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Self-revelations of tormented great composer; musical life in Paris, Wagner and other contemporaries, musical opinions, much more. 11 plates.
During the Age of Revolution, Paris came alive with wildly popular virtuoso performances. Whether the performers were musicians or chefs, chess players or detectives, these virtuosos transformed their technical skills into dramatic spectacles, presenting the marvelous and the outré for spellbound audiences. Who these characters were, how they attained their fame, and why Paris became the focal point of their activities is the subject of Paul Metzner's absorbing study. Covering the years 1775 to 1850, Metzner describes the careers of a handful of virtuosos: chess masters who played several games at once; a chef who sculpted hundreds of four-foot-tall architectural fantasies in sugar; the first police detective, whose memoirs inspired the invention of the detective story; a violinist who played whole pieces on a single string. He examines these virtuosos as a group in the context of the society that was then the capital of Western civilization. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1999.
By examining theoretical debates about the nature of nineteenth-century German opera and analyzing the genre’s development and its international dissemination, this book shows German opera’s entanglement with national identity formation. The thorough study of German opera debates in the first half of the nineteenth century highlights the esthetic and ideological significance of this relatively neglected repertoire, and helps to contextualize Richard Wagner’s attempts to define German opera and to gain a reputation as the German opera composer par excellence. By interpreting Wagner’s esthetic endeavors as a continuation of previous campaigns for the emancipation of German opera, this book adds an original and significant perspective to discussions about Wagner’s relation to German nationalism.
The first English paperback edition of the unique collection of documents which reveal Chopin as teacher and interpreter of his own music. From the accounts of his pupils, acquaintances and contemporaries, together with his own writing, we gain valuable insight into Chopin's pianistic and stylistic practice, his teaching methods and his aesthetic beliefs. The documents are divided into two categories: those concerning technique and style, two notions inseparable in Chopin's mind, and those concerning the interpretation of Chopin's works. Extensive appendix material presents Chopin's essay 'Sketch for a method', as well as annotated scores belonging to Chopin's pupils and acquaintances, and personal accounts of Chopin's playing as experienced by his contemporaries: composers and pianists, pupils and friends, writers and critics. The statements of Chopin's own students in diaries, letters and reminiscences, written, dictated or conveyed by word of mouth, provide the bulk of these accounts. Throughout the book detailed annotations add a valuable scholary dimension, creating an indispensable guide to the authentic performance of Chopin's piano works.
Inge van Rij's book demonstrates how Berlioz used the sights and sounds of the orchestra to explore other worlds.
In particular, Dr Ellis considers the music journalism of the Revue et Gazette musicale de Paris, the single most important specialist periodical of the mid nineteenth century, explaining how French music criticism was influenced by aesthetic and philosophical movements.
This multifaceted book investigates the place of dance and performance in the development, confirmation and subversion of conceptions of Europe from the 20th century up until today. Its contributions unravel the nexus between Europe and dance from historical and contemporaneous perspectives, and testify to an understanding of Europe based on different constructions of (alternative) societies. Through the threefold themes of identities, languages and institutions, this volume reveals the complexity of this topic. It investigates the construction of European identities in and through performance and their intersection with local or global cultures; explores versatile models of European multilingualism and linguistic diversity on stage; and considers the constructions of Europe, in dance, as conditioned by institutional and socio-political frameworks. The first volume of its kind, it offers a collection of previously unpublished chapters by an international and interdisciplinary group of scholars. It will make essential reading for anyone interested in the fields of dance, performance and European Studies, and serve as an important springboard for future research in this area.