Composers and songwriters Books

Book SynopsisFor fifty years, the music, words, story, and fans of Bob Dylan have fascinated David Gaines. As a son, a husband, a father, a teacher, and a passionate lover of the literary in all its guises, he has pursued the poetic fusion of knowledge and emotion all his life. More often than not, Dylan’s lyrics and music have expressed that fusion for him, and so he has encouraged others to acknowledge the musician or writer or painter or director or actor or athlete who matters deeply (perhaps a bit mysteriously) to them, and to deploy that enigmatic passion in service of selfknowledge and social connection. After all, one of the central reasons to be a fan is to compare notes, explore mysteries, and riff with fellow fans in a community of exploration.Gaines’s personal journey toward creating such communities of passionate knowledge encompasses his own coming of age and marriages, fatherhood, and teaching. As a devoted fan who is also a professor of American literature, questions about teaching and learning are central to his experience. When asked, “Why Dylan?” he says, “He’s the writer I care about the most. He’s been the way into the best and longest running conversations I have ever had.” Talking with students, exchanging Dylan trivia with fellow fans, or cheering on fanmusicians doing Dylan covers during the Dylan Days festival, Gaines shows that, for many people, being a fan of popular culture couples serious critical and creative engagement with heartfelt commitment. Here, largely unheralded, the ideal of liberal education is realized every day.Trade Review“A life within a life. David Gaines’s portrait of one of our great artists is at once an appreciation, an assimilation, and a stirring memoir of a very fine writer so very deeply touched by another.”—T. C. Boyle, author, The Harder They Come “For decades of his well-lived life, David Gaines has found Bob Dylan’s music an excellent companion and a bountiful inspiration for study. He’s now a reputable citizen of that motley place called Dylan Town, and he proves a fine guide for us fellow villagers and newcomers, too.”—Nina Goss, author, Dylan at Play “This engaging book is an intelligent fan’s examination of the object of his fandom—Bob Dylan—of Dylan fandom overall, and of fandom’s nature. It is also a memoir of a life of university teaching about American culture, and an important scrutiny of learning and of modern America.”—Michael Gray, author, The Bob Dylan Encyclopedia

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Book SynopsisCorazón Abierto: Mexican American Voices in Texas Music provides a wide view of the myriad contributions Mexican American artists have made to music in Texas and the United States. Based on interviews with longtime stalwarts of Mexican American music - Flaco JimÉnez, Tish Hinojosa, Ernie Durawa, Rosie Flores, and others - and also conversations with newer voices like Lesly Reynaga, Marisa Rose Mejia, Josh Baca, and many more, Kathleen Hudson allows the musicians to tell their own stories in a unique and personal way. As the artists reveal in their free-ranging discussions with Hudson, their influences go far beyond traditionally Mexican genres like conjunto, norteÑo, and Tejano to extend into rock, jazz, country-western, zydeco, and many other styles.Hudson's survey also includes essays, poetry, and other creative works by Dagoberto Gilb, Sandra Cisneros, and others, but the core of the book consists of what she describes as 'a collection of voices from different locations in Texas....Some represent voices from the edge, while others give us a view from the center'. Weaving together a tapestry that combines 'family, borders, creativity, music, food, and community', the book presents an image as varied and difficult to define as the musicians themselves. By sharing the artists' accounts of their influences, their experiences, their family stories, and their musical and cultural journeys, CorazÓn Abierto reminds us that borders can be gateways, that differences enrich, rather than isolate.

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Book SynopsisBob Dylan is an iconic American artist, whose music and performances have long reflected different musical genres and time periods. His songs tell tales of the Civil War, harken back to 1930s labor struggles, and address racial violence at the height of the civil rights movement, helping listeners to think about history, and history making, in new ways. While Dylan was warned by his early mentor, Dave Van Ronk, that, "You're just going to be a history book writer if you do those things. An anachronism," the musician has continued to traffic in history and engage with a range of source material—ancient and modern—over the course of his career.In this beautifully crafted book, Freddy Cristóbal Domínguez makes a provocative case for Dylan as a historian, offering a deep consideration of the musician's historical influences and practices. Drawing on interviews, speeches, and the close analysis of lyrics and live performances, Bob Dylan in the Attic is the first book to consider Dylan's work from the point of view of historiography.Table of Contents Preface Acknowledgments INTRODUCTION CHAPTER 1 What Do You Mean You Can’t Repeat the Past?: Dylan’s Historical Universe CHAPTER 2“ Conjuring Up All These Long Dead Souls”: How Dylan “Does” History CHAPTER 3 “Sing in Me, Oh Muses”: Dylan as Mythmaker CHAPTER 4 “There’s Something Happening Here . . . Mr. Jones”: Interpreting Dylan Historically CHAPTER 5 “The Blood of the Land in My Voice”: Dylan’s Authorial Persona CONCLUSION Notes Index

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Book SynopsisArturo Toscanini (1867–1957) was famed for his dedication, photographic memory, explosive temper and impassioned performances. At times he dominated La Scala, the Metropolitan Opera, the New York Philharmonic, and the Bayreuth, Salzburg and Lucerne festivals. His reforms influenced generations of musicians, and his opposition to Nazism and Fascism made him a model for artists of conscience. With unprecedented access to the conductor’s archives, Harvey Sachs has written a new biography positioning Toscanini’s musical career and sometimes scandalous life against the currents of history. Set in Italy, across Europe, the Americas and in Palestine, with portraits of Verdi, Puccini, Caruso, Mussolini and others, Toscanini soars in its exploration of genius, music and moral courage.Trade Review"'Monumental’ is surely the mot juste to describe the book’s length... but equally the combination of thoroughness, clarity, psychological perspicacity and deep human feeling which distinguishes every page... for all its massiveness the book proves unputdownable." -- BBC Music Magazine"Harvey Sachs has written the definitive biography of this great, and colourful, character... [His] writing style is precise, fluent and gripping... As a study of the life and times of one of the greatest conductors of all time, this book will not soon be bettered." -- The Economist"It is without doubt the most engaging, the best-written and certainly the most comprehensive Toscanini biography yet to be published..." -- Gramophone"... magnificent biography... To read about him [Toscanini] at this length—and there will surely be no need for another biography—is to be simultaneously inspired and bewildered." -- The Spectator"This book of more than 900 pages, full of personal recollections and testimony... is vastly comprehensive, balanced and indispensable... Sachs’ own dedication to this force of nature has been fulfilled in a book which ranks among the best of 2017." -- Classical Music"Drawing on a wide range of new evidence, including unknown letters and the archives of many of the opera houses that Arturo Toscanini worked with, including La Scala, Harvey Sachs has written a weighty and highly enjoyable account of one of the greatest conductors, a man still renowned for his pursuit of perfection." -- Books of the Year 2017 - The Economist"Harvey Sachs has provided a compendious chronicle of Toscanini's astonishing achievement across almost a century, and it makes for compelling reading." -- Times Literary Supplement"I am currently reading two excellent books: the new Harvey Sachs biography of one of the finest conductors of all time – Arturo Toscanini..." -- Something for the Weekend - Finghin Collins' Cultural Picks - RTÉ"Extraordinary... Indeed, I cannot think of another biography of a classical musician to which it can be compared: in its breadth, scope, and encyclopedic command of factual detail it reminds me of nothing so much as Robert A. Caro’s The Power Broker... Never before has [this] history been told so well." -- Tim Page - The New York Review of Books"A very engaging and at times gripping chronicle of music and society, all of it devoted to the unending drive and conscientiousness that made Toscanini’s performances so riveting—and, to some, so repellent... What comes through in Sachs’s long chronicle is the extent of Toscanini’s role, witting and unwitting, in transforming the way that classical music was produced and consumed in the twentieth century." -- David Denby - The New Yorker"Sachs’s account is persuasive and compelling in the important ways... Today, Toscanini is receding from our consciousness, notwithstanding his many records... Creative geniuses can survive for centuries, even millenniums; interpreters inevitably go over the cultural cliff. But that doesn’t detract from the crucial—the central—role Toscanini played in our musical culture for well over 60 years. Nor from the almost universal regard he was held in as a man." -- Robert Gottlieb - The New York Times Book Review"...marvellously researched and continually fascinating...[a] superb book... " -- Stephen Walsh - The Oldie

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Book SynopsisThe formative early ballets of West Side Story creators Leonard Bernstein and Jerome Robbins explored in detail for the very first time. 2022 CHOICE Outstanding Academic Title Winner. Leonard Bernstein and choreographer Jerome Robbins stand as giants of the musical-theatre world, but it was ballet that launched their stage careers and established their relationship. With Fancy Free (1944), their triumphant debut collaboration produced by Ballet Theatre, Bernstein, Robbins, and set designer Oliver Smith-all in their mid-twenties- captured the spirit of wartime New York, created a defining ballet of the period still widely performed today, and became overnight sensations. The hit musical On the Town (1944) and a now largely forgotten ballet, Facsimile (1946), followed over the next two years. Drawing extensively on previously unpublished archival documents, Bernstein and Robbins: The Early Ballets provides a richly detailed and original historical account of the creation, premiere, and reception of Fancy Free and Facsimile. It reveals the vital and sometimes conflicting role of Ballet Theatre, explores how Bernstein composed the scores, sheds light on the central importance of Oliver Smith, and considers the legacy of these works for all involved. The result is a new understanding of Bernstein, Robbins, and this formative period in their lives.Trade ReviewFor choreographers interested in commissioning scores for their dance pieces, the information contained in this book is very useful. -- Mark Kappel * NEWSNOTES DANCE BLOG *This very interesting book primarily relates the early partnership of Leonard Bernstein and Jerome Robbins. I enjoyed Redfern's...discussion of the staging and choreography of the various shows. The author wisely includes a discussion of Bernstein's ability to work quickly on theatrical assignments and Robbins's legendary rehearsal requirements, and how that affected their relationship. This book offers corrections to...prior information and presents the ballet information with enough detail to better appreciate the music and choreography. * AMERICAN RECORD GUIDE *Sophie Redfern's new book on Leonard Bernstein and Jerome Robbins provides a rich portrait of their collaborative relationship [and] the first in-depth, published analysis of their ballets. Her book adds many insights into the working relationship between these two influential figures. A fascinating narrative arc emerges. Redfern's book is important reading for scholars...who want to think more deeply about collaborative relationships between composers and choreographers. * STUDIES IN MUSICAL THEATRE *Sophie Redfern's groundbreaking and compelling new book offers a vivid account of the often high-octane collaboration between Leonard Bernstein and the choreographer Jerome Robbins-and to a lesser extent, the theatre designer Oliver Smith. . . . [A] manifestly important book that will undoubtedly establish itself as a classic text in the fields of both Bernstein and ballet studies, and which is distinguished throughout by its expert interweaving of historical narrative, source studies, music analysis, and criticism. -- Mervyn Cooke * MUSIC & LETTERS *Rich [archival] materials and Redfern's thorough analysis of Bernstein's music constructively articulate how each artist's individual contributions defined the futures of both ballet and musical theater in the United States...Some of the most compelling highlight Bernstein's adaptation of popular and Latin music into the classical French structure of ballet. Fancy Free's inclusion of defined character motifs, stacked ostinatos, tone rows, and rhythmic complexity would give American ballet a definitive form. * SOCIETY FOR AMERICAN MUSIC BULLETIN *Table of ContentsIntroduction Setting the Scene: American Ballet and Jerome Robbins Towards a First Ballet: Fancy Free Takes Shape Creating Fancy Free: A Long-Distance Collaboration The Music of Fancy Free: The Sketches and Score Explored The Fancy Free Premiere and a Move to Broadway Towards a Second Ballet: Bye Bye Jackie and the Creation of Facsimile The Music of Facsimile: The Sketches and Score Explored The Facsimile Premiere and Legacy of the Ballets Epilogue: Bernstein and Dance Bibliography Index

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Book SynopsisFourteen revealing essays by a prominent Berlioz authority on some of the composer's acclaimed compositions (the Symphonie fantastique, Les Nuits d'été, Les Troyens) and writings (the celebrated Mémoires). Written for both music lovers and scholars, these essays probe some of Berlioz's major works, including the Symphonie fantastique (the period of whose genesis is newly explored), Les Nuits d'été (whose origins are newly clarified by a revelation regarding Berlioz's possible muse), the Symphonie militaire (whose existence is examined in the period before it became the Symphonie funèbre et triomphale), Les Troyens (whose epilogue is seen as a paean to Napoléon III), and Béatrice et Bénédict (whose text reveals extraordinary understanding of the original play). The essays consider anew Berlioz's relationships with Franz Liszt (with whom the composer shared intimate details of his marriage to Harriet Smithson) and Richard Wagner (by whom the Frenchman was both charmed and alarmed), his travels in Germany (revealed as having had a specifically administrative purpose), his appreciation of English literature and Shakespeare (on whose work he was considered an expert), his modus operandi in composing the Mémoires, and his major twentieth-century biographers. Of conspicuous concern are the "politics" of a man sometimes erroneously viewed as distant from the political arena. This book is openly available in digital format, under Creative Commons license CC BY-NC-ND, thanks to generous funding from The New Berlioz Edition Trust.Trade Review[This] product of four decades of scholarly work... provides useful and interesting enrichments to present-day Berlioz research; and it caps, in sure-handed fashion, the academic career of one of that field's great specialists. Always interestingly and in a closely argued manner, Bloom does not shy from offering speculation. One of this book's strong points is the sense that one gets of Bloom's deep knowledge of sources. -- Matthieu Cailliez * Music & Musical Performance: An International Journal *Table of ContentsPrologue: From Early Recognition to Lasting Renown 1 Berlioz in the Year of the Symphonie fantastique 2 Berlioz and the Translators 3 Berlioz and Liszt in the Locker Room 4 Berlioz's Directorship of the Théâtre-Italien 5 The Local Politics of Berlioz's Symphonie militaire 6 In the Shadows of Les Nuits d'été 7 Berlioz, Delacroix, and La Mort d'Ophélie 8 Berlioz's "Mission" to Germany: A Revealing Document Recovered 9 Berlioz and Wagner: Épisodes de la vie des artistes 10 Imperialism and the Ending of Les Troyens 11 Berlioz's "To be or not to be" 12 Berlioz, Béatrice, and Much Ado About Nothing 13 Berlioz Writing the Life of Berlioz Epilogue: Berlioz and the B's: Boschot, Barzun, and Beyond Notes Bibliography Index

