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Revised edition: Adolf Busch (1891-1952) was an all-round musician and a moral beacon in troubled times. As first violin of the Busch String Quartet, founded in 1912, he was the greatest quartet-player of the last century and he led a famous conductorless orchestra, the Busch Chamber Players. He was also the busiest solo violinist of the inter-War years, regularly performing major concertