Academy of Ancient Music Ten Years of Bach Cantatas Ton Koopman, The Amsterdam Baroque Orchestra and Choir Mozart's Working Methods in the Piano Concertos Robert Levin, Harvard University

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Book SynopsisIn 1973, Western music was banned in the People's Republic of China. But in a remarkable breakthrough cultural exchange, the Philadelphia Orchestra conducted a tour of closed-off China, becoming the first American orchestra to visit the communist nation. Jennifer Lin's Beethoven in Beijing provides a fabulous photo-rich oral history of this boundary-breaking series of concerts the orchestra performed under famed conductor Eugene Ormandy. Lin draws from interviews, personal diaries, and news accounts to give voice to the American and Chinese musicians, diplomats, journalists, and others who participated in and witnessed this historic event. Beethoven in Beijing is filled with glorious images as well as anecdotes ranging from amusing sidewalk Frisbee sessions and acupuncture treatments for sore musicians to a tense encounter involving Madame Mao dictating which symphony was to be played at a concert.A companion volume to the film of the same name, Beethoven in Beijing shows how this 19Trade Review"Fans of classical music will enjoy reading about one of the most important cultural events of the 20th century, while students of history will appreciate this account of a pivotal moment in U.S.-China relations."—Library Journal"Beethoven in Beijing captures the trepidation, intrigue, and euphoria of the Philadelphia Orchestra’s good-will trip to China in 1973.... It memorializes a time when music enabled two estranged cultures to break down barriers of misinformation and communicate with smiles of understanding."—Broad Street Review“Beethoven in Beijing is, indeed, an ‘Ode to Joy.’ Jennifer Lin’s fine account of the Philadelphia Orchestra’s 1973 trip to Mao’s China reminds us that sometimes, even in diplomacy, culture matters both as a signal and a catalytic agent.”—Orville Schell, China writer and author of My Old Home: A Novel of Exile

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Book SynopsisFederico García Lorca (1889-1936) is widely regarded as the greatest Spanish poet of the twentieth century; Manuel de Falla (1876-1946) is Spain’s most performed composer of the same period. The two were very different – Lorca was gay, liberal, and a member of the avant garde, while Falla was a devout Catholic – yet they had a profound mutual influence. The two developed an intimate friendship, which ended when Lorca was shot by Nationalist forces at the beginning of the Spanish Civil War.Lorca in Tune with Falla is the first book to trace Lorca’s impact on Falla’s music, and Falla’s influence on Lorca’s writings. Nelson R. Orringer explores the music underlying Poem of Deep Song, Gypsy Ballads, and Lament for Ignacio Sánchez Mejías, bringing out the analogous sounds and ideas that emerge in the active, ongoing connection between the artworks of both creators. The book Trade Review'Orringer's study is essential reading for anyone interested in Falla, Lorca, and the period that brought forth these two icons of twentieth-century Spanish culture.' -- Samuel Llano Modern Language Review vol 112:01:2017 'This book would undoubtedly be of interest to musicians, writers and historians alike...Orringer offers a unique approach to the understanding of the creative processes of these two Spanish artists.' -- Beatriz Pom s Jim nez Context vol 39:2014 'Only a scholar specially equipped with the necessary analytical tools in both literature and music could write such a book as this, fortunately for us, Orringer is such a writer.' -- Walter Aaron Clark Hispanic Review vol 84:02:2016 'This meticulously researched endeavor transcends its temporal and topographic confines. A fascinating book. Highly recommended.' -- F. Colecchia Choice Magazine vol 52:01:2014 'Orringer's clearly organized and well written study is a fascinating and in-depth look at Lorca's and Falla's work alongside one another... This book is highly recommended for students and scholars of Lorca and Falla alike, as well as those interested in European cultural production of the twentieth-century.' -- David F. Richter University of Toronto Quarterly vol 85:03:2016 'Lorca in Tune with Falla is the deepest and most complete study that has been published to-date on the personal and artistic relations between both Andalusian, universal creative authors... Those of us interested in Spanish music and poetry should feel very content and grateful.' -- Gerardo Pina-Rosales Hispania vol 98:02:2015 'This rewarding book will surely lead to further study of Lorca, Falla, and the fruitful relationship between Spanish music and poetry.' -- Christopher Maurer Revista Canadiense de Estudios Hispanicos vol 38:02:2014 'Orringer's extraordinary book should be greeted as celestial music... To say something new about Lorca is a risky and titanic enterprise for the stature of the post and the mastery of the bibliography that it supposes. Nelson N. Orringer has accepted the challenge, has taken on the effort and has culminated the undertaking with brilliance.' -- Javier San Jos Lera RILCE vol 32:01:2016Table of ContentsIllustrations and Musical Examples Preface Acknowledgements Musical Glossary Introduction: The Intersection of Two Artist's Lives Ch. 1. Music in Lorca's Letters before Meeting Falla Ch. 2. Falla's Fantasy Baetica [Andalusian Fantasy] and Lorca's "Baladilla de los tres rios" [Little Ballad of the Three Rivers]: Two Searches for Andalusian Wellsprings Ch. 3. "Poema de la siguiriya gitana" [Poem of the Gypsy Siguiriya]: Return to the Sources of Deep Song Ch. 4. "Poema de la solea" [Poem of the Solea]: Consciousness-Raising of Pain Ch. 5. "Poema de la saeta" [Poem of the Saeta]: The Oblation of Pain in Seville Ch. 6. "Grafico de la Petenera" [Graph of the Petenera] and Falla's Guitar Elegy to Debussy Ch. 7. Openness to Death in Flamenco Artists and in Southern Cities Ch. 8. "Seis caprichos" [Six Caprices] or Virtuosity and Art at a Distance Ch. 9. Falla on Deep Song and Lorca's Romancero gitano [Gypsy Ballads] Ch. 10. Andalusia's Cultural Spirit in Two Trios of Romancero gitano Ch. 11. Lorca's Artistic Tributes to Falla Postlude and Coda Works Consulted Index