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Book SynopsisReveals the brilliant musical and pedagogical thinking of the famed eighteenth- and early nineteenth-century Neapolitan composer and teacher of royal students. Giovanni Paisiello (1740-1816) was one of the most important composers of opera in the eighteenth century. His operas were performed throughout Europe, and his fame led to appointments as a maestro di cappella and composer at prominent European courts. This book is the first study to address his work as a teacher of composition and what we would today call music theory. The practice of partimento (figured or unfigured bass lines) was an integral part of the training of musicians at the renowned conservatories in eighteenth-century Naples. By employing these often-unprepossessing partimento bass lines, young musicians learned the techniques of variation, improvisation, and composition while seated at the harpsichord. Paisiello's Regole per bene accompagnare il Partimento (Rules for Harpsichordists; 1782) survives in both autograph and printed forms. It contains forty-six partimenti that have long been considered the core of his pedagogic oeuvre. However, two recently discovered manuscripts contain a further forty-one unknown partimenti, notated as two- and three-part disposizioni (realizations). The present study offers numerous insights gleaned from the surviving sources and bolsters our understanding of how to perform the music of Paisiello and his contemporaries: music that has often survived in an incomplete form. These findings are relevant not just for keyboard players but also for singers, instrumentalists, and anyone interested in the inner workings of eighteenth- and early nineteenth-century music.Table of ContentsPreface and Acknowledgments Preliminary Remarks Abbreviations Illustrations Introduction Chapter 1 Giovanni Paisiello, Composer and Teacher Chapter 2 The Sources Chapter 3 Instruction at the Conservatories Chapter 4 Paisiello's Regole (1782) Chapter 5 Practical Examples from Paisiello's Circle Chapter 6 The Practical Application of Partimenti Today Afterword Appendix I Incipits and Sources for the Partimenti of Giovanni Paisiello Appendix II Concordance for the Sources of Giovanni Paisiello's Partimenti Appendix III Disposizioni à 2 and Disposizioni à 3 on Partimento Gj2319 by Giovanni Paisiello Appendix IV Partimenti from Giovanni Paisiello's Regole (1782) Appendix V Historical Realizations of Partimenti by Francesco Durante from The Vessella Manuscript and The Gallipoli Manuscript Appendix VI "Preludio" and "Rondò" in B-flat major by Giovanni Paisiello, both in the Original Version and in a Suggested Variation by This Author Appendix VII Emanuele Imbimbo: Observations sur l'enseignement mutuel (1821) Appendix VIII A Solfeggio Attributed to Giovanni Paisiello in its Original Version and with a Varied Upper Voice by This Author Appendix IX Giovanni Paisiello, Regole per bene accompagnare il Partimento, St. Petersburg, 1782 Appendix X Newly Discovered Partimenti by Giovanni PaisielloPrimary sources Manuscripts Publications Bibliography Electronic Resources Index

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Book SynopsisThe first thorough examination of the most renowned and influential organist in early twentieth-century Germany and of his complex relationship to his country's tumultuous and shifting sociopolitical landscape. In the course of a multifaceted career, Karl Straube (1873-1950) rose to positions of immense cultural authority in a German musical world caught in unprecedented artistic and sociopolitical upheaval. Son of a German harmonium-builder and an intellectually inclined English mother, Straube established himself as Germany's iconic organ virtuoso by the turn of the century. His upbringing in Bismarck's Berlin encouraged him to develop intensive interests in world history and politics. He quickly became a sought-after teacher, editor, and confidante to composers and intellectuals, whose work he often significantly influenced. As the eleventh successor to J. S. Bach in the cantorate of St. Thomas School, Leipzig, he focused the choir's mission as curator of Bach's works and, in the unstable political climate of the interwar years, as international emissary for German art. His fraught exit from the cantorate in 1939 bore the scars of his Nazi affiliations and issued in a final decade of struggle and disillusionment as German society collapsed. Christopher Anderson's book presents the first richly detailed examination of Karl Straube's remarkable life, situated against the background of the dynamic and sometimes sinister nationalism that informed it. Through extensive examination of primary sources, Anderson reveals a brilliant yet deeply conflicted musician whose influence until now has been recognized, even hailed, but little understood.Trade ReviewThe definitive work in any language. The research is impeccable. More than just a biography of an organist, this book puts the reader in the world of German culture and church music from the 1880s to the middle of the 20th century. Highest recommendation. * AMERICAN ORGANIST *Written with sensitivity, [Anderson's book] goes into factual matters in fine detail but also gives a satisfying sense of [Straube as a] person. Straube's activities during the Third Reich are laid out with care, avoiding both hagiography and [negative] polemics. * MUSIC UND KIRCHE *[This book's] utterly stunning quantity of information from primary sources... makes it an outstanding reference point not merely in debates around [Straube's] life and work ..., but also for interpreting Reger or for understanding Leipzig's musical history. * ARS ORGANI *A thorough exploration of the life and work of Karl Straube,...a musician of the highest order [whose] solo organ playing was considered revolutionary. If you want to know a lot more about the life of this extraordinary musician...I would wholeheartedly recommend this book. * ORGANISTS' REVIEW *Table of ContentsAcknowledgements List of Abbreviations Introduction Part I. Berlin 1873-1897 1. Headwaters 2. Mentors 3. Liftoff Part II. Wesel 1897-1902 4. New beginnings 5. Reger 6. "I'd like finally to get on with it!" Part III. Leipzig 1903-1918 7. A Berliner in (little) Paris 8. Off the organ bench 9. Trouble in paradise 10. "In my naïveté" 11. Emmi Leisner 12. Deaths and transfigurations Part IV. Intermezzo: Leipzig 1918-1920 13. Decision point 14. Portraits in ambivalence Part V. Leipzig 1920-1929 15. On the road and at the negotiating table 16. Politics I 17. "When the days of darkness come" 18. Colleagues 19. The treadmill 20. Movements in time 21. "God preserve Karl Straube" Part VI. Leipzig 1930-1939 22. Bach on air 23. Politics II 24. Praeceptor Germaniae 25. The spring of our discontent 26. Beyond the Rhine 27. Deceptive cadence 28. Tempelreinigung Part VII. Leipzig 1940-1950 29. The Franciscan way 30. Perils 31. Götterdämmerung 1943 32. Gone with the wind 33. Reckonings 34. "Like sand through the fingers" Epilogue: Musical Offering Bibliography Index

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Book SynopsisA long-needed and up-to-date overview of the syntax and principles that make Verdi's operas so effective and so beloved today. Verdi's art emerged from a rich array of dramatic and musical practices operative in the Italy of his day. Drawing the reader into his creative world, this study (translated from the French original by the author himself) begins where Verdi began when it came time to set notes to paper: the libretto. Designed for the non-Italophone reader, Steven Huebner's Verdi and the Art of Italian Opera explains key principles of Italian poetry that shaped his music. From there, Huebner outlines the various musical textures available to the composer, including an exploration of the characteristics of recitative and aria. Working outward, subsequent chapters explore the syntax of Verdi's melodic writing and the larger-level forms that he used. A concluding chapter considers ways of conceiving musical unity in his operas.Table of ContentsList of Musical Examples List of Tables Acknowledgments Introduction 1. Versification and Prosody 2. Textures 3. Melody 4. Form 5. By Way of Conclusion: Unity and Analytical Paradigms Bibliography Index

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Book SynopsisThis biography of Minna Planer, Richard Wagner's wife of 30 years, reveals her as a self-assured woman and artist who was vital to her husband's creative life. When Richard Wagner first met Minna Planer in 1834, he was an unknown conductor, she a popular actress. His hectic pursuit of her affections culminated in marriage in 1836. Minna endured poverty with him, nursed him through chronic illness, followed him across Europe as he fled from creditors and pursued his artistic goals, and sought to provide him with the stable domestic and erotic life that he craved. He played his works to her as he wrote them, up to Tannhäuser and Lohengrin, and set store by her opinions. But when he went on the run as a wanted revolutionary, Minna only reluctantly followed him into Swiss exile. Domestic peace tentatively prevailed, but was ultimately destroyed by Wagner's passion for Mathilde Wesendonck. In 1858, he and Minna separated, she returned home to Germany, and subsequent efforts at reconciliation proved ultimately impossible. They remained married, however, until Minna's death in 1866. Despite having been at Richard's side as he matured into the composer of the Ring and Tristan, Minna has been given short shrift by most Wagner commentators. In Eva Rieger's acclaimed biography, translated into English by Chris Walton, the author reveals Minna as a self-assured woman and artist who played a crucial role in the creative life of her husband.Trade ReviewFascinating, detailed, and absorbing. Chris Walton has done a superb job in creating the illusion that this volume was written in English. Detailed footnotes are included as well as a number of germane photographs. Marvelous to read and completely engrossing. * AMERICAN RECORD GUIDE *Through Rieger's vivid and sometimes humorous presentation of Richard and Minna's daily life together, we discover an attractive and also tragic figure, courageous, highly adaptable and generous to the point of offering her last piece of bread to a hungry friend, even when she didn't know what her own next meal would be. -- Anna Stoll Knecht * The Wagner Journal *Table of ContentsIllustrations Abbreviations Notes on this translation Introduction: "He could not breathe without her" Chapter 1. "I have become her despot": From Love to Marriage Chapter 2. "Deprived of incipient motherhood": Riga, London, Paris, 1836-1842 Chapter 3. "Home for me is you alone": Dresden 1842-1847 Chapter 4. "My knucklehead of a husband": Revolution and Its Aftermath, 1848-1850 Chapter 5. "This ridiculous, amorous intrigue": The Jessie Laussot Affair, 1850-1851 Chapter 6. "That good, foolish man...": Exile in Zurich, 1852-1854 Chapter 7. "I'm a poor, stupid woman to have let you go...": Zurich and London, 1854-1856 Chapter 8. "Alas, now all our happiness is gone...": The Wesendonck Scandal, 1857-1858 Chapter 9. The Bitter End: 1858-1859 Chapter 10. "In love and fidelity, your Emma": Emma Herwegh Chapter 11. "...neither wife, housekeeper, nor friend": Dresden, Paris, Biebrich, 1860-1862 Chapter 12. "That weak, blind man...": The end of a marriage, 1863-1866 References Index

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Book SynopsisThis biography of Minna Planer, Richard Wagner's wife of 30 years, reveals her as a self-assured woman and artist who was vital to her husband's creative life. When Richard Wagner first met Minna Planer in 1834, he was an unknown conductor, she a popular actress. His hectic pursuit of her affections culminated in marriage in 1836. Minna endured poverty with him, nursed him through chronic illness, followed him across Europe as he fled from creditors and pursued his artistic goals, and sought to provide him with the stable domestic and erotic life that he craved. He played his works to her as he wrote them, up to Tannhäuser and Lohengrin, and set store by her opinions. But when he went on the run as a wanted revolutionary, Minna only reluctantly followed him into Swiss exile. Domestic peace tentatively prevailed, but was ultimately destroyed by Wagner's passion for Mathilde Wesendonck. In 1858, he and Minna separated, she returned home to Germany, and subsequent efforts at reconciliation proved ultimately impossible. They remained married, however, until Minna's death in 1866. Despite having been at Richard's side as he matured into the composer of the Ring and Tristan, Minna has been given short shrift by most Wagner commentators. In Eva Rieger's acclaimed biography, translated into English by Chris Walton, the author reveals Minna as a self-assured woman and artist who played a crucial role in the creative life of her husband.Trade ReviewFascinating, detailed, and absorbing. Chris Walton has done a superb job in creating the illusion that this volume was written in English. Detailed footnotes are included as well as a number of germane photographs. Marvelous to read and completely engrossing. * AMERICAN RECORD GUIDE *Through Rieger's vivid and sometimes humorous presentation of Richard and Minna's daily life together, we discover an attractive and also tragic figure, courageous, highly adaptable and generous to the point of offering her last piece of bread to a hungry friend, even when she didn't know what her own next meal would be. -- Anna Stoll Knecht * The Wagner Journal *Table of ContentsIllustrations Abbreviations Notes on this translation Introduction: "He could not breathe without her" Chapter 1. "I have become her despot": From Love to Marriage Chapter 2. "Deprived of incipient motherhood": Riga, London, Paris, 1836-1842 Chapter 3. "Home for me is you alone": Dresden 1842-1847 Chapter 4. "My knucklehead of a husband": Revolution and Its Aftermath, 1848-1850 Chapter 5. "This ridiculous, amorous intrigue": The Jessie Laussot Affair, 1850-1851 Chapter 6. "That good, foolish man...": Exile in Zurich, 1852-1854 Chapter 7. "I'm a poor, stupid woman to have let you go...": Zurich and London, 1854-1856 Chapter 8. "Alas, now all our happiness is gone...": The Wesendonck Scandal, 1857-1858 Chapter 9. The Bitter End: 1858-1859 Chapter 10. "In love and fidelity, your Emma": Emma Herwegh Chapter 11. "...neither wife, housekeeper, nor friend": Dresden, Paris, Biebrich, 1860-1862 Chapter 12. "That weak, blind man...": The end of a marriage, 1863-1866 References Index

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Book SynopsisA ground-breaking study of the musical and literary priorities, professional practices and creative interactions that shaped one of the most adventurous artforms of the Belle Époque. French art song, or mélodie, was one of the most radical and exploratory artforms of the late nineteenth and early twentieth centuries. It was also among the most intimate, a genre of experimentation, hesitation and unfiltered artistic conversation. In this landmark history, Emily Kilpatrick charts the compositional preoccupations and literary stimuli, the friendships and rivalries, critical narratives and performance practices that shaped French art song between 1870 and the First World War. She traces the expanding horizons of an essentially new musical idiom, moving from the lively debates of the avant-garde to the social and artistic contradictions of the salons, the pedagogy of the Paris Conservatoire, and the eventual accession of song to the concert platform and a central place in the world's musical imagination. The mélodie of the Belle Époque flourished amidst a culture of creative collaboration, and through the musicianship and advocacy of performers as well as composers. Setting key works by Fauré, Duparc, Chausson, Debussy, and Ravel alongside historical curiosities and hidden gems, French Art Song: History of a New Music probes composer-performer relationships and the shaping of performance traditions and addresses the challenges faced by the twenty-first century interpreter. Kilpatrick twines cultural history with musical insight and a wealth of previously unpublished source material in a wide-ranging and richly detailed account of the public and private faces of musical invention.Trade ReviewBalances musical analysis with historical narrative and philosophical speculation...[and] deserves the highest praise. Kilpatrick emphasises the hitherto neglected roles of the composer Pierre de Bréville and his partner the tenor Maurice Bagès, and is at her most entertaining in describing the arrival of Fauré as director of the Paris Conservatoire in 1905 and his campaign against the sloppy, narrow-minded voice teaching he found there. A major contribution. * BBC MUSIC MAGAZINE *This landmark study...explores the musical and literary ethos, professional practices, friendships and rivalries, and creative interactions of composers, poets, singers, and painters. Extensively annotated and illustrated. A valuable resource for performers, teachers, and music lovers. Readers can sit by the piano as they read this book loaded with musical extracts from scores. * AMERICAN RECORD GUIDE *A rich, multifaceted study of the mélodie in its 'golden age'...Combines meticulous philology and archival research, poetic and musical analysis, and approaches from social history, feminist critique, and reception studies. Offers close studies of works not treated elsewhere (like Chausson's early songs or Strohl's Bilitis), models of word-text analysis, and rare insights. * MUSICOLOGY AUSTRALIA *Table of ContentsPreface Acknowledgements Part I: Poet 1 Baudelaire's Invitation to Composers 2 Song and Memory in the "Terrible Year" 3 "To the Depths of the Unknown in Search of the New!" 4 Interlude: The Poet Sings Part II: Singer 5 Mélodie at the Crossroads 6 Song, Salons, and the "Society Singer" 7 Collaboration and Creative Process 8 Interlude: The Voices of Fêtes Galantes Part III: Public 9 Singing Histories 10 Reimagining Song at the Conservatoire 11 Mélodie Centre Stage 12 Postlude: Philosophies of Composition Bibliography Index

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Book SynopsisThe first biography of the composer Gérard Grisey shows how the artist's sensuality and rigor came together to form the musical genre known as spectralism. The French composer Gérard Grisey (1946-98) changed the course of music history with his small but potent output. Labeled "spectral" music, his compositions looked to the physics of sound and the capacities of human perception for material and inspiration. Born in Belfort, Grisey was the son of a French Resistance veteran turned car mechanic and a homemaker. His first instrument was as humble as his background: the accordion. But Grisey rose from his provincial background to the heights of his profession. This first biography of Grisey traces his journey from rigid Catholicism to broader mysticism; his studies in Olivier Messiaen's legendary composition class; the development of the first "spectral" works in the 1970s; Grisey's stint teaching at the University of California at Berkeley, during which he suffered severe depression; the development of his late, post-spectral style; and his untimely death at the age of 52, shortly after completing his masterpiece on death, the Four Songs for Crossing the Threshold. Drawing on original archival research, interviews with more than fifty of Grisey's colleagues, friends, and lovers, and the study of previously overlooked sketches, this biography shows the delirium and form at the heart of Grisey's life and art—the structured sensuality that allowed him to revolutionize the music of the twentieth century.Table of ContentsAcknowledgments 1. The Lost Voice (1946-1961) 2. The Carnal Shell (1961-1965) 3. The Rhythm of Love (1965-1967) 4. Exchange Beyond Language (1968-1970) 5. The Silence that Attracts (1970-1972) 6. The Sensual Embrace (1972-1974) 7. Ultimate Fusion (1974-1978) 8. Astarte (1978-1979) 9. Extreme Pleasure, Extreme Pain (1980-1982) 10. The Grains of Sound (1982-1986) 11. Absolute Love (1986-1988) 12. Seduced by the Star (1988-1991) 13. Suggestions of the Infinite (1991-1996) 14. Nut (1996-1998) 15. Berceuse Bibliography Index

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Book SynopsisThe formative early ballets of West Side Story creators Leonard Bernstein and Jerome Robbins explored in detail for the very first time. 2022 CHOICE Outstanding Academic Title Winner. Leonard Bernstein and choreographer Jerome Robbins stand as giants of the musical-theatre world, but it was ballet that launched their stage careers and established their relationship. With Fancy Free (1944), their triumphant debut collaboration produced by Ballet Theatre, Bernstein, Robbins, and set designer Oliver Smith-all in their mid-twenties- captured the spirit of wartime New York, created a defining ballet of the period still widely performed today, and became overnight sensations. The hit musical On the Town (1944) and a now largely forgotten ballet, Facsimile (1946), followed over the next two years. Drawing extensively on previously unpublished archival documents, Bernstein and Robbins: The Early Ballets provides a richly detailed and original historical account of the creation, premiere, and reception of Fancy Free and Facsimile. It reveals the vital and sometimes conflicting role of Ballet Theatre, explores how Bernstein composed the scores, sheds light on the central importance of Oliver Smith, and considers the legacy of these works for all involved. The result is a new understanding of Bernstein, Robbins, and this formative period in their lives.Trade ReviewSophie Redfern's groundbreaking and compelling new book offers a vivid account of the often high-octane collaboration between Leonard Bernstein and the choreographer Jerome Robbins-and to a lesser extent, the theatre designer Oliver Smith. . . . [A] manifestly important book that will undoubtedly establish itself as a classic text in the fields of both Bernstein and ballet studies, and which is distinguished throughout by its expert interweaving of historical narrative, source studies, music analysis, and criticism. -- Mervyn Cooke * MUSIC & LETTERS *This very interesting book primarily relates the early partnership of Leonard Bernstein and Jerome Robbins. I enjoyed Redfern's...discussion of the staging and choreography of the various shows. The author wisely includes a discussion of Bernstein's ability to work quickly on theatrical assignments and Robbins's legendary rehearsal requirements, and how that affected their relationship. This book offers corrections to...prior information and presents the ballet information with enough detail to better appreciate the music and choreography. * AMERICAN RECORD GUIDE *For choreographers interested in commissioning scores for their dance pieces, the information contained in this book is very useful. -- Mark Kappel * NEWSNOTES DANCE BLOG *Sophie Redfern's new book on Leonard Bernstein and Jerome Robbins provides a rich portrait of their collaborative relationship [and] the first in-depth, published analysis of their ballets. Her book adds many insights into the working relationship between these two influential figures. A fascinating narrative arc emerges. Redfern's book is important reading for scholars...who want to think more deeply about collaborative relationships between composers and choreographers. * STUDIES IN MUSICAL THEATRE *Rich [archival] materials and Redfern's thorough analysis of Bernstein's music constructively articulate how each artist's individual contributions defined the futures of both ballet and musical theater in the United States...Some of the most compelling highlight Bernstein's adaptation of popular and Latin music into the classical French structure of ballet. Fancy Free's inclusion of defined character motifs, stacked ostinatos, tone rows, and rhythmic complexity would give American ballet a definitive form. * SOCIETY FOR AMERICAN MUSIC BULLETIN *Table of ContentsIntroduction Setting the Scene: American Ballet and Jerome Robbins Towards a First Ballet: Fancy Free Takes Shape Creating Fancy Free: A Long-Distance Collaboration The Music of Fancy Free: The Sketches and Score Explored The Fancy Free Premiere and a Move to Broadway Towards a Second Ballet: Bye Bye Jackie and the Creation of Facsimile The Music of Facsimile: The Sketches and Score Explored The Facsimile Premiere and Legacy of the Ballets Epilogue: Bernstein and Dance Bibliography Index

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Book SynopsisEssays on the history of bands in America from ca. 1820 to 1930, offering new insights on a major sphere of music making that brought diverse repertories to wide audiences.The essays in this volume, written by leading scholars in the field of American band history, examine a broad spectrum of issues, including biography, performance, repertoire, and marketing. Detailed studies of key turning points in the evolution of bands examine P. S. Gilmore's 1864 New Orleans concerts, the Kaiser-Cornet-Quartett's 1872 tour, the 1892 transition from Gilmore's Band to Sousa's Band, C. G. Conn's lavish artist-endorsement posters, and the demise of the Sousa Band in the late 1920s. Additional essays seek to rectify oversights and add insights to the lives of key figures in band history. African American keyed bugler Frank Johnson's earliest works receive close scrutiny, as does the life of neglected cornet superstar Alice Raymond. A complete reevaluation of Francesco Fanciulli, the US Marine Band leader whose reputation suffered greatly from an 1897 scandal, shows his importance in the realm of conducting and composition. An essay on the repertoire of a town band in antebellum New Hampshire and a documentary study of Civil War bandsmen seek to better understand social aspects of bands in the 1850s and 1860s.Edited by Bryan Proksch and George Foreman. Contributors: Patricia Backhaus, Margaret Downie Banks, Steve Bornemann, Jim A. Davis, Dave Detwiler, Michael B. O'Connor, Eric Roefs, and Colin Roust.

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Book SynopsisBecause Johnny Cash cut his classic singles at Sun Records in Memphis and reigned for years as country royalty from his Nashville-area mansion, people tend to associate the Man in Black with Tennessee. But some of Cash’s best songs—including classics like “Pickin’ Time,” “Big River,” and “Five Feet High and Rising”—sprang from his youth in the sweltering cotton fields of Mississippi County in northeastern Arkansas.In Country Boy, Colin Woodward combines biography, history, and music criticism to illustrate how Cash’s experiences in Arkansas shaped his life and work. The grip of the Great Depression on Arkansas’s small farmers, the comforts and tragedies of family, and a bedrock of faith all lent his music the power and authenticity that so appealed to millions. Though Cash left Arkansas as an eighteen-year-old, he often returned to his home state, playing some of his most memorable and personal concerts on his native soil, where, to use Cash’s phrase, he could touch his roots again. Drawing upon the country legend’s songs and writings, as well as the accounts of family, fellow musicians, and chroniclers, Woodward reveals how the profound sincerity and empathy so central to Cash’s music depended on his maintaining a deep connection to his native Arkansas—a place that never left his soul.Trade Review“Johnny Cash comes alive in Arkansas, and it in him. Though his fabulous career took him far afield, as Colin Woodward tells us in this important book, all roads led back to the piney woods and gumbo soil of his fateful home state.”—Michael Streissguth, Johnny Cash: The Biography“Country Boy is a welcome addition to all things Cash, focusing directly on his home state of Arkansas and the influence it had on shaping his values and nurturing his creativity. Colin Woodward peels away myths and legends, including some perpetuated by Cash himself, and replaces them with facts and absorbing scenarios of how the fictions came about.”—Ruth Hawkins, Emeritus director, Arkansas State University Heritage Sites, and founding director, Johnny Cash Boyhood Home.“Colin Woodward has scraped away any romanticism that might obscure the reality of Cash’s roots: the hardscrabble existence along with nobility, faith, and the best of the human condition. We know where Johnny Cash ended up. This inspiring book tells us how he got there.”—Mark Stielper, music historian “It would be hard to overstate the role of Johnny Cash’s Arkansas upbringing, through Depression and wartime, in shaping the artist and citizen he later became. Country Boy puts Cash in proper historical and geographic context in this vital contribution to our understanding of the Man in Black.”—Michael Stewart Foley, author of Citizen Cash: The Political Life and Times of Johnny Cash“In Country Boy: The Roots of Johnny Cash, Colin Edward Woodward argues that the connection between Cash and his native Arkansas deserves far more scholarly attention than it has received in the past. He contends that Arkansas germinated the seed of Cash’s genius and served as a lifelong anchor as he navigated the twists and turns of an iconic career. … Woodward grounds Cash firmly within scholarly sources and wider historical contexts, focusing on Cash’s humanity, his failures and successes as a husband and father, his drug abuse, and his important contributions to prison reform and Native American social justice. Throughout, Woodward keeps Cash grounded as he surveys the artist’s recording career in Memphis, his move to California, and his life on the outskirts of Nashville. Woodward’s musical analysis is particularly strong throughout the book. … The book is accessible and well-researched, and a welcome addition to southern history. Woodward’s command of Cash historiography is clear, and his careful use of contemporary newspaper coverage, family remembrances, and Cash’s own words renders a compelling argument worthy of recommendation.”—Brian Dempsey, Journal of Southern History, August 2023

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Book SynopsisBroadcasting the Ozarks explores the vibrant country music scene that emerged in Springfield, Missouri, in the 1930s and thrived for half a century. Central to this history is the Ozark Jubilee (1955–60), the first regularly broadcast live country music show on network television. Dubbed the “king of the televised barn dances,” the show introduced the Ozarks region to viewers across America and put Springfield in the running with Nashville for dominance of the country music industry—with the Jubilee’s producer, Si Siman, at the helm. Siman’s life story is almost as remarkable as the show he produced. He was booking Tommy Dorsey, Ella Fitzgerald, and Glenn Miller during the mid-1930s while still a high school student and produced nationally syndicated country music radio shows in the decades that followed. Siman was a promotional genius with an ear for talent, a persuasive gift for gab, and the energy and persistence to make things happen for many future Country Music Hall of Famers, including Chet Atkins, Porter Wagoner, the Browns, and Brenda Lee. Following the Jubilee’s five-year run, Siman had a hand in some of the greatest hits of the twentieth century as a music publisher, collaborating with such songwriters as rockabilly legend and fellow Springfieldian Ronnie Self, who wrote Brenda Lee’s signature hit, “I’m Sorry,” and Wayne Carson, who wrote Willie Nelson’s “Always on My Mind.” Although Siman had numerous opportunities to find success in bigger cities, he chose to do it all from his home in the Ozarks.

