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"Brahms was a famously complex character: an irascible curmudgeon, and a famously learned composer who took tremendous pride in composing tuneful, expressive melodies of great popular appeal. This accounts at least in part for the enduring esteem that his symphonies enjoy among musicians, scholars, and the listening public alike. This duality between the learned and the popular sides of Brahms' musical personality has made his music as difficult to analyze and discuss as was his singularly complex and mysterious personal life. This book attempts to aid the general listener in bridging the gap between these two seemingly irreconcilable aspects of Brahms' character, aspects that are particularly in evidence, and balanced with particular poise, in his four symphonies. First, author David Hurwitz examines Brahms' place in the German symphonic tradition, his obsessive preoccupation with his place in the grand line of classical composers stretching back to Bach, and proceeding through Haydn, Mozart, Beethoven, and Schumann. Despite his ongoing struggle to master orchestral writing, Hurwitz argues that Brahms did achieve a unique symphonic style, one found nowhere else in his (or anyone else's) works in symphonic form. Finally, each symphony is described from two perspectives: in the most helpful musical context, and then also in movement by movement descriptions of Brahms' expressive argument. Finally, a list of recommended recordings concludes a discussion that shows today's music lovers that the riches contained in these perennially attractive works do not hide beneath the surface, but in fact lie liberally scattered in plain view, just waiting to be savored." --Back cover.
A History of the Concerto may be read from cover to cover, but readers may also use the extensive index to focus on specific concertos and their composers. Numerous musical examples illuminate critical points. While some readers may want to study the more detailed analyses with scores in hand, this is not essential for an understanding of the text.
This inaugural volume of Beethoven Forum presents the work of ten leading scholars who focus on an array of matters that clearly illustrate the vitality of current thought on Beethoven. Scott Burnham leads off the collection with a discussion of the reception of Beethoven's Third Symphony, the Eroica, a composition that continues to spur new interpretations. In succeeding chapters James Webster analyzes the formal sophistication of Beethoven's most influential and idiosyncratic creation, the last movement of his Ninth Symphony; Roger Kamien and William Kinderman examine piano sonatas; David Smyth and Richard Kramer investigate string quartets; Robert Freeman discusses his discovery of previously unknown cadenzas for Beethoven's piano concertos; Theodore Albrecht relates Beethoven's reading of Shakespeare to Beethoven's own life, and both to the "Tempest" Sonata; and Nicholas Marston uses Barry Cooper's recent work on Beethoven as the basis for a consideration of value of sketch studies. In an especially innovating article Julia Moore discusses the economic forces that shaped Beethoven's career. An annual series, Beethoven Forum will serve as an international venue for articles, notes, queries, critical exchanges, and reviews.
The dedication of a piece of music is a feature generally overlooked, but it can reveal a great deal about the work, the composer, the society and the music world in which the composer lived. This book explores the musical, biographical and sociological aspects of the practice of dedicating new compositions in the late 18th and early 19th centuries, and makes a significant contribution towards a better understanding of the impact these tributes had on Beethoven’s life and work, and their function within the context of the musical, cultural and economic environments in which they appeared. As the first of its kind, this study demonstrates that, as a result of their different functions, published dedications and handwritten inscriptions are distinct from one another, and for that reason they have been classified in different categories. This book, therefore, challenges the idea of what exactly can be termed as a ‘dedication’, a concept which extends far beyond the dedication of musical works.
Postmodernity's Musical Pasts considers music after 1945 as a representation of concepts such as "historicity" and "temporality". The volume understands postmodernity as a period in which both modernism and postmodernism co-exist. It is attracted to a wider interpretation of "historicity" that focuses on the complex nexus of past-present-future. "Historicity" is understood as leaning closely on "temporality", generally thought of as the linear progression of past, present and future. The volume broadens the absolutist understanding of temporality to include processes which can occur in circular, spiral, transcending and other formations. The book covers an extensive spectrum of topics from classical to popular and neo-traditional musics to concerns of the disciplines of musicology. Such a wide range of topics from both the centre and the periphery of the musicological canon mirrors the eclectic and diverse nature of the postwar era itself. The first section investigates how to understand manifestations of the past in musical composition with regard to time, on the one hand, and with regard to genre, style and idiom, on the other. A second section shows how time and history manifest themselves in art music. A third section takes the contrasts and transitional moments of post-1945 practices further by looking at the temporality of reception from different angles. A final part investigates questions of nostalgia and temporalities of belonging. TINA FR HAUF is Adjunct Assistant Professor at Columbia University, New York and serves on the faculty of The Graduate Center, CUNY. CONTRIBUTORS: Michael Arnold, Susana Asensio Llamas, Georg Burgstaller, Caitlin Carlos, Daniela Fugellie, Tina Fr hauf, John Koslovsky, Lawrence Kramer, Beate Kutschke, Laurenz L tteken, Max Noubel, Joshua S. Walden
J. S. Bach's musician son explains the technique for performing eighteenth-century compositions, discussing fingering, embellishments, bass, and accompaniment
Larry Sitsky, professor emeritus at The Australian National University, is an internationally known composer, pianist, scholar, and teacher. His books are fundamental reference works on subjects such as Australian piano music, the 20th-century avant-garde, the piano music of Anton Rubinstein, the early 20th-century Russian avant-garde, and the classical reproducing piano roll. The Compleat Busoni is the result of Sitsky’s lifelong focus on the composer Ferruccio Busoni. Over three volumes, Sitsky surveys Busoni’s vast output, provides an ending to the unfinished opera Dr. Faust, and presents definitive realisations of the Fantasia Contrappuntistica in two-piano and orchestral versions. New insights into Busoni’s style and aesthetics are an integral aspect of this work.
Performance practice is the study of how music was performed over the centuries, both by its originators (the composers and performers who introduced the works) and, later, by revivalists. This first of its kind Dictionary offers entries on composers, musiciansperformers, technical terms, performance centers, musical instruments, and genres, all aimed at elucidating issues in performance practice. This A-Z guide will help students, scholars, and listeners understand how musical works were originally performed and subsequently changed over the centuries. Compiled by a leading scholar in the field, this work will serve as both a point-of-entry for beginners as well as a roadmap for advanced scholarship in the field.