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Book Synopsis From the New York Times review of the Dallas Opera''s performance of Orlando furioso and the international symposium on Baroque opera: '. . . it was a serious, thoughtful, consistent and imaginative realization of a beautiful, long-neglected work, one that fully deserved all the loving attention it received. As such, the production and its attendant symposium made a positive contribution to the cause of Baroque opera . . . . ' Baroque opera experienced a revival in the late twentieth century. Its popularity, however, has given rise to a number of perplexing and exciting questions regarding literary sources, librettos, theater design, set design, stage movement, and costumes—even the editing of the operas. In 1980, the Dallas Opera produced the American premier of Vivaldi''s Orlando furioso, which met with much acclaim. Concurrently an international symposium on the subject of Baroque opera was held at Southern Methodist University. Table of Contents Introduction. Vivaldi’s Orlando furioso: The Dallas Opera Production and Symposium, by Elise K. Kirk Part I. Literary Sources and Their Transformation into Opera Dramatic Theory and the Italian Baroque Libretto, by Michael Collins Mythological Subjects in Opera Seria, by Sven Hansell Ariosto and the Oral Tradition, by C. Peter Brand Ariosto’s Orlando and Opera Seria, by Gary Schmidgall Orlando in Seicento Venice: The Road Not Taken, by Ellen Rosand Eighteenth-Century Orlando: Hero, Satyr, and Fool, by Ellen T. Harris Part II. Venetian Opera in Its Cultural Milieu Venetian Theaters during Vivaldi’s Era, by William C. Holmes Costume in the Frescoes of Tiepolo and Eighteenth-Century Italian Opera, by William L. Barcham Baroque Manners and Passions in Modern Performance, by Shirley Wynne Opera Criticism and the Venetian Press, by Eleanor Selfridge-Field Part III. The Practice of Opera Seria Voice Register as an Index of Age and Status in Opera Seria, by Roger Covell Cadential Structures and Accompanimental Practices in Eighteenth-Century Italian Recitative, by Michael Collins Declamation and Expressive Singing in Recitative, by Mary Cyr Embellishing Eighteenth-Century Arias: On Cadenzas, by Howard Mayer Brown Part IV. Vivaldi as Dramatic Composer The Relationship between Text and Music in the Operas of Vivaldi, by Eric Cross Vivaldi as Self-Borrower, by Klaus Kropfinger Vivaldi’s Orlando: Sources and Contributing Factors, by John Walter Hill Part V. Baroque Opera Today Preparing the Critical Edition: An Interview with Alan Curtis, by Marita P. McClymonds Opera Seria Today: A Credo, by Andrew Porter Appendix. Grazio Braccioli’s Orlando furioso: A History and Synopsis of the Libretto, by Michael Collins Contributors Index

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Book SynopsisLEO SMITH—cellist, journalist, composer, and teacher—was one of the most picturesque and frequently idolized artists on the Canadian scene. His career spanned the years between the old music and the new, between the time when artistic education was private and the time when people fasten their cultural hopes on public education and government funds, between the last days when white gloves were worn to drawing room musicales and the days when men dash to recitals without ties. Throughout this period, Leo Smith not only composed and performed for the public, but carried his public with him into the new era. His history, then, provides a changing picture of the Canadian cultural scene through one of the most formative periods in the country's social history. To the crowds at large popular concerts such as the Toronto Proms, this elderly, contented musician represented the epitome of the music maker. In his music, Leo Smith bridged the gap between the old orthodoxies and