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Book SynopsisDespite the nearly universal fame of the Beatles, many people only know the fairytale version of the iconic group's rise to fame. Drawing on his extensive knowledge of Liverpool, Francis Kenny reveals the real John Lennon who preceded the legend, showing how his childhood shaped his personality, creative process, and path to success, and how it also destroyed his mental health, leading to the downfall of one of the most confident and brilliant musicians of the past century.The Making of John Lennon is a must-read for any Beatles fan. It explains how Lennon's turbulent family background affected his relationships, why the true inspiration for "Strawberry Fields" could not be revealed, how Pete Best's college connection led to his removal from the group, and why class backgrounds were the real reason for the breakup of the legendary band. Offering a complex portrait of Lennon's early life, The Making of John Lennon tells the true story behind the rise of the legendary icon.Trade ReviewThis isn't a roller-coaster ride, skipping through John Lennon's life, but a carefully prepared examination of his early years, slowly examining the general picture that surrounded John's life, rather than focusing on one specific aspect, wrapping the surroundings of the city, the family, the friends, the music and the events which forged the young man who became a 20th century icon, into a whole. -- Bill Harry, author of The John Lennon EncyclopediaThe author focuses on the question of what might have caused the downfall of one of the most brilliant musicians of the past century. Kenny emphasizes three main influences which helped shape Lennon's creative process and stayed with him throughout his life: his strong roots in his hometown of Liverpool; his troubled mental health; and a turbulent family background. * Huffington Post *Table of ContentsMilestones in The Making of John LennonIntroduction1. 1800s: City of Outsiders2. 1900s: Toxteth Park3. 1940-45: Salvation Army Hospital4. 1946-50: Wandsworth Jail5. 1950-55: Gladstone Hall6. 1955-57: Town and Country7. 1957-60: Hope Street8. 1960-61: The Wyvern Club9. 1961-62: Great Charlotte Street10. 1961-62: The Grapes11. 1963-64: Liverpool Town Hall12. 1964: Hansel and Gretel House13. 1965: Perugia Way14. 1965-66: Candlestick Park15. 1966-67: Cavendish Avenue16. 1967-68: Foothills of the Himalayas17. 1968: Abbey Road18. 1969: Savile Row19. 1969 (Part 2): Tittenhurst20. 1970-71: Dakota BuildingEpilogueEndnote ReferencesBibliographyInterviewsUseful Websites

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Book SynopsisHarry Vanda and George Young put Friday on our minds, triggered Easyfever with the Easybeats, and harnessed the raw energy and power of Aussie pub rock to make superstars of AC/DC, Rose Tattoo, and the Angels. The day Vanda and Young met at Sydneys Villawood Migrant Hostel has been called the most significant moment in Australian music history. What followed, as members of the Easybeats, producers and mentors for Georges brothers band AC/DC, and songwriters of a diverse range of hits from Friday on My Mind, Shes So Fine, Yesterdays Hero and Love is in the Air to Am I Ever Gonna See Your Face Again, has provided the soundtrack to the last 50 years. Featuring revelatory interviews with Vanda and Young and members AC/DC and the other chart-topping acts they worked with, this is the inspirational story of Australias top songwriters, producers and starmakers.

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Book SynopsisJimi Hendrix: Soundscapes offers fascinating new insight into Hendrix's resounding talent and the way he exploited the physical places and noise around him to create his distinct, innovative sound.

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Book SynopsisChristopher Fifield's remarkable study explores the personality, life and work of a conductor who influenced and inspired the leading composers, singers and instrumentalists of his day. The Austro-Hungarian Hans Richter (1843-1916) was the first career-conductor to gain international fame. His first appointment was to Budapest, and he went on to dominate music-making in Vienna, Bayreuth, London, Manchester (withthe Hallé Orchestra) and other towns and cities in Britain and Europe between 1865 and 1912. Richter gave first performances of works by Wagner, Brahms, Elgar, Bruckner, Tchaikovsky, Stanford and Parry and helped to further the careers of Dvorák, Sibelius, Bartók and Glazunov. Christopher Fifield's remarkable study explores the personality, life and work of a conductor who influenced and inspired the leading composers, singers and instrumentalists of his day. Originally published in 1993, this revised and expanded edition contains extensive new material in the form of Richter's conducting books. Translated and reproduced in full, they detail every one of the 4,351 public performances Richter gave in a professional life spanning 47 years. Drawing on Richter's own diaries, the book also presents his correspondence with many contemporary composers (Wagner in particular) and performers. Fifield's biography of this seminal figure provides a revealing insight into British and European music and concert life during the long nineteenth century. CHRISTOPHER FIFIELD is a conductor, music historian, lecturer and broadcaster.He is the editor and author of the Letters and Diaries of Kathleen Ferrier and Max Bruch: His Life and Works, both published in new editions by The Boydell Press. He has also written Ibbs & Tillett - The rise andfall of a Musical Empire and The German Symphony between Beethoven and Brahms.Trade Review[W]ritten in a very engaging style with little tidbits about seemingly everyone. . . .This is, obviously, an important book if you are interested in conducting and 19th Century performance, but it also gives a wonderful look at the whole musical culture in Germany and England at the time. * AMERICAN RECORD GUIDE *An outstanding achievement, not merely a model biographical study, but one which will have set truly high standards for any future scholars. * BRIO *A formidable achievement...The sheer weight of archival research and supporting documentary evidence in this study is extraordinary...Even those who possess the original publication of 1993 should invest in this new edition. * THE WAGNER JOURNAL *Table of Contents1843-1865 Childhood and Years of Study 1866-1867 Tribschen 1868-1869 Munich 1870-1871 Brussels : Tribschen 1871-1874 Budapest 1874-1875 Budapest and Bayreuth 1875 Vienna 1876 Bayreuth 1877 London 1878-1879 Vienna 1879-1880 Friends and Enemies 1880-1881 London and Vienna 1881-1882 Richter and d'Albert 1882 Richter and d'Albert 1882-1883 The Master's Death 1884 More Opera in London 1885-1886 Vienna, London and Birmingham 1887-1888 Return to Bayreuth 1889-1900 Vienna 1897-1900 Richter and Mahler 1889-1890 England 1891-1895 England 1895-1900 England 1890-1899 Bayreuth 1894-1899 Richter's diary 1899-1900 Hallé Orchestra 1900-1902 England 1903-1904 England 1904-1906 England 1906-1908 England 1908-1909 England 1909-1911 England 1911-1914 Retirement 1914-1916 The Last Years Finale Hans Richter's Conducting Books Appendix 1: Works conducted by Hans Richter Appendix 2: Cities and towns where Richter conducted Select Bibliography

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Book SynopsisA detailed and long-overdue study of Frank Bridge's music and its socio-cultural and aesthetic contexts The English composer, violist, and conductor Frank Bridge (1879-1941), a student of Sir Charles Villiers Stanford, was one of the first modernists in British music, developing the most radical and lastingly modern musical languageof his generation. Bridge was also one of the most accomplished British composers of chamber music in the twentieth century. After the lyrical romanticism of the early period, a notable expansion of style can be observed as earlyas 1913, leading eventually to the radical language of the Piano Sonata and Third String Quartet, drawing on influences such as Debussy, Stravinsky and the Second Viennese School composers.However, Bridge became frustrated that his later, more complex music was often ignored in favour of his earlier 'Edwardian' works; this neglect of his mature music contributed to the growing obscurity into which his music and reputation fell in his last years and afterhis death. Symptomatically, Bridge is still often remembered primarily for privately tutoring Benjamin Britten, who later championed his teacher's music and paid homage to him in the 'Variations on a Theme of Frank Bridge' (1937).This book, the first detailed, and long-overdue, study of Bridge's music and its relevant socio-cultural and aesthetic contexts, encourages a more thorough understanding of Bridge's style and development and will appeal to readers with interests in British music, early twentieth-century modernism and post-romanticism as well as genre and style. FABIAN HUSS is Visiting Fellow at the University of Bristol and has published widely on British music (particularly EJ Moeran), with an emphasis on cultural history, and aesthetic and analytical issues.Trade ReviewA major landmark. * THE JOURNAL OF THE ROYAL MUSICAL ASSOCIATION *This book is a tour de force ...an intense study of Frank Bridge's music. * SPIRITED *This volume is a crucial addition to scholarship. Being the first 'detailed and long-overdue study of Bridge' it will be of huge interest to serious researchers into his music. Added value here is the thoughtful analysis of many works that have been previously ignored or just touched upon by critics. The book will be of great help to all reviewers and popularisers who choose to explore Frank Bridge's music. * MUSIC WEB INTERNATIONAL *Table of ContentsIntroduction Background, Royal College of Music and Early Works First Maturity Transitional Period Bridge's Post-Tonal Idiom; Piano Sonata and Third String Quartet Interlude: Elizabeth Sprague Coolidge Progressive Works, 1927-1932 Interlude: Benjamin Britten Last Years List of Works Bibliography

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Book SynopsisHow have Handel's 'lives' in biographies and histories moulded our understanding of the musician, the man and the icon? To evaluate the familiar, even over-familiar, story of Handel's life could be seen as a quixotic endeavour. How can there be anything new to say? This book seeks to distinguish fact from fiction, not only to produce a new biography but also to explore the concepts of biography and dissemination by using Handel's life and lives as a case study. By examining the images of Handel to be found in biographies and music histories - the genius, the religious profound, the master of musical styles, the distiller into music of English sentiment, the glorifier of the Hanoverians, the hymner of the middle class, the independent, the prodigious, the generous, the sexless, the successful, the wealthy, the bankrupt, the pious, the crude, the heroic, the devious, the battler of ill-fortune, the moral exemplar - and by adding new factual information, David Hunter shows how events are manipulated into stories and tropes. Onesuch trope has been employed to portray numerous persons as Handel's enemies regardless of whether Handel considered them as such. Picking apart the writing of Handel's biographers and other reporters, Hunter exposes the narrative underpinnings - the lies, confusions, presumptions, and conclusions, whether direct and inferred or assumed - to show how Handel's 'lives' in biographies and histories have moulded our understanding of the musician, the man andthe icon. DAVID HUNTER is Music Librarian at the University of Texas at Austin.Trade ReviewAt the heart of his project is an attempt to explore the gap between image and individual-in this case, between 'Handel' and Handel. Handel as image, argues Hunter, is a phenomenon that has superseded Handel the person.the care and intelligence with which Hunter interrogates the facts of Handel's life, and their use by biographers, should attract the attention of all readers interested in the perils and pleasures of biography. * EARLY MUSIC *[A] unique contribution to Handel scholarship. * MUSIC & LETTERS *Handel was an early entrepreneurial composer: he owned his own opera company, he borrowed from himself and others to increase his musical output, and he was impressively resourceful for his time. This study focuses on the multiple representations of Handel that were at least partly a result of his legendary resourcefulness as well as on questions that remain about his sexuality, health (disability), nationalism, friends and acquaintances, and so on. * CHOICE *Table of ContentsIntroduction The Audience: Three Broad Categories, Three Gross Errors The Audience: Partner and Problem Musicians and Other Occupational Hazards Patrons and Pensions Musical Genres and Compositional Practices Self and Health Self and Friends Nations and Stories Biographers' Stories Conclusion Bibliography

