This collection of essays by musicologists and art historians explores the reciprocal influences between music and painting during the nineteenth century, a critical period of gestation when instrumental music was identified as the paradigmatic expressive art and theoretically aligned with painting in the formulation ut pictura musica (as with music, so with painting). Under music's influence, painting approached the threshold of abstraction; concurrently many composers cultivated pictorial effects in their music. Individual essays address such themes as visualization in music, the literary vs. pictorial basis of the symphonic poem, musical pictorialism in painting and lithography, and the influence of Wagner on the visual arts. In these and other ways, both composers and painters actively participated in interarts discourses in seeking to redefine the very identity and aims of their art. Also includes 17 musical examples.
Bach's spectacular Goldberg Variations represent a high point in the repertory of keyboard music, particularly for the harpsichord. This book takes a detailed look at how these variations originated, especially in relation to all Bach's Clavier bung volumes and late keyboard works, what their exceptionally intricate plan is, what kind of impact they have had, and how their mysterious beauty has been created. This guide to what was at the time the largest and most carefully conceived single work of keyboard music will appeal to students, performers and listeners.
Germany's cultural glory and for a time Germany's political shame: the operatic festival established by Richard Wagner in 1876 is one of the most intriguing phenomena in modern European intellectual history. The oldest and best known of all musical festivals, Bayreuth soon after Wagner's death in 1883 became the center of a reactionary and nationalistic ideological cult. This book is the first to provide a frank and fully rounded account of the institution and the way it operates.The focus of the study is a critical analysis of the performances and productions, brought alive with photographs and sketches of stage settings, conductors, singers, and costumes from 1876 to 1990. Around this artistic history is woven the remarkable story of why, against tremendous odds, Wagner built his famous Festspielhaus and established his controversial festival and of how his descendants have managed to keep it alive. At the same time, the book traces the institution's association with nationalism and racism, its eventual debasement into Hitler's court theatre, and its postwar liberation from its chauvinist, anti-Semitic past. With its own form of Wagnerian Gesamtkunstwerk--linking art, the personalities of the Wagner family, and German ideological development--this provocative study will be compelling reading not only for Wagner enthusiasts but also for anyone interested in European intellectual history since 1876.
The connections between a great artist's life and work are subtle, complex, and often highly revealing. In the case of Beethoven, however, the standard approach has been to treat his life and his art separately. Now, Barry Cooper's new volume incorporates the latest international research on
many aspects of the composer's life and work and presents these in a truly integrated narrative.
preoccupation for most of his life: I live entirely in my music, he once wrote. Second, recent study of his many musical sketches has enabled a much clearer picture of his everyday compositional activity than was previously possible, leading to rich new insights into the interaction between his
life and music. This volume concentrates on Beethoven's artistic achievements both by examining the origins of his works and by expert commentary on some of their most striking and original features. It also reexamines virtually all the evidence--from fictitious anecdotes right down to the
translations of individual German words--to avoid recycling old errors. And it offers numerous new details derived from sketch studies and a new edition of Beethoven's correspondence. Offering a wealth of fresh conclusions and intertwining life and work in illuminating ways, Beethoven will establish itself as the reference on one of the world's greatest composers.
While the Beethoven string quartets are to chamber music what the plays of Shakespeare are to drama, even seasoned concertgoers will welcome guidance with these personal and sometimes enigmatic works.
This collection offers Beethoven lovers both detailed notes on the listening experience of each quartet and a stimulating range of more general perspectives: Who has the quartets' audience been? How were the quartets performed before the era of sound recordings? What is the relationship between "classical" and "romantic" in the quartets? How was their reception affected by social and economic history? What sorts of interpretive decisions are made by performers today?
The Companion brings together a matchless group of Beethoven experts. Joseph Kerman is perhaps the world's most renowned Beethoven scholar. Robert Winter, an authority on sketches for the late quartets, has created interactive programs regarded as milestones in multimedia publishing. Maynard Solomon has written an acclaimed biography of Beethoven. Leon Botstein is the conductor of the American Symphony Orchestra as well as a distinguished social historian and college president. Robert Martin writes from his experience as cellist of the Sequoia Quartet. And the book is anchored by the program notes of Michael Steinberg, who has served as Artistic Advisor of the San Francisco Symphony and the Minnesota Orchestra.