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Book SynopsisSince its composition in Washington''s Willard Hotel in 1861, Julia Ward Howe''s Battle Hymn of the Republic has been used to make America and its wars sacred. Few Americans reflect on its violent and redemptive imagery, drawn freely from prophetic passages of the Old and New Testaments, and fewer still think about the implications of that apocalyptic language for how Americans interpret who they are and what they owe the world. In A Fiery Gospel, Richard M. Gamble describes how this camp-meeting tune, paired with Howe''s evocative lyrics, became one of the most effective instruments of religious nationalism. He takes the reader back to the song''s origins during the Civil War, and reveals how those political and military circumstances launched the song''s incredible career in American public life. Gamble deftly considers the idea behind the songhumming the tune, reading the music for usall while reveling in the multiplicity of meanings of and uses to which Howe''s lyrTrade ReviewLively.... Readers with an interest in 19th-century American religious and political popular culture will enjoy this biography of a hymn. * Publishers Weekly *An accessible, engaging, and above all informative volume. * The Collegian *In this engagingly written and thoroughly researched book, Richard M. Gamble traces the history of Julia Ward Howe's "Battle Hymn of the Republic" from its conception at the outset of the Civil War though the beginning of the 21st century. * Civil War Book Review *"This book is extremely detailed and very well-written, and the material is interesting on many levels. It will be a valuable resource to historians, church scholars, musicians, and anyone who has ever sung 'The Battle Hymn of the Republic'. * Anglican & Episcopal History *Gamble sets out an animated and detailed history of the writing of the hymn in 1861, its appropriation in 1898 as an anthem for imperialism, and its bizarre array of applications during the twentieth century. * The Journal of American History *Table of ContentsThe Battle Hymn of the Republic Prologue 1. The Besieged City 2. A Rich Crimson 3. "The Glorious Freedom of His Gospel" 4. Righteous War and Holy Peace 5. The Anglo-American "Battle Hymn" 6. The Valor of Righteousness 7. The Sacred Inheritance of Mankind 8. Exotic Medley 9. A Severed Nation Epilogue Acknowledgments Notes Index

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Book SynopsisAnalyzes two groups of "musical novels" -- novels that take music as a model for their construction -- including jazz novels by Toni Morrison and Michael Ondaatje, and novels based on Bach's Goldberg Variations. What is a "musical novel"? This book defines the genre as musical not primarily in terms of its content, but in its form. The musical novel crosses medial boundaries, aspiring to techniques, structures, and impressions similar tothose of music. It takes music as a model for its own construction, borrowing techniques and forms that range from immediately perceptible, essential aspects of music (rhythm, timbre, the simultaneity of multiple voices) to microstructural (jazz riffs, call and response, leitmotifs) and macrostructural elements (themes and variations, symphonies, albums). The musical novel also evokes the performance context by imitating elements of spontaneity that characterize improvised jazz or audience interaction. The Musical Novel builds upon theories of intermediality and semiotics to analyze the musical structures, forms, and techniques in two groups of musical novels, which serve as case studies. The first group imitates an entire musical genre and consists of jazz novels by Toni Morrison, Albert Murray, Xam Wilson Cartiér, Stanley Crouch, Jack Fuller, Michael Ondaatje, and Christian Gailly. The secondgroup of novels, by Richard Powers, Gabriel Josipovici, Rachel Cusk, Nancy Huston, and Thomas Bernhard, imitates a single piece of music, J. S. Bach's Goldberg Variations. Emily Petermann is Assistant Professor of American Literature at the University of Konstanz.Trade Review[R]ecommends itself to literary or music libraries, as well as to all those interested in the sounds and structures of the contemporary Anglo-American novel. * AMERIKASTUDIEN *[A] necessary work of methodology, refining and clarifying prior attempts at intermedial analysis into a toolset that offers much as a foundation for future works of criticism. * H-MUSIC *For the scholar of musical fiction, this book is of great interest. * JIVE-TALK.COM *[O]f significant interest not only to the literary scholar but also to the philosopher of art. . . . Petermann's exploration of th[e] literary subgenre [of the 'musical novel'], defined as 'musical not primarily in terms of its content, but in its very form' (p.2) invites us to rethink a series of classical problems - the essence of music, boundaries of art forms, musical sense and meaning, the relation between music and language - through the lens of these peculiar textual artworks. * UNIVERSA. RECENSIONI DI FILOSOFIA *Selected as a CHOICE Outstanding Academic Title of 2014 * . *[A]n important contribution to the field of word and music studies. . . . Petermann offers a theory of intermediality that standardizes the features of novels that 'transpos[e] elements of music.' . . . . [E]xpertly crafted. . . . If for no other reason, one should read The Musical Novel to enjoy the author's elegant language --Petermann's prose was music to this reviewer's ears. Highly recommended. * CHOICE *Petermann makes a strong and patient case for a thriving tradition of intermediality, and one - this is what distinguishes her book from earlier passes at the subject - that crucially involves audience expectations and reception as part of the equation: knowing the Goldberg Variations or a particular jazz standard provides a subliminal framework for fictional improvisation which a reader unfamiliar with the music might lack. * TLS *The musical knowledge that Petermann displays throughout her book is as sound as her literary background: this promotes illuminating insights for readers coming from both worlds. . . . [Her] theory of intermediality is entirely persuasive and plausible, and as such it is highly useful to anybody seeking to expand further the field of word and music studies. Overall . . . a most thoughtful and comprehensive formalist approach to intermediality in general and the musical novel in particular. * MUSIC & LETTERS *Table of ContentsIntroduction Theorizing the Musical Novel Elements of Sound in Jazz Novels Structural Patterns in Jazz Novels The Performance Situation in Jazz Novels Structural Patterns in Novels Based on the Goldberg Variations Composition, Performance, and Reception in Novels Based on the Goldberg Variations Conclusion Appendix: Diagrams of Intermediality in Selected Novels Works Cited Index

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