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Book SynopsisAn international collaboration between leading scholars showcases a broad spectrum of observations on Handel and his music, covering many aspects of modern interdisciplinary and traditional philological musicology. As soon as Handel composed, rehearsed and performed his music, it was already a subject of fascination for the authors of reports, polemics and critical appraisals. The continuous yet evolving culture of Handelian studies is represented here in its current state by several generations of scholars who are inspired by the research, publications and teaching of Donald Burrows. This festschrift contains twenty essays that exemplify aspects both of traditional philological enquiry and of modern interdisciplinary musicology. Much like a baroque dramma per musica, the narrative is divided into three parts. Act I, 'Handel's Music and Creative Practices', is an exposition that sets the scene and introduces the main characters: musical case studies stretch from his first opera Almira (Hamburg, 1705) to his last English oratorio The Triumph of Time and Truth (London, 1757). Act II, is 'Sources, Documents and Attributions', develops complications to the plot: there is new information about the authenticity of chamber cantatas and instrumental pieces, and reports on manuscript, printed, and archival sources that demonstrate how primary research may be interpreted and understood. Act III, 'Context and Reception', moves us towards the lieto fine: some broad contexts of Handel in relation to his contemporaries and colleagues are considered alongside reception studies of the composer's music both within and after his lifetime. DAVID VICKERS teaches Academic Studies at Royal Northern College of Music (Manchester) and is a council member of The Handel Institute. CONTIBUTORS: Graydon Beeks, Michael Burden, John Butt, Hans Dieter Clausen, Matthew Gardner, Anthony Hicks, David Hunter, H. Diack Johnstone, Andrew V. Jones, David Kimbell, Richard G. King, Annette Landgraf, Tríona O'Hanlon, Suzana Ograjenšek, Leslie M. M. Robarts, John H. Roberts, Ruth Smith, Colin Timms, David Vickers and Silas Wollston.Trade ReviewNew Perspectives on Handel's Music presents a touching, well-deserved tribute to Burrows and his distinguished career as a preeminent Handel scholar. * Music Library Association Notes *This book approaches Handel and his music from a range of perspectives, mixing close analysis of scores, images, catalogues, and texts, with reception history, insights into Handel's business relationships, and glimpses into gender studies and the psychology of music. * Journal for Eighteenth-Century Studies *This weighty festschrift is a 'must' for all serious students of Handel and his context, and for all music libraries. It is a worthy tribute to a great and much-loved Handelian scholar. * The Consort *Table of ContentsOuverture David Vickers Act I. Handel's Music and Creative Practices 1 'Almire regiere': Some Reflections on the First Aria in Handel's First Opera David Kimbell 2 Il pastor fido by Guarini (1585) and Handel (1712): From tragicommedia pastorale to dramma per musica Suzana Ograjenšek 3 Late or Soon? Cadential Timing in the Continuo Recitatives of Handel and his Contemporaries John H. Roberts 4 Handel's Bilingual Versions of Esther and Deborah, 1734-1737 David Vickers 5 Handel's Compositional Process in the Creation of the Grand Concertos, Op. 6 Silas Wollston 6 The London Revisions of Handel's First Roman Oratorio: Il trionfo del Tempo e della Verità (1737) and The Triumph of Time and Truth (1757) Matthew Gardner Act II. Sources, Documents and Attributions 7 Handel's Continuo Cantatas: Problems of Authenticity, Classification and Chronology Andrew V. Jones 8 When and Why Did Handel Replace his Conducting Scores? Hans Dieter Clausen 9 Handel, the Duke of Chandos and Investing in the Royal African Company David Hunter 10 Handel and Comus at Exton Colin Timms 11 Wordbooks for Handel's Oratorios, Especially Joseph and his Brethren and Hercules: Copyright and Production Leslie M.M. Robarts 12 New Music by Handel for Horns? †Anthony Hicks (rev. Colin Timms) Act III. Context and Reception 13 Bach and Handel: Differences within a Common Culture of Musical Invention John Butt 14 Le rivale regine: Faustina and Cuzzoni in Satirical Engravings, Literature and Opera in the 1720s and 1730s Richard G. King 15 Charles Jennens Revisited Ruth Smith 16 'O Come, Let us Sing unto the Lord': Performances of the Cannons Anthems during Handel's Lifetime Graydon Beeks 17 Charity Performances of Handel's Works in Eighteenth-Century Dublin (1736-1760) Tríona O'Hanlon 18 Early Keepers of the Flame: Vanneschi (and Handel) at the Opera Michael Burden 19 Revamped Handel: The Content and Context of his So-Called 'Miserere' H. Diack Johnstone 20 Handel's 'celebrated Largo': Remarks on the Reception History of 'Ombra mai fu' Annette Landgraf The Works of Donald Burrows Index of Handel's Works General Index Tabula Gratulatoria

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Book SynopsisA complete new edition of Beethoven's conversation books, now translated into English in their entirety for the first time. Covering a period associated with the revolutionary style of what we call "late Beethoven", these often lively and compelling conversations are now finally accessible in English for the scholar and Beethoven-lover. Ludwig van Beethoven (1770-1827) is recognized the world over as a composer of musical masterpieces exhibiting heroic strength, particularly in the face of his increasing deafness from ca. 1798. By 1818, the Viennese composer hadbegun carrying blank booklets with him, for his acquaintances to jot their sides of conversations, while he answered aloud. Often, he himself used the pocket-sized booklets to make shopping lists and other reminders, including occasional early sketches for his compositions. Today, 139 of these booklets survive, covering the years 1818 up to the composer's death in 1827 and including such topics as music, history, politics, art, literature, theatre, religion, and education as perceived on a day-to-day basis in post-Napoleonic Europe. An East German edition, begun in the 1960s and essentially complete by 2001, represents a diplomatic transcription of these documents. It is a masterpiece of pure scholarship but is difficult to use for anyone who is not a specialist. Moreover, Beethoven scholarship has moved on significantly since the long-ranging genesis of the German edition. These important booklets are here translated into English in their entirety for the first time. The volumes in this series include an updated editorial apparatus, with revised and expanded notes and many new footnotes exclusive to this edition, and brand new introductions, which together place many of the quickly changing conversational topics into context. Due to the editor's many years of research in Vienna, his acquaintance with its history and topography, as well as his familiarity with obscure documentary resources, this edition represents an entirely new venture in source studies - vitally informative for scholars not only in music but also in a wide variety of disciplines. At the same time, these often lively and compelling conversations are now finally accessible for the English-speaking music lover or history buff who might want to dip into them and hear what Beethoven and his friends were discussing at the next table.Trade ReviewThis is going to send everybody scurrying to revise biographical concepts about Beethoven...the conversation books are going to be a game-changer...these 'compelling conversations' will finally allow English-speaking music lovers to hear what Beethoven and his friends were discussing. * THE OBSERVER *This is absolutely fascinating. John Suchet, * CLASSIC FM *Featured in the10 must-read books for Beethoven 250, * BBC MUSIC MAGAZINE *Just how deaf was Beethoven? As the 250th-anniversary year of the German composer's birth gathers pace, a leading music scholar has given this often debated matter an added twist. * BBC MUSIC MAGAZINE *A brilliantly accessible piece of scholarship. . . . As they flash from scene to scene, with a huge cast of characters taking turns in the spotlight, these extraordinary little books read like a film script, with a laconic but massive presence at its heart. It's a goldmine for music historians, and a riveting saga for the rest of us. -- Michael Church * BBC Music Magazine *The publication of the third volume of this much-hoped-for series of the surviving conversation books in English is very much to be welcomed, coming as it does hot on the heels of volumes 1 and 2. . . . Overall the volumes are a very salutary corrective of the oft-encountered "heroic" narratives of Beethoven's life, especially in the way they illustrate the more mundane and human preoccupations and activities of the great composer. The Boydell Press are again much to be thanked for their involvement in the publication of these fascinating documents. Vol. 4 is eagerly anticipated. -- Thomas Cooper * The Consort *Table of ContentsHeft 17 (ca. May 27, 1822 - ca. June 12/13, 1822) Heft 18 (ca. October 31/November 1, 1822 - November 4, 1822) Heft 19 (January 19, 1823 - January 26, 1823) Heft 20 (January 21, 1823 - January 26, 1823) Heft 21 (January 27, 1823 - January 30, 1823) Heft 22 (January 30, 1823 - February 6, 1823) Heft 23 (ca. February 6/7, 1823 - February 12, 1823) Heft 24 (February 12, 1823 - February 21/22, 1823) Heft 25 (February 22, 1823 - March 2, 1823) Heft 26 (March 4, 1823) Heft 27 (ca. March 20, 1823 - March 26, 1823) Heft 28 (March 31, 1823 - April 8, 1823) Heft 29 (April 11, 1823 - April 17, 1823) Heft 30 (ca. April 20, 1823 - April 26, 1823) Heft 31 (April 27, 1823 - May 4, 1823) Appendix A: Descriptions of the Conversation Books in Volume 3 Bibliography

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Book SynopsisA new collection with contributions from performing musicians and Grainger scholars and a detailed Catalogue of Works. In the thirty years since his Centenary in 1982 it has become even clearer that Percy Grainger [1882-1961] - composer, pianist and revolutionary - was a man born out of his time. Many of his ideas, both musical and social, sit farmore easily in our contemporary world. Those thirty years have also seen a notable expansion of interest in Grainger's music. Innumerable recordings have been made, including the first complete Grainger recording survey by Chandos in its monumental Grainger Edition. The growth of the internet has made it possible, as never before, for Grainger's music to be heard widely. The central theme of The New Percy Grainger Companion is to give information and help from established musicians for performing and listening to this life-celebrating repertoire. The Companion's fully detailed, up-to-date Catalogue of Works - the most complete of any existing catalogue - givesinvaluable assistance. Authoritative contextual chapters in the Companion offer some surprising new background information, together with thoughtful evaluations which signal a new twenty-first century perspective in Grainger scholarship. PENELOPE THWAITES is recognised internationally as a leading Grainger exponent. Her research, performances and extensive Grainger discography over four decades reflect a unique understanding of the manand his music. Contributors: BRIAN ALLISON, TERESA BALOUGH, ROGER COVELL, KAY DREYFUS, LEWIS FOREMAN, PAUL JACKSON, JAMES JUDD, JAMES KOEHNE, ASTRID BRITT KRAUTSCHNEIDER, BARRY PETER OULD, STEWART MANVILLE, MURRAY MCLACHLAN, TIMOTHY REYNISH, BRUCE CLUNIES ROSS, DESMOND SCOTT, PETER SCULTHORPE, GEOFFREY SIMON, RONALD STEVENSON, STEPHEN VARCOE, DAVID WALKERTrade ReviewAn essential handbook for anyone doing research on Percy Grainger himself, on the musical world of his time, or on the types and forms of music which he wrote or researched...handbooks such as this provide the folklorist with the background to understanding the life and work of a figure who had a deep interest in folk music and the music of the non-Western world. * FOLKLORE *A highly readable and important volume. [It will] prove invaluable to both performers and researchers in years to come. * BRITISH MUSIC SOCIETY *The New Percy Grainger Companion [...] does Grainger's legacy a great service because of the rich, and at times unexpected, contexts against which the man and his music are set. * MUSIC & LETTERS *This book successfully removes his masks of bravado, outrageousness, contradictions and obsessions to reveal a vulnerable, warm humane man, who was proud to call Australia home. * STRINGENDO *It is a breath of fresh air [...] to encounter a book that concentrates exclusively on Grainger's work as a composer, pianist and pioneering thinker. [...] it contributes very usefully to a better understanding of this truly remarkable Australian figure. * MUSIC FORUM *Grainger is not just a composer, or a pianist, or an arranger, he is a phenomenon. And in The New Percy Grainger Companion we are given a vision of that phenomenon in the wealth of his music and in his wide global context. * . *Thwaites and her fellow contributors go far in restoring to general consciousness the full scope of Grainger's work as composer, performer, and ethnomusicologist. The book has something to offer almost every conceivable audience. [...] Recommended. * CHOICE *This is an invaluable book about one of music's least understood practitioners. [...] British-born Australian pianist and composer Penelope Thwaites has done a terrific job piecing together the jigsaw that was Grainger. * THE AUSTRALIAN *[T]his handsome volume is an invaluable - and essential - contribution towards a fuller understanding of a composer on the cusp of overdue rediscovery. * CLASSICAL MUSIC *Recommended without hesitation. * THE DELIAN *This book is full of useful advice. * SYDNEY MORNING HERALD *Generously filled with black and white photographs, reproductions of programmes and musical illustrations, this handsome volume is an invaluable - and essential - contribution towards a fuller understanding of a composer on the cusp of overdue recovery. * INTERNATIONAL PIANO *Thwaites has already contributed substantially to a Grainger revival [...]. Here, as an editor, she manages the trick of finely balancing the various competing aspects of Grainger's energetic and highly productive life [...]. This New Companion succeeds in its aim to portray a complicated man in all his variety [...]. * TLS *

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Book SynopsisWitold Lutoslawski was one of the most important composers of the twentieth century, whose significance extends far beyond his native Poland. His vita is just as captivating as his compositionally path-breaking music. Witold Lutoslawski (1913-1994) was one of the most important composers of the twentieth century. His significance extends far beyond his native Poland: his classical music was premiered by internationally renowned performers likethe LaSalle Quartet and Krystian Zimerman, and his symphonies, concertante, chamber, instrumental and vocal music are produced by the leading labels of the recording industry. Lutoslawski's vita is just as captivating as his compositionally path-breaking music. He lived through the Second World War and brutal German oppression of Poland, negotiated the challenges of Soviet influence and fluctuating local politics during Poland's post-war transition to communism, and finally strove for a new voice in the post-Stalin Thaw of the mid-1950s. Lutoslawski's Worlds is a landmark volume which looks at the multi-faceted spheres that informed the composer's life and works andrepresents a new departure in the study of his music. Throughout his life, he steered musicologists away from the connections between his extraordinary biography and concert music. He also sought to minimize scholarly attention to the many other spheres of creative activity - popular music, theatre music, film scoring, propaganda music, and educational music - that occupied him. In this volume, for the first time, the world's leading Lutoslawski scholars consider the full range of his musical output and the biographical, cultural and historical contexts in which those musics were created. It contends that all of Lutoslawski's worlds are equally worthy of study, because each represents an opportunity better to understand the life and music of a figure of paramount importance to the critical and cultural history of twentieth-century music.Table of ContentsIntroduction - Lisa Jakelski and Nicholas Reyland Witold Lutoslawski's Muzyka zalobna [1958] and the Construction of Genius - Lisa Cooper Vest Personal Loss, Cultural Grief, and Lutoslawski's Music of Mourning - Nicholas Reyland Lutoslawski's String Quartet: Mourning, Melancholia, and Modern Subjectivity - Michael L. Klein Behind the Curtain of Oblivion: Lutoslawski's Music for Theatre and Radio Plays - Wioleta Muras Derwid as Lutoslawski's Patron - Danuta Gwizdalanka Witold Lutoslawski in Occupied Warsaw - Katarzyna Naliwajek-Mazurek Lutoslawski and Sonoristics - Iwona Lindstedt Lutoslawski on Contemporary Music: Critical Commentary in Letters and Documents from the Lutoslawski Correspondence Collection - Stanislaw Bedkowski Witold Lutoslawski's Artistic Diary: an Unknown Document of the Composer's Creative Path - Zbigniew Skowron MAT. LUDOWE: The Lutos File - Adrian Thomas Lutoslawski and Stalinism: Contextualizing Artistic and Political Choices around 1950 - David G. Tompkins Lutoslawski's Political Refrains - Andrea F. Bohlman Lutoslawski, Revived and Remixed - Lisa Jakelski Heart and Brain, Tradition and Modernism: Lutoslawski and the Continuing Story of Harmony - Steven Stucky Selected Bibliography

