Description
Book SynopsisThe musical thought and practice of canonical composers
What can music tell us—without words? Can it depict scenes, narrate stories, elucidate beliefs? And can it be an instrument through which we access the inner lives not only of musicians from the past but of ourselves, today?
In Ohne Worte five scholars and performers probe these and related questions to illuminate both the experience and performance of nineteenth-century music. Drawing on a rich range of sources, they reveal the musical thought and practice of canonical composers like Berlioz, Mendelssohn, and Schumann. Their work challenges us to reconsider our musical practices and the voices manifested in them, and it encourages the creation of an art that is both historical and transcendental.
This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).
Contributors
Jean-Pierre Bartoli (Université Paris–Sorbonne), Hubert Moßburger (Staatlichen Hochschule für Musik und Darstellende Kunst Stuttgart), Jeanne Roudet (Université Paris–Sorbonne), Douglass Seaton (Florida State University School of Music), Edoardo Torbianelli (Hochschule der Künste Bern)
Table of ContentsPreface
— Edoardo Torbianelli
Playing with Images: Character and Emotion in the Age
of Romanticism
— Hubert MoàŸburger
“Inner Voices” and “Deep Combinations”: Robert
Schumann's Approach to Romantic Polyphony
— Jeanne Roudet
Frédéric Chopin, Clara Schuman, and the Singing Piano
School
— Jean-Pierre Bartoli
Vocal Patterns in the Themes of Berlioz's Instrumental
Music
— Douglass Seaton
Plot and Narrative in Mendelssohn's Chamber Music for
Strings and Piano
— Hubert MoàŸburger
Robert Schumann's Poetic Paraphrases: Analytical
Implications
Personalia
Colophon