More than any other composer, Beethoven left to posterity a vast body of material that documents the early stages of almost everything he wrote. From this trove of sketchbooks, Lewis Lockwood draws us into the composer's mind, unveiling a creative process of astonishing scope and originality.
For musicians and nonmusicians alike, Beethoven's symphonies stand at the summit of artistic achievement, loved today as they were two hundred years ago for their emotional cogency, variety, and unprecedented individuality. Beethoven labored to complete nine of them over his lifetime--a quarter of Mozart's output and a tenth of Haydn's--yet no musical works are more iconic, more indelibly stamped on the memory of anyone who has heard them. They are the products of an imagination that drove the composer to build out of the highest musical traditions of the past something startlingly new.
Lockwood brings to bear a long career of studying the surviving sources that yield insight into Beethoven's creative work, including concept sketches for symphonies that were never finished. From these, Lockwood offers fascinating revelations into the historical and biographical circumstances in which the symphonies were composed. In this compelling story of Beethoven's singular ambition, Lockwood introduces readers to the symphonies as individual artworks, broadly tracing their genesis against the backdrop of political upheavals, concert life, and their relationship to his major works in other genres. From the first symphonies, written during his emerging deafness, to the monumental Ninth, Lockwood brings to life Beethoven's lifelong passion to compose works of unsurpassed beauty.
Celebrating its 100th anniversary, this extraordinary series continues to amaze and captivate its readers with detailed insight into the lives and work of music's geniuses. Unlike other composer biographies that focus narrowly on the music, this series explores the personal history of each
composer and the social context surrounding the music. In a precise, engaging, and authoritative manner, each volume combines a vivid portrait of the master musicians' inspirations, influences, life experiences, even their weaknesses, with an accessible discussion of their work-all in roughly 300
pages. Further, each volume offers superb reference material, including a detailed life and times chronology, a complete list of works, a personalia glossary highlighting the important people in the composer's life, and a select bibliography. Under the supervision of music expert and series general
editor Stanley Sadie, Master Musicians will certainly proceed to delight music scholars, serious musicians, and all music lovers for another hundred years.
This book contains nine essays by leading Berlioz scholars on various aspects of the great nineteenth-century musician's life and work. Among the pieces studied closely are Romeo et Juliette, La Damnation de Faust and Les Nuits d' t . An essay on newly discovered documents gives us a revealing portrait of the artist as a young man; another essay which examines little studied manuscripts shows us how precisely Berlioz arranged Gluck's celebrated opera Orph e. The practical question of Berlioz's metronome marks are studied thoroughly for the first time, and the volume closes with a novel piece in dialogue form by the elder statesman of Berlioz scholars, Jacques Barzun, who treats with exceptional grace the profound issues raised by Berlioz the man and the musician.
Carl Dahlhaus here treats Nietzsche's youthful analysis of the contradictions in Wagner's doctrine (and, more generally, in romantic musical aesthetics); the question of periodicization in romantic and neo-romantic music; the underlying kinship between Brahms's and Wagner's responses to the central musical problems of their time; and the true significance of musical nationalism. Included in this volume is Walter Kauffman's translation of the previously unpublished fragment, On Music and Words, by the young Nietzsche.
Brahms's First Symphony has been hailed as Beethoven's Tenth. Its controversial status and relationship in the Beethovenian tradition is considered alongside other important issues in the early reception history of this key work in the symphonic repertory. David Brodbeck begins with an account of the lengthy genesis and complicated background to the writing of the symphony, before providing a thorough critical reading of the work, movement by movement. In particular, Professor Brodbeck reveals a dense web of extra-compositional allusions--references in the music to works by J. S. Bach, Beethoven, Schubert, and Robert Schumann--in which, the author argues, much meaning resides.