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Book SynopsisThis first full biography of Edward J. Dent (1876-1957), Cambridge Professor of Music and foremost musicologist, tells the story of a remarkable man who played a crucial role in the formation of twentieth-century culture and cultural institutions. Operating at both personal and international levels, Dent knew and quietly influenced musicians, poets, artists, writers, politicians, theatrical producers and designers, including Busoni, E.M. Forster, Sassoon and Maynard Keynes. The book covers not only his pioneering music scholarship and cultural activities but also his personal crusades on behalf of music and opera, gays, refugees and the culturally destitute. Drawn from a wide variety of unpublished sources, from behind Dent's carefully constructed public persona of a cosmopolitan gentleman scholar the picture emerges of a more complex and fascinating human being: a lifelong pacifist and agnostic; a scion of the upper classes who voted Labour; 'the kindest heart and the wickedest tongue in Cambridge', who always helped friends in need; a natural rebel and iconoclast; an English internationalist. His seminal books and articles remain fresh and vital and his writing hugely entertaining, while his ideas on the importance of the arts in everyday life are as relevant as ever. Dent's fundamental belief in 'training the imagination' and in personal friendships, along with his lifelong quest to 'understand all music', kept music and the arts alive through the most dire periods in the last century and into our own.Table of ContentsIntroduction: Edward J. Dent: Another Kind of Genius 1: The Ribston Pippin 1876-1894 2: The Bumptious Undergraduate 1895-1899 3: The Accidental Scholar 1899-1901 4: The Travelling Fellow 1901-1907 5: The Wanderer 1906-07 6: The 'New Spirit' 1907-1910 7: The Impresario 1910-1914 8: The Pacifist 1914-1918 9: The Journalist 1919-1922 10: The International Musician 1922-1926 11: The Professor 1926-1931 12: The Juggler 1931-1934 13: The Beleaguered Diplomat 1935-36 14: The Colonial Doctor 1936-39 15: Titurel 1939-1945 16: Tityvillus 1946-1957 Afterword Appendix: Dent's Ulcer Select Bibliography Index

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Book SynopsisA detailed study of the well-known, yet poorly understood, music theory of composer Paul Hindemith (1895-1963). The music theory of composer Paul Hindemith (1895-1963), originally entitled Unterweisung im Tonsatz, is well known, yet poorly understood. This book provides a critical engagement with Hindemith's Unterweisung, particularly concerning its relationship to existing acoustic music theories. By examining different Unterweisung-versions, it charts the evolution of Hindemith's use of language and mode of communication, including his reference to polytonality, atonality, Fuxian species counterpoint, and avoidance of existing music for his examples. It also elaborates the source material on which the theory is based, using a reconstruction of Hindemith's personal library. Central to the book is the relationship of Hindemith's Unterweisung to his compositional practice. Hindemith's fascination with the challenges of music theory falls into a middle period in his oeuvre, enabling profitable comparisons with his compositional practice both before and after his theory-making. The book also comprises a detailed discussion of Hindemith's theoretical and compositional legacy. Beginning with an overview of existing polemics, it draws together unpublished materials from the Yale Hindemith Institute with reminiscences from former students to construct an Unterweisung reception history. The book shows that, while many areas of Hindemith's theory have been overtaken by recent interests in music theory that relate to cognition and geometry, his influence has been deeply felt. SIMON DESBRUSLAIS is Lecturer in Music and Director of Performance at the University of Hull and an internationally acclaimed trumpet soloist.Table of ContentsIntroduction An Unterweisung Critical Commentary Hindemith's Fourths Stylistic Borrowing and Pre-Unterweisung Music The Ludus Tonalis as Quintessential Hindemith Theory-based Revisions Practical Music and Practical Textbooks The Hindemith Legacy Postlude Bibliography

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Book SynopsisJohn Sigismond Cousser, as performer and composer, was a pioneering figure in the musical history of the European Baroque era. John Sigismond Cousser - born Johann Sigismund Kusser in Pressburg, Hungary in 1660 - was a pioneering figure in the musical history of the Baroque era. Having worked professionally as a performer and composer across Europe over the span of a fifty-year career, this well-travelled and cosmopolitan musician was subsequently acknowledged by Johann Mattheson as having played a key role in the transmission of both the French and Italian musical styles throughout the German-speaking lands. Following study in Paris, Cousser was employed at a string of German courts, training musicians in the newly fashionable French style. At the court of Duke Anton Ulrich in Wolfenbüttel, he experienced at first hand performances of opera by Italian virtuosos and subsequently introduced countless German musicians and their audiences to the Italian musical style. Yet with the onset of war in 1701, Cousser was forced to seek his fortune elsewhere, moving to London in 1704 before settling permanently in Ireland. The Well-Travelled Musician expands current knowledge of Cousser's early life and professional career significantly, examining his particular role in the dissemination of music and musical styles throughout the German-speaking lands, as well as in early eighteenth-century London and Dublin. Drawing upon a rich body of primary sources, above all the unparalleled evidence contained in Cousser's so-called commonplace book, it reveals the practicalities of early modern musical exchange at a grass-roots level, from Pressburg (now Bratislava) to Paris, Hamburg to Dublin, and beyond. SAMANTHA OWENS is Associate Professor of Musicology at Victoria University of Wellington, New ZealandTrade ReviewA substantial contribution to our knowledge of not just Cousser but also baroque musical culture. * THE CONSORT *An exciting contribution to the study of seventeenth- and eighteenth-century musical life through the unique lens of the everyday experiences of musicmaking... a valuable perspective that hopefully will encourage future studies of a similar kind, and for which Owens's monograph would serve as an excellent model. * CONTEXT: A JOURNAL OF MUSIC RESEARCH *Will be of interest not only to musicologists, but anyone with an interest on social and cultural exchange across Europe in the late seventeenth and early eighteenth centuries. * SLAVONIC AND EAST EUROPEAN REVIEW *This wonderful and much-needed monograph not only provides the essential information about Cousser's life and career, but also allows us to examine the contents of a precious little book, pocket-sized that Cousser kept and wrote in from the 1690s until his death. . . . [which] 'offers a wealth of evidence concerning activities and preoccupations of a Baroque musician, not only professionally, but also far beyond that sphere' . . . . [Genuine praise is due Samantha Owens for offering us this fascinating and excellent addition to our music libraries. * EARLY MUSIC AMERICA *Table of ContentsIntroduction: John Sigismond Cousser and his 'Commonplace Book' Hungarian Beginnings and the Adoption of French Musical Style Kapellmeister at the Wolfenbüttel Court and Braunschweig Opera House Ariadne to Porus - Cousser's Braunschweig Operas 'The Incomparable Director' in Hamburg, Nuremberg and Augsburg Heliconische Musen-Lust - Opera at the Württemberg Court 'Il Paradiso terrestre'? - Cousser in London 'Fortune Not Blind' - Music for Dublin Castle 'Our Concert' - A Musician at Home Cousser's 'Collection of Fine Musick' and the Practicalities of Musical Exchange Appendix 1: Summary of the Contents of Cousser's 'Commonplace Book' Appendix 2: Cousser's Address Book Appendix 3:Cousser's Books of Cantatas, Madrigals, Duets and Serenatas Appendix 4:Cousser's Inventory of Ouverture Incipits Appendix 5: Transcription of Cousser's Notes for his 1716 Trip to London and the Continent

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Book SynopsisJoseph Joachim (1831-1907) was arguably the greatest violinist of the nineteenth century. But Joachim was also a composer of virtuoso pieces, violin concertos, orchestral overtures and chamber music works. Uhde's book will be thestandard work on the music of Joseph Joachim for many years to come. Joseph Joachim (1831-1907), of Jewish-Hungarian descent, was arguably the greatest violinist of the nineteenth century. His performing career in Berlin transformed the aesthetics and interpretation of German music. But Joachim wasalso a composer of virtuoso pieces, violin concertos, orchestral overtures, and chamber music works, all written between 1847 and 1864 in one intense outpouring of creativity. Katharina Uhde follows Joachim's compositionalpath through a changing cultural milieu. Joachim's compositions display intimate knowledge of the works of Mendelssohn, Wagner, Liszt, Schumann, and Brahms, yet he was no mere imitator. Joachim's style, classically conceived yetseasoned with a preference for dark, melancholy soundscapes and, in the earlier years, ciphers, virtuosity, and 'psychological' programmaticism, emerges as the product of various personal and socio-cultural currents: his search for national, religious, and cultural identity and a mature compositional style. Joachim's music drew on a wealth of treasures accumulated in his process of 'enculturation', which began with Mendelssohn in Leipzig. Joachim'saesthetic evolved from a deeply subjective approach, not insignificantly inspired by his muse, Gisela von Arnim. Her circle - the von Arnim and Grimm families - became Joachim's cultural and literary haven. But unforeseen events also impacted his output, among them Schumann's death, the ascent of the young Brahms, and the 'War of the Romantics'. Joachim's music throws light onto a vibrant decade, colored by realism, naturalism, new visual technologies, andemerging academic disciplines including psychology. Uhde's book will be the standard work on the music of Joseph Joachim for many years to come. KATHARINA UHDE is Assistant Professor for Violin and Musicology at Valparaiso University, IN.Trade ReviewIn the end, it seems that the conflicting binaries of nationality, of virtuoso performer vs. 'priestly' performer and of performer-interpreter vs. composer remained unresolved within Joachim himself. This book goes a long way towards illuminating these tensions and marks an important step towards opening up the topic for discussion. * STUDIA MUSICOLOGICA *A study centred around Joachim's music and his life as a composer...uncovers relationships both external and regional, as well as personal influences...In her analysis, Uhde shows immense musical and, in particular, technical expertise by exploring the structural and harmonic depth of Joachim's compositions from a violinist's point of view. * JOURNAL OF THE SOCIETY OF MUSICOLOGY IN IRELAND *This book is the first full-length treatment in English devoted to Joachim as a composer . . . [and a] sorely needed addition to the scholarly literature of the late Romantic period. Uhde does an exemplary job of presenting and analyzing the entirety of Joachim's oeuvre, and she does so with the rarest of sensibilities, namely that of a musicologist who is also a performing musician. She intersperses the work with numerous biographical details, and her examinations of Joachim's compositions include plenty of cultural and historical context. . . . [A]n important work about a too-long neglected musician. * CHOICE *Gives an exhaustive analysis of Joachim's works, with research into Joachim's life at that point, German politics and philosophy and comparisons with other pieces that were influential to him. * STRINGENDO, AUSTA NATIONAL JOURNAL *Table of ContentsIntroduction: Approaching the Music of Joseph Joachim Virtuosity Uncoiled: Two Fantasies Re-discovered From Leipzig to Weimar Between Uncoiled Virtuosity and Lisztian Temptations Finding his Voice: Between Vergangenheitsmusik and Zukunftsmusik Joachim Encoded, or, 'Psychological Music' 'Psychological Music' Experienced and Remembered: Joachim and the Demetrius Plot in 1854 and 1876 Resisting the Dark Butterfly Joachim and the Art of Variation Identities: The Hungarian Concerto and Hebrew Melodies Gisela von Arnim and Compositional Memories, or Ciphers in Disguise Cultural Objects in a Prussian Society Conclusion: an Assessment of Joachim's Style Appendix: Joachim Catalogue of Works Bibliography

