This volume contains historical and analytical essays on Anton Bruckner and his music. For the past century the principal concerns of scholars of Bruckner's music have been his personal and musical relationship with Wagner, editorial problems in his scores, his enigmatic personality, and the assessment of his monumental late-nineteenth-century style. The studies in this volume consider these issues in the light of the latest research. Of interest to the lay person will be the discussions of the manner in which politics and special interests have affected the dissemination and perception of Bruckner's music, particularly in Nazi Germany.
This Companion is designed to provide the enquiring music lover with helpful insights into a musical style that recognizes no contradictions between the accessible and the sophisticated, between the popular and the significant.
With the completion of Volume 3 of Canciones de Espa a: Songs of Nineteenth-Century Spain, 83 songs by 50 19th-century Spanish composers are now available for performance and study, in both high and low voice editions. This final volume presents 31 newly published canciones by 18 composers such as Jos Le n, Antonio Merc Fondevila, L zaro N ez Robres, Antonio Reparaz, Gabriel Rodr guez, and Joaqu n Valverde. These songs represent the gems of the repertoire, providing examples of song types typical of the period, including the canci n andaluza, the canci n espa ola, the balada rabe, the bolero, the habanera, the canzoneta, and the seguidilla. A number of songs included had previously been available only in manuscript form and long forgotten in the depths of the world's greatest libraries. Here, they are made available and accessible through discussions of 19th-century politics and Spanish song style, a thorough pronunciation guide to Castilian Spanish, both word-for-word and idiomatic translations, and International Phonetic Alphabet transcriptions. Short biographies of each composer add insight to the compositions. Rounding out the anthology, this final volume includes appendixes that list all 83 songs by level of difficulty and by gender. This anthology allows singers and voice teachers to explore the poetry, culture, and history of Spain through its songs, demonstrating that the songs deserve their rightful place in the classical song repertoire of Europe and the Americas.
This first scholarly book on Cecile Chaminade, a popular composer, pianist, and one of the few women to attain critical acclaim as a composer in the early twentieth century, contains an extensive biography drawn from a significant collection of primary sources. The study presents basic information, including facts not previously published, on this neglected composer and it offers a discussion of historical and aesthetic issues inherent in her life and career as well as observations about her musical style. The exhaustive bibliography, an annotated listing of her prolific output, contains a selection of reviews of her compositions and first performances, and a brief section identifying her prose works. The up-to-date discography lists every commercially made recording of her individual works, anthologies, and performances, and it includes out-of-print releases.
This informative book offers the first detailed presentation of information on the location of Chaminade musical autographs and first editions. It fills an urgent need for the basic facts about her life and activities: exactly what she composed, when and why. It also deals with the nature of her performing career and documents critical reviews of both her playing and her compositions. This is the only volume of its kind on Chaminade and one of the few available on any women composer. It will be an indispensable resource for musicologists and researchers of women composers and French music history, as well as a valuable addition to all university and college music libraries.
Chaos and Dancing Star discusses the anarchist, revolutionary, feminist and nationalist influences on Wagner, the revolutionary who turned the world of opera upside down. The books and articles that directly influenced him are examined in detail, including works by Bakunin, Proudhon, Hoffman, Stirner, Hegel, and the Marxists. Also investigated is the way Wagner influenced his contemporaries, and the way his work continues to influence artists, political activists, composers, and poets today.
The first book devoted to the composer Charles Villiers Stanford (1852-1924) since 1935, this survey provides the fullest account of his life and the most detailed appraisal of his music to date. Renowned in his own lifetime for the rapid rate at which he produced new works, Stanford was also an important conductor and teacher. Paul Rodmell assesses these different roles and considers what Stanford's legacy to British music has been. Born and brought up in Dublin, Stanford studied at Cambridge and was later appointed Professor of Music there. His Irish lineage remained significant to him throughout his life, and this little-studied aspect of his character is examined here in detail for the first time. A man about whom no-one who met him could feel indifferent, Stanford made friends and enemies in equal numbers. Rodmell charts these relationships with people and institutions such as Richter, Parry and the Royal College of Music, and discusses how they influenced Stanford's career. Perhaps not the most popular of teachers, Stanford nevertheless coached a generation of composers who were to revitalize British music, amongst them Coleridge-Taylor, Ireland, Vaughan-Williams, Holst, Bridge and Howells. While their musical styles may not be obviously indebted to Stanford's, it is clear that, without him, British music of the first half of the twentieth century might have taken a very different course.
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.
In this profound look at Chopin, Jim Samson interweaves biographical and musical commentary to produce a well-rounded portrait the man and the musician. Incorporating the most recent research, it succeeds in presenting it without recourse to unduly complex technical language. Samson addresses
such questions as pedagogy, musical influences, and pianistic idiom. He examines the composer's mature musical style, considers his unique approach to the genres of nineteenth-century piano music, and investigates the nature of his compositional process as revealed through manuscripts and early
printed scores. Readers to understand why this frail and fastidious musician from Warsaw, whose music is so immensely refined and innovatory, has captured the imagination of generations of music lovers the world over.
Chopin's four ballades are widely regarded as being among the most significant extended works for solo piano of the nineteenth century. In an illuminating discussion, Jim Samson combines history and analysis to provide a comprehensive picture of these popular piano works, investigating the social and musical background to Chopin's music, evaluating the many printed editions of the ballads before considering their critical reception and the differing interpretations of well-known nineteenth- and twentieth-century pianists.
Chopin's E minor and F minor Piano Concertos played a vital role in his career as a composer-pianist. This Handbook reevaluates them so that their many outstanding qualities can be fully appreciated. It describes their genesis, Chopin's own performances and his use of them as a teacher. A survey of their critical, editorial and performance histories follows, in preparation for an engaging narrative analysis of the concertos as embodied in sound. The final chapter investigates Chopin's enigmatic third concerto, the Allegro de concert.
Born in Poland in 1810, Chopin emigrated to Vienna at age eighteen--and then to Paris, where from 1831 to 1849 he would spend almost half of his brief and tumultuous life. In Paris his extraordinary powers would reach their height and he would shine among the immensely talented writers, painters, and musicians who were working there and defining their era. Chopin's other acquaintances ranged from Rothschild to Marx--and it was here that he began his long and stormy relationship with the novelist George Sand. In Chopin in Paris--a New York Times Notable Book--Tad Szulc brings to life this complex, contradictory genius, and re-creates an unsurpassed epoch of European history, culture, and music.