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Taken in their socio-political context, competitive strategies of using music as a means of asserting individual prestige have seldom been considered by historical research. This dissertation argues that the promotion of their own national music and performers was an important asset for France and the USSR. Unlike the US and the UK, the continental European Allies could claim membership of a common European musical canon, and thus legitimize their presence within Austrian soundscapes and discursive fields. Allied-occupied Austria represents a highly interesting case study, particularly due to the uniquely open forms of competition that took place between different Allies and between East and West, Austria’s complex ideological and cultural history, which stretched from multinational monarchy to Nazism, and the symbolic standing of the country as the land of music, which itself informed Allied musical policies. Drawing on documentation from the Allied administrations, bilateral cultural societies, and native Austrian institutions, the dissertation investigates the design and conduct of musical diplomacies, the agency of the actors involved, and their adaptation to Austrian expectations and reactions. Emphasizing high-brow art music, both France and the USSR supported performances of French and Russian music by Austrian musicians. However, they also launched a number of important guest tours, the reverberations of which extended widely throughout Austrian society, successfully integrating folk music and dance into French and Russian musical offerings. The reception of French and Russian music in Austria is investigated through influential daily newspapers, notably in Vienna, Salzburg, and Innsbruck. Discursive constructions of musical French- and Russianness were marked by Bildungsbürgertum conservatism and nationalism, whereas high-brow elitism established common ground between the French, Soviet and Austrian actors. Pursuing their own agendas, powerful cultural journalists allotted positions of prestige to and critically engaged with French and Soviet/Russian musical exports, notably with diverging modernities. They also diversified the images of the two countries, ascribing to them a series of nationally defined musical categories, existing independently of considerations of hard power and political entanglements. An investigation of these layers of musical transfer and interpretation will contribute to our understanding of the communicative dynamics of cultural diplomacies, multifaceted national imageries, and the nexus between local, national, inter- and transnational histories of music and culture.
Arthur Hartmann (1881-1956), a celebrated violinist who performed over a thousand recitals throughout Europe and the United States, met Claude Debussy in 1908, after he had transcribed "Il pleure dans mon coeur" for violin and piano. Their relationship developed into friendship, and in February 1914 Debussy accompanied Hartmann in a performance of three of Hartmann's transcriptions of Debussy's works. The two friends saw each other for the last time on the composer's birthday, 22 August 1914, shortly before Hartmann and his family fled Europe to escape the Great War. With the publication of Hartmann's memoir "Claude Debussy as I Knew Him", along with the twenty-two known letters from Claude Debussy and the thirty-nine letters from Emma Debussy to Hartmann and his wife, the richness and importance of their relationship can be appreciated for the first time. The memoir covers the years 1908-1918. Debussy's letters to Hartmann span the years 1908-1916, and Emma (Mme) Debussy's letters span the years 1910-1932. Also included are the facsimile of Debussy's Minstrels manuscript transcription for violin and piano, three previously unpublished letters from Debussy to Pierre Lou�s, and correspondence between Hartmann and B�la Bart�k, Nina Grieg, Alexandre Guilmant, Charles Martin Loeffler, Marian MacDowell, Hans Richter, and Anton Webern, along with Hartmann's memoirs on Loeffler, Ysa�e, Joachim and Grieg. Samuel Hsu is a pianist and Professor of Music at Philadelphia Biblical University. He completed his Ph.D. in Historical Musicology at the University of California at Santa Barbara in 1972 with a dissertation on Debussy. Sidney Grolnic has been a librarian in the Music Department of the Free Library of Philadelphia for over twenty years and serves as curator of the library's Hartmann Collection. Mark Peters has recently received his Ph.D. in Historical Musicology at the University of Pittsburgh; his dissertation was on J. S. Bach's sacred cantatas to texts by Mariana von Ziegler.
This collection of Debussy's popular intermediate pieces includes "Clair de lune," "Reverie," "La petit nègre," the complete "Children's Corner Suite" and other works. The introductory pages discuss symbolist poetry, French Impressionist painters and Debussy's musical style. A variety of photographs taken throughout the composer's life are also included.