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Book SynopsisBritten is the most literary British composer of the twentieth century. His relationship to the many and varied texts that he set was deeply committed and sensitive. As a result, both his responses to poetry and his collaborationswith his librettists tell us a great deal about his music, and often, about the man himself. Britten is the most literary British composer of the twentieth century. His relationship to the many and varied texts that he set was deeply committed and sensitive. As a result, both his responses to poetry and his collaborationswith his librettists tell us a great deal about his music, and often, about the man himself. This book takes a unique approach to Britten, drawing together well-known Britten experts alongside English, music, modern language andhistory scholars who bring their own perspective to bear on Britten's work. Chapters examine all aspects of Britten's text setting, from his engagement with a wide variety of poetry to his relationship with his librettists. By approaching Britten's operas and songs through their literature, this book offers fresh insights into his vocal works. KATE KENNEDY is the Weinrebe Research Fellow in Life-writing at Wolfson College, Oxford, where she is an associate of both Music and English Faculties. She is a frequent broadcaster for the BBC and specialises in interdisciplinary biography and has published widely on twentieth century music and literature. Contributors:JOANNA BULLIVANT, PHILIP ROSS BULLOCK, NICHOLAS CLARK, MERVYN COOKE, DAVID FULLER, JOHN FULLER, PETER HAPPÉ, J. P. E. HARPER-SCOTT, JOHN HOPKINS, KATE KENNEDY, ADRIAN POOLE, HANNA ROCHLITZ, PHILIP RUPPRECHT, REBEKAH SCOTT, VICKISTROEHER, JUSTIN VICKERS, LUCY WALKER, BRIAN YOUNGTrade ReviewThis authoritative collection of studies on a composer steeped in literature ancient and modern should engage the interest not just of Britten specialists but of all those fascinated by the theory and practice of setting words to music. * FORUM FOR MODERN LANGUAGE STUDIES *Of particular interest are the essays that illuminate Britten's compositional methods of setting text, methods that have their origin in his intimate interaction with a wide variety of poetic and literary works. . . . Highly recommended. -- M. Neil emeritus * CHOICE *This is a comprehensive book of essays, illustrations and musical examples...It teems with perspectives, engrossing facts and excerpts from scores and will certainly make an informative read for Brittenites of all persuasions - from the amateur enthusiast through to the seasoned academic. * BRITISH MUSIC SOCIETY NEWSLETTER *Table of ContentsIntroduction - Kate Kennedy Britten and His Librettists: The Composer as Auteur - Mervyn Cooke Britten, Auden and the 1930s - John Fuller James, Britten, Piper and the Literary Supernatural: The Changing 'vision of evil' in The Turn of the Screw and Owen Wingrave - Nick Clark 'Thought's Wildernesses': The Development of Britten's Nocturne from Library to Score - Kate Kennedy 'Reading at Intervals': Britten's Romantic Poetry - Brian Young Britten's Drops: The Lyric into Song - Rebekah Scott 'Without any tune': The Role of the Discursive Shift in Britten's Interpretation of Poetry - Vicki P. Stroeher Britten and Modern Tragedy - Adrian Poole Settings from Boyhood - Lucy Walker 'Practical Jokes': Britten and Auden's Our Hunting Fathers Revisited - Joanna Bullivant Choice and Inevitability: The Moral Economy of Peter Grimes - Philip Ross Bullock Sin, Death, and Love: Britten's Holy Sonnets of John Donne - David Fuller Britten's Donne Meditation - Justin Vickers Scenes from Britten's Spring Symphony - Philip Rupprecht 'I have read Billy Budd': The Forster-Britten reading(s) of Melville - Hanna Rochlitz Miles Must Die: Ideological Uses of 'innocence' in Britten's The Turn of the Screw - Benjamin Britten and Medieval Drama at Chester: From Abraham and Isaac to 'The Nativity' - Peter Happe Ambiguous Venice - John Hopkins Bibliography

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Book SynopsisLeos Janácek (1854-1928) occupied a pre-eminent position in Moravian (and wider Czech) culture, not only as a composer but also as a folksong collector, journalist, educator and nationalist. One of the greatest and most original composers of the early twentieth century, Leos Janácek (1854-1928) occupied a pre-eminent position in Moravian culture, not only as a composer but also as a folksong collector, journalist, educator and nationalist. His friends and associates included artists, writers, ethnographers and politicians, as well as conductors, singers and instrumentalists. Janácek's many pupils included the conductor Bretislav Bakala and thecomposer Pavel Haas. He had important associations with publishers in Vienna and Prague and with the earliest years of Czech Radio. Janácek was strongly attached to particular places - Hukvaldy, Brno, Luhacovice - and had professional links with Prague, Berlin, London and beyond. The Janácek Compendium includes nearly 300 entries on every aspect of Janácek's life and works, with detailed notes on all his significant compositions - above all the operas - providing the latest information to emerge about some of his most famous pieces. An extensive bibliography supports the entries, which are cross-referenced to enable wider exploration of particular topics. NIGELSIMEONE is a widely respected writer and lecturer on music, with a lifelong interest in Czech music. His books include Janacek's Works (Oxford University Press, 1997, co-authored with John Tyrrell and Alena Nemcová), TheLeonard Bernstein Letters (Yale University Press, 2013), and Charles Mackerras (Boydell Press, 2015, co-edited with John Tyrrell). He is a regular broadcaster on BBC radio.Trade ReviewThe Compendium is well written, authoritative, and interesting enough to be read cover-to-cover or in large chunks, though most people will delve into it as fancy dictates. For scholars writing an article or paper on the composer it should be invaluable. . . . [It] is a sturdy hardbound, designed to be opened frequently. Its high quality pages are full of clean print, little white space, and 21 black-and-white pictures. It's a treasure trove of Leos Janácek and Czech music in general. -- Roger Hecht * AMERICAN RECORD GUIDE *An encyclopedia of its subject...cover[ing] Janacek's works, his colleagues and main interpreters.his family members and further significant others, places important to his life or career, and contemporary organizations that performed his works...the operas themselves are dealt with generously and with a clarity of approach that in each case explains their origins. * OPERA MAGAZINE *Simeone offers an excellent guide to specific works and other aspects of Janácek's career as a conductor, ethnographer, and teacher. . . . Anglophones will consider this the standard English-language resource for Janácek studies; specialists, however, will also find the German-language online encyclopedia Leos Janácek (www.leos-janacek.org) extremely useful. . . . Highly recommended. * CHOICE *Omits little or nothing that even the most demanding seeker for information and opinion about Janácek could expect to find. * GRAMOPHONE *This Compendium represents a book that has been conspicuously absent from the Janácek literature. It is quick and straightforward to find all of the important information on Janácek's life and works, including key personalities and editions. Everything essential is here, supported by an admirably thorough and up-to-date bibliography. As always, Nigel Simeone's work is of the highest quality, and this publication is a must for all musicologists, opera lovers and admirers of Janácek's extraordinary music. Dr Jirí Zahrádka, Curator of the Janácek Archive, Brno, * Czech Republic *Table of ContentsIntroduction Biography Dictionary Works Bibiliography

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Book SynopsisAs a noted composer and critic, Paul Dukas was a major figure in fin-de-siècle and early twentieth-century French music. Best known for L'Apprenti sorcier, he was internationally recognised as an artist and intellectual ofdistinction who contributed significantly to Parisian musical cultures and critical debates. As a noted composer and critic, and later an editor and composition teacher, Paul Dukas (1865-1935) was a major figure in fin-de-siècle and early twentieth-century French music. Although his catalogue of published scores was relatively modest in quantity, he was internationally recognised as an artist and intellectual of distinction who contributed significantly to Parisian musical cultures and critical debates as they evolved from the 1890s until the 1930s Moving in the same circles as Debussy and Fauré, as well as networking with trailblazers such as the Ballets Russes director Sergei Diaghilev and the conductor Serge Koussevitzky, Dukas created works that reflect French sensibilities but also resonate with transnational audiences. L'Apprenti sorcier is still his best-known work, while the opera Ariane et Barbe-Bleue has been revived and remains relevant for the twenty-first century. Works such as the Piano Sonata and the ballet La Péri respectively exemplify the twin attractions of tradition and progress for the composer. Intensely self-critical, however, he ended up destroying many of his scores. This book is the first full-length Anglophone study of Dukas. It perceives his critical essays as a form of creative, philosophical thought that synthesised the riches of the Parisian music scene yet also represented the formationand development of his own artistic voice. Investigating Dukas's interrelated identities as composer and critic, it seeks to explain his broad aesthetic motivations and artistic agenda. LAURA WATSON is Lecturer in Musicat Maynooth University.Table of ContentsIntroduction An Intellectual and Aesthetic Formation: From Student Composer to Music Critic Symphony in C and Discourses of the French Symphony L'Apprenti sorcier and Theorising a Theatre of Programme Music Piano Works in Dialogue with Tradition Ariane et Barbe-Bleue and Conceptualising Opera after Wagner and Debussy Dance between the Symphonic Poem and Stage: Responding to Russian Influence After the First World War: Creative Renewal and Return to Music Criticism Afterword Bibliography

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Book SynopsisThis book accompanies the Paul Sacher Foundation's exhibition at the Bonn Beethovenhaus. In the twentieth and twenty-first centuries, composers have referred to Beethoven in their music. The volume explores this subject and illustrates it with documents from the Foundation's archives in Basel. Although the notion of a musical "mainstream" with Beethoven as its fons et origo barely holds today, countless composers of the twentieth and twenty-first centuries have referred to Beethoven in their music or creatively sought to distance themselves from him. This volume illustrates his ongoing relevance using documents from the collections of the Paul Sacher Foundation. Designed to accompany the eponymous exhibition in the Bonn Beethovenhaus, itadopts the four thematic areas of that exhibition: "Learning and Teaching with Beethoven," "Idealizations," "Strategies of Reference," and "Distortion - Dismantlement." It explores the contexts, techniques, and ideological thrustsof Beethoven references in musicians of very wide-ranging backgrounds, from Anton Webern, Béla Bartók, and Richard Strauss to Mauricio Kagel, Cathy Berberian, and Kaija Saariaho. The selected documents are captured in photographic reproduction and accompanied by detailed commentary. Each section is preceded by an introductory essay discussing general aspects of recent Beethoven reception. A publication of the Paul Sacher Foundation

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Book SynopsisA landmark in Sibelius scholarship, this is the first book that presents all of Sibelius's solo art songs in their musical and aesthetic context. Indispensable for scholars and performers alike. This is the first book to discuss the complete solo art songs of Jean Sibelius and to locate them in their musical, literary and artistic context. The book is organized around the poets Sibelius set to music and the literary themes associated with them, thus providing invaluable information for the scholar, student and performer. The musical and aesthetic contextualisation of the songs will help to enable new interpretations on the performance stage.Table of Contents1. Wrestling with the text 2. Sibelius and the poems of the idealistic realist Runeberg 3. Idle wishes and summer nights 4. Diamonds and tears - Runeberg's contemporaries in Finland 5. Longing for the eternal - 19th-century poets from Sweden 6. Realism and emerging symbolism 7. Solace of the harp, song to my tongue - other 19th -century poets in Sweden 8. Rapid riders and hoodwinked women 9. Betrayal, urbanity and decadence 10. O, kämst du doch! 11. A last Kalevala excursion Appendix List of Sibelius's songs by opus number Alphabetical list of Sibelius's songs without opus numbers Alphabetical list of Sibelius's songs by English title Alphabetical list of Sibelius's poets Text of the two lost songs, op. 72 nos. 1 and 2 Text to the melodrama Ett ensamt skidspår (Gripenberg) Bibliography

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Book SynopsisOffers a unique investigation of the composition of the entire corpus of Beethoven's symphonies, reconstructing their creation through the most extensive study of Beethoven's sketches yet. Beethoven's nine symphonies are a cornerstone of Western classical music and have revolutionised it. Composers succeeding Beethoven found their output measured against this master's work. But how did his symphonies come into being and how did they reach their final form? These are the questions this book seeks to answer. Barry Cooper has been one of the leading advocates of the need for extensive studies of Beethoven's sketches, and we see him here applying his usual investigative rigour to the study of the symphonies. For most of the symphonies the sketches have not previously been fully examined. In contrast, Cooper's book provides a much deeper exploration of these sketches, along with autograph scores, corrected copies and first editions, while the Beethoven correspondence offers additional information on the first publication and performances of the symphonies. The result is a clear overview of the creation of each symphony in turn, placed within the context of musical life in Beethoven's Vienna. Another strand of the investigation covers Beethoven's unfinished symphonies and how they helped to provide the fertile soil from which the finished ones grew. Most of those did not progress beyond a few bars, but two, known as No. 0 and No. 10, were sketched extensively. This book therefore offers a unique investigation of the composition of the entire corpus of Beethoven's symphonies, reconstructing their creation from Beethoven's rather than posterity's viewpoint.Table of ContentsIntroduction 1. The Long and Hazardous Road to the First Symphony, Op. 21 2. A Creation in Two Parts: The Second Symphony, Op. 36 3. Elevating the Genre: The Third Symphony (Eroica), Op. 55 4. The Oppersdorff Connection: The Fourth Symphony, Op. 60 5. Motivic Intensity: The Fifth Symphony, Op. 67 6. 'More an Expression of Feeling than Painting': The Sixth Symphony (Pastoral), Op. 68 7. 'Great, Exalted' Work: The Seventh Symphony, Op. 92 8. 'Just because it is much better': The Eighth Symphony, Op. 93 9. The Philharmonic Connection: The Ninth Symphony, Op. 125 10. Epilogue Bibliography Index of music manuscripts Index of Beethoven's works General index

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Book SynopsisIn the vinyl era, David W. Berner played rock 'n' roll in a neighborhood garage band. Decades later at the age of 57 he enters a national songwriting contest and quite unexpectedly is named a finalist. But there's more. He's called on to perform the song live at a storied venue for Americana music. Grabbing his old guitar and the love of his life, David hits the road, hoping to live out a musical fantasy he thought had been buried long ago. October Song is a powerful examination of the passage of time, love, the power of music, and the power of dreams. FINALIST American Book Fest's 2017 American Book AwardsTrade ReviewOctober Song is about and for all who wonder if it's too late to follow a dream. Through his easy conversational tone, David W. Berner shares his heart and soul as if we were curled up together, sipping hot chocolate in front of a fireplace. Like a favorite song, that warm fuzzy feeling lingers on well after the story is done. -- Viga Boland, author of No Tears for My Father With his gift of a no-holds-barred writing styleraw, honest, confessionalBerner succeeds, once again, as a master storyteller. Music can tell the story of our past. Lyrics evoke memories; melodies make the heart thump like it did on a first date. October Song brings the reader through a mix tape of life, as Berner tells his tale of new love while traveling through landscapes and time. Each chapter reads like a beloved song. -- Geralyn Hesslau Magrady, author of Lines October Song strikes all the right chords; the high notes and the low notes of a life's journeythe losses, the lessons, the loves. Composed with tenderness and affection, Berner's heartfelt and ultimately life-affirming joy ride teaches us that you're never too old to roll down the window, crank it up and belt it out. -- Randy Richardson, author of Cheeseland, Lost in the Ivy

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Book SynopsisThe life and songs of singer-songwriter Momus during his time at Creation records and beyond. Momus - the stage name of musician Nicholas Currie - is one of the most prolific and talented indie songwriters of the last forty years. His work is controversial, influential and highly regarded. From aspiring indie pop star of the 1980s to Japanese chart success in the 1990s through many experimental works to the present day, he has been a constant in the search for intelligent, thinking person's pop. Jarvis Cocker asked him to produce his band Pulp, the NME memorably awarded his album "Hippopotamomus" 0/10, Creation Records dropped him when he proved too dangerous for them, and his more controversial work led to astounding legal tussles. His personal life has involved scandal and heartbreak and he lost an eye following an infection, resulting in his distinctive eye-patch. His songs including "The Hairstyle of the Devil", "The Guitar Lesson" and "I Want You but I Don't Need You" are acclaimed and have been covered by artists including Amanda Palmer and Steven Wilson.

