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Chopin's E minor and F minor Piano Concertos played a vital role in his career as a composer-pianist. Praised for their originality and genius when he performed them, the concertos later attracted censure for ostensible weaknesses in form, development and orchestration. They also suffered at the hands of editors and performers, all the while remaining enormously popular. This handbook re-evaluates the concertos against the traditions that shaped 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 analytical 're-enactment' of the music - that is, a narrative account of the concertos as embodied in sound, rather than in the score. The final chapter investigates Chopin's enigmatic 'third concerto', the Allegro de concert. Chopin: The Piano Concertos has won the Wilk Book Prize for Research in Polish Music.
PWM
Johannes Brahms was a consummate professional musician, and a successful pianist, conductor, music director, editor and composer. Yet he also faithfully championed the world of private music-making, creating many works and arrangements for enjoyment in the home by amateurs. This collection explores Brahms' public and private musical identities from various angles: the original works he wrote with amateurs in mind; his approach to creating piano arrangements of not only his own, but also other composers' works; his relationships with his arrangers; the deeper symbolism and lasting legacy of private music-making in his day; and a hitherto unpublished memoir which evokes his Viennese social world. Using Brahms as their focus point, the contributors trace the overlapping worlds of public and private music-making in the nineteenth century, discussing the boundaries between the composer's professional identity and his lifelong engagement with amateur music-making.
This Companion is an accessible introduction to Schumann: his time, his temperament, his style and his œuvre. An international team of scholars explores the cultural context, musical and poetic fabric, sources of inspiration and interpretative reach of key works from the Schumann repertoire ranging from his famous lieder and piano pieces to chamber, orchestral and dramatic works. Additional chapters address Schumann's presence in nineteenth- and twentieth-century composition and the fascinating reception history of his late works. Tables, illustrations, a detailed chronology and advice on further reading make it an ideally informative handbook for both the Schumann connoisseur and the music lover. An excellent textbook for the university student of courses on key composers of nineteenth-century Western Classical music, it is an invaluable guide for all who are interested in the thought, aesthetics and affective power of one of the most intriguing figures of a culturally rich and formative period.
Rachmaninoff's compositions for piano and orchestra won him an important position among modern composers. The works that made his reputation include these three piano concertos, reprinted from authoritative full-score Russian editions.
On March 10, 1948, world-renowned composer and pianist Ernst von Dohnányi (1877−1960) embarked for the United States, leaving Europe for good. Only a few years earlier, the seventy-year-old Hungarian had been a triumphant, internationally admired musician and leading figure in Hungarian musical life. Fleeing a political smear campaign that sought to implicate him in intellectual collaboration with fascism, he reached American shores without a job or a home. A Wayfaring Stranger presents the final period in Dohnányi’s exceptional career and uses a range of previously unavailable material to reexamine commonly held beliefs about the musician and his unique oeuvre. Offering insights into his life as a teacher, pianist, and composer, the book also considers the difficulties of émigré life, the political charges made against him, and the compositional and aesthetic dilemmas faced by a conservative artist. To this rich biographical account, Veronika Kusz adds an in-depth examination of Dohnányi’s late works—in most cases the first analyses to appear in musicological literature. This corrective history provides never-before-seen photographs of the musician’s life in the United States and skillfully illustrates Dohnányi’s impact on European and American music and the culture of the time.