Claude Debussy, who composed works of major significance in a wide range of musical and theatrical genres, has exerted a fundamental influence on musicians of the twentieth century. This book explores how Debussy's compositions are brought to life in performance, investigating the composer's own expectations, the traditions surrounding the performance of his music, and the internal and contextual evidence that can give insight to performers of his works. Leading international scholars and interpreters of Debussy's music draw on his letters and music criticism as well as on the memoirs of performers close to him to discuss issues of performance forces, tempo and its flexibility, performer license, and the interpretation of expressive indications in the scores. They urge performers to recognize the symbolism and the value of silence in Debussy's work. And they show that it is particularly important to focus on aspects of timbre, voice-leading, and the musical arabesque, together with meter and phrase ambiguities, when playing his music. The book also includes the translation of an article on the opera Pelleas et Melisande In performance by one of Debussy's original conductors, Desire-Emile Inghelbrecht, and an interview with the composer-conductor Pierre Boulez on approaches to Pelleas and the orchestral works.
This collection of Debussy's popular intermediate pieces includes Clair de lune," "Reverie," "Le petit nègre," the complete "Children's Corner Suite" and other works. The introductory pages discuss symbolist poetry, French Impressionist painters and Debussy's musical style. A variety of photographs taken throughout the composer's life are also included. The Alfred Masterwork Library CD Editions conveniently combine each exceptional volume with a professionally recorded CD that is sure to inspire artistic performances. 64 pages. Pianist Scott Price is the chair of the Piano Department at the University of South Carolina and holds a doctorate in piano performance from the University of Oklahoma. He has given master classes and recitals throughout the United States and Southeast Asia. His recordings are featured in Alfred's Premier Piano Course."
Tchaikovsky has long intrigued music-lovers as a figure who straddles many borders--between East and West, nationalism and cosmopolitanism, tradition and innovation, tenderness and bombast, masculine and feminine. In this book, through consideration of his music and biography, scholars from several disciplines explore the many sides of Tchaikovsky. The volume presents for the first time in English some of Tchaikovsky's own writings about music, as well as three influential articles, previously available only in German, from the 1993 Tübingen conference commemorating the centennial of Tchaikovsky's death. Tchaikovsky's distinguished biographer, Alexander Poznansky, reveals new findings from his most recent archival explorations in Kiln, Tchaikovsky's home. Poznansky makes accessible for the first time the full text of perviously censored letters, clarifying issues about the composer's life that until now have remained mere conjecture. Leon Botstein examines the world of realist art that was so influential in Tchaikovsky's day, while Janet Kennedy describes how interpretations of Tchaikovsky's ballet Sleeping Beauty act as a barometer of the aesthetic and even political climate of several generations. Natalia Minibayeva elucidates the First Orchestral Suite as a workshop for Tchaikovsky's composition of large-scale works, including symphony, opera, and ballet, while Susanne Dammann discusses the problematic Fourth Symphony as a work perfectly poised between East and West. Arkadii Klimovitsky considers Tchaikovsky's role as a link between Russia's Golden and Silver Ages. The extensive interaction between music and literature in this period forms the basis for Rosamund Bartlett's essay on creative parallels between Tchaikovsky and Chekhov. Richard Wortman describes the political climate at the end of Tchaikovsky's life, including Alexander III's mania for re-creating seventeenth-century Russian culture. Caryl Emerson, Kadja Grönke, and Leslie Kearney examine a number of issues raised by Tchaikovsky's operas. Marina Kostalevsky translates Nikolai Kashkin's 1899 review of Tchaikovsky's controversial opera Orleanskaia Deva (The Maid of Orleans). The book concludes with examples of theoretical writing by Tchaikovsky and Rimsky-Korsakov, authors of Russia's first two systematic books on music theory. Lyle Neff translates and provides commentary on compositional issues that Tchaikovsky discusses in personal correspondence, as well as Rimsky-Korsakov's analysis of his own opera Snegurochka (The Snow Maiden). Tchaikovsky and His World will change how we understand the life, works, and intellectual milieu of one of the most important and beloved composers of the nineteenth century. Originally published in 1998. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Originally published in 1899, and revised in 1908, this is a "complete classific account of works, copious analyses of important works, analytical and other indices; also, supplement dealing with The Relation of Tchaikovsky to Art-Questions of the Day by Edwin Evans." The work also includes extracts from his writings, and the diary of his tour abroad in 1888. Rosa Newmarch was a well-known of English music writer and annotator, and a President of the Royal College of Music. This title is cited and recommended by Books for College Libraries and Catalogue of the Lamont Library, Harvard College.
The author writes of Debussy's life then with illustrated scores takes us through Debussy's songs, piano works, chamber works, orchestral works, choral and dramatic works and finally literary works.