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Book SynopsisThe first full-length biographical study of Elizabeth Maconchy (1907-1994). The British-born Irish composer (Dame) Elizabeth Maconchy (1907-1994) is best known today for her cycle of thirteen string quartets, composed over five decades. And yet, her oeuvre ranges from large scale choral works, to ballets, operas, and symphonic scores. Having studied with Charles Wood and Ralph Vaughan Williams at the Royal College of Music, many of her compositions also garnered accolades from peers and established musical figures such as Gustav Holst, Donald Francis Tovey, and Henry Wood, among others. With access to a wealth of documentation previously unavailable, this book explores Maconchy's life and music within a greater consideration of the social and political context of the world in which she lived. While the influence of Bartók has been well documented, this book reveals the equally potent influence of Vaughan Williams on Maconchy's musical idiom. This book also discusses Maconchy's foray into administration and her advocacy of young composers through her work as the first woman to be elected Chairman of the Composers' Guild of Great Britain in 1959 and President of the Society for the Promotion of New Music following the death of Benjamin Britten in 1976. It will be required reading for those interested in the lives of women composers, twentieth-century British music, and musical modernism.Trade ReviewThis authoritative and intriguing book is both well-researched and generously illustrated. Erica Siegel writes with passion in an engaging, fluent and readable style. The book will appeal to lovers of Maconchy's music, devotees of English music and those with an interest in female composers. * MusicWeb International *Table of ContentsIntroduction 1 An Unexpected Talent, 1907-23 2 The Royal College of Music, 1923-9 3 Prague, Paris, Vienna, and London, 1929-31 4 An Expansion of Style, 1932-5 5 A Growing Reputation, 1936-9 6 Darker Days Ahead, 1939-45 7 Balancing Motherhood and a Career, 1946-50 8 Glimmers of Hope, 1951-5 9 A Musical Block and an Operatic Solution, 1956-9 10 Administrative Diversions, 1959-66 11 Of Ageing and Critics, 1967-73 12 Recognition at Last, 1973-7 13 Sunset before Twilight, 1978-94 Epilogue Chronological List of Works Select Bibliography Index

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Book SynopsisConnects discussions of vocality and operatic culture with broader aesthetic and cultural shifts in society.In the decades that span the turn of the twentieth century, the Italian tradition of operatic singing became 'modern'. This book identifies and explores the formative elements of this multifaceted 'modernity', and its connections with the emergence of verismo, a realistic trend that affected every aspect of creative and intellectual life in fin-de-siècle Italy. Thisnovel approach to artistic representation meant that singers had to redefine the operatic voice, exchanging the bel canto ideal of 'pure' vocal quality with an irreversible gendered connotation and an erotically charged expressive force. Pivotal to this shift was the gradual development of a homogeneous vocal colour through the compass, an aesthetic principle that was alien to the voice culture of the previous centuries. Star singers such as Enrico Caruso, Titta Ruffo, Emma Carelli and Eugenia Burzio were instrumental

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Book SynopsisBrings to life the day-to-day details of staging the premiere of one of the most iconic works of Western classical music. The Ninth Symphony of Ludwig van Beethoven with its final choral movement is one of the iconic works of Western classical music. And yet, the story never fully told concerns the months leading to the symphony's world premiere in Vienna on 7 May and repeat performance on 23 May 1824. In his new book, Theodore Albrecht brings to life the day-to-day details that it took to stage that premiere. It's a story of negotiating for performance halls and performers' payments, of hand-copying legible scores and individual parts for over 120 performers, of finding financiers, as well as space and time for rehearsals. Importantly, it is also a story of the relationship between Beethoven and the musicians who performed this symphonic masterpiece. In fact, as the maddening rehearsal schedule towards the symphony's premiere shows, it transpires that many passages of the Ninth have been tailored to specific orchestral players. Many modern-day musicians will recognize familiar situations in rehearsals, many scholars and students will relish unprecedented new detail. All this comes to the fore by reconstructing the story drawing on the (almost) deaf composer's Conversation Books which Beethoven had been using since 1818. In the performance story of the Ninth Symphony's premiere, Albrecht makes full use of these invaluable documents, which are now being translated for the first time into English in a series of 12 volumes published by the Boydell Press. THEODORE ALBRECHT, Professor Emeritus of Music at Kent State University, Ohio, is an award-winning Beethoven scholar. He has authored many important articles on the composer and is the editor of Letters to Beethoven and Other Correspondence (1996) as well as translator and editor of Beethoven's Conversation Books (Boydell Press).Table of ContentsPreface Acknowledgements Chapter 1: Composition of the Ninth Symphony Chapter 2: Petition, Preparations, Copying Chapter 3: Finding a Location Chapter 4: Final Preparations / First Rehearsals Chapter 5: Rehearsals and Confusion Chapter 6: Premiere and Celebratory Dinner Chapter 7: One More Time Chapter 8: Second Premiere and Financial Reality Appendix A: Anton Schindler's Acquaintance with Beethoven (March, 1814 - May, 1824) Appendix B: The Ludlamshöhle Petition, late February, 1824 Appendix C: Vienna's Principal Theaters and Halls in Beethoven's Time Appendix D: Orchestral Personnel, Kärntnertor Theater, 1822/1824 Appendix E: Choral Personnel, Kärntnertor Theater, 1822/1824 Appendix F: Gesellschaft der Musikfreunde's Volunteer Sign-Up Sheet, 1824 Appendix G: Schindler's Account of Beethoven's Post-Akademie Dinner in the Prater Bibliography Index of Beethoven's Ninth Symphony Index of Beethoven's Other Compositions General Index

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Book SynopsisGround breaking and comprehensive reference volume covering an extensive range of Purcell studies, including his life and works, his milieu and the reception of his music to the present.

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Book SynopsisA vivid picture of the public and private life of a professional musician in late eighteenth- and early nineteenth-century London. This well-documented life of Samuel Wesley gives a vivid picture of the life of a professional musician in late eighteenth and early nineteenth-century London. Wesley was born in 1766, the son of the Methodist hymn-writer CharlesWesley and nephew of the preacher John Wesley. He was the finest composer and organist of his generation, but his unconventional behaviour makes him of more than ordinary interest. He lived through a crucial stage of English musicfrom the immediately post-Handel generation to the early Romantic period, and his large output includes piano and organ music, orchestral music, church music, glees, and songs. He also taught and lectured on music, and was involved in journalism, publishing, and promoting the music of J. S. Bach. This book draws on letters, family papers, and other contemporary documents to offer a full study of Wesley, his music, and his life and times. PHILIP OLLESON is Professor of Historical Musicology at the University of Nottingham. He has edited The Letters of Samuel Wesley: Professional and Social Correspondence, 1797-1837, is the joint author (with Michael Kassler) of Samuel Wesley (1766-1837): A Source Book, and has written extensively about other aspects of music in England in the eighteenth and nineteenth centuries.Trade ReviewMasterful. [...] Both musicologists and historians of the period will find in Olleson's book an exceptionally well-considered discussion of Wesley's life and times, and an extremely valuable addition to research of the period. * RECUSANT HISTORY *This is a major study which may be enjoyed on several levels; as a biography, or social commentary, or background to the musical life of Georgian/Regency England, or as informed discussion of the composer's output, and more besides. As a biography, it is a gripping read.... [A] splendid book. * THE ORGANIST'S REVIEW *This totally absorbing account, fluently narrated and minutely documented with the help of the prolific letter-writing Wesleys, guarantees a sympathetic hearing for the troubled Samuel. It deserves to be widely read, and not just by musicians, for its intelligent perspective on the consequences for individuals of living through a period of artistic, social and philosophical change. * THE MUSICAL TIMES *Not only a scholarly work, but a stonking good read. * CLASSICAL TIMES *Philip Olleson's astonishing biography.is a fascinating read. * THE DELIAN *Strongly recommended to anyone with a serious interest in Wesley or in the period encompassing his life. * AD PARNASSUM *Leads the reader carefully through the evolution of Samuel's career, portraying his volatile life and personality candidly and with good taste. [.] Establishes the significance of Wesley's career intelligently. * ANGLICAN AND EPISCOPAL HISTORY *

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Book SynopsisA revised and enlarged paperback edition to mark the centenary of the much-loved singer's birth. In 1953, at the age of 41, Kathleen Ferrier, England's greatest lyric contralto, lost her courageous battle with breast cancer. Her huge appeal to a wide audience - in concerts, on records, on the radio and in the opera house - has ensured her name endures to this day, despite a career which lasted barely ten years. In just half that time, this former telephone exchange operator was singing on stage at Covent Garden, before royalty at private parties, andat New York's Carnegie Hall. This collection of letters and twelve years of her personal diaries was first published by Boydell Press in 2003. Here, an enlarged paperback edition contains a new chapter revealing her growingimportance to the BBC, an additional 90 letters, together with much revised material and a selection of moving tributes. Published to mark the centenary of her birth in 1912, the book, of more than 400 letters, provides a vivid picture of a life which illuminated the war and post-war years of austerity and hardship. Kathleen Ferrier was surely fun to know. Her personality was a mix of extreme modesty and self-determined ambition, topped with a mischievously blunt sense of earthy Lancastrian humour. She is known for her glorious voice, but through the pages of these fascinating letters and diaries we get to meet the real person. DR CHRISTOPHER FIFIELD is a conductor, music historian, lecturer and broadcaster. He is the biographer of Max Bruch [Boydell Press 2005] and conductor Hans Richter, and the author of a history of the music agents Ibbs & Tillett.Trade ReviewIt is this treasury of information that makes this book such a valuable piece of scholarship. [...] a remarkable portrait of the life and times, the moods and concerns, the fun and the pain of Kathleen Ferrier. [...] Christopher Fifield [...] has written what may be regarded as an ideal model of this kind of book. [...] I strongly recommend this book. -- John France * MUSIC.WEB.INTERNATIONAL *[The] letters and diaries [...] are wonderfully colourful; they are funny and down-to-earth, informative and detailed. Her courage, to the very end, never faltered. * THE LANCASHIRE MAGAZINE *Christopher Fifield edits the domestic and professional material with informed sensitivity, discretely offering clarifications or context when necessary. There will be few better - or truer - tributes to this still much-missed singer. * CLASSICAL MUSIC [Editor's Choice] *Fifty years on, a voice that still touches the heart. * GRAMOPHONE *A vivid self-portrait of a brave, secure woman in love with life and music, whose joie de vivre was palpable and supported both by a notable lack of inflated egoism and a singular sense of humour which rarely faltered, even toward the end. Anyone interested in Kathleen Ferrier's life and art, and the milieu of the Second World War years and their aftermath by which they were embraced, will find this welcome book required reading. It is above all, and despite the final descent, a celebration of living. * JOHN TALBOT, BRITISH MUSIC SOCIETY NEWSLETTER *On closing [this book] with a terrible sadness, I'm a fan too... The secret is her voice - the plain-speaking tone of a Lancashire lass who was also an aesthete, a joker and an exemplary friend. These letters...chronicle everything, from whom she knocked around with - Britten, Pears, Barbirolli, Danny Kaye, Rex Harrison - to what she sang and what she greedily ate. -- Michael Church * FINANCIAL TIMES *Delightful letters and diaries. -- Rupert Christiansen * DAILY TELEGRAPH *Editing and presentation are as fine as anyone could wish and Fifield's introductions to each chapter could not be better written. -- Best Buy5 Stars * CLASSIC FM *Table of ContentsIntroduction Letters 1940-1947 Letters 1948 Letters 1949 Letters 1950 Letters 1951 Letters 1952 Letters 1953 Kathleen Ferrier and the BBC: Letters 1941-1953 The Diaries: Introduction Diary for 1942 Diary for 1943 Diary for 1944 Diary for 1945 Diary for 1946 Diary for 1947 Diary for 1948 Diary for 1949 Diary for 1950 Diary for 1951 Diary for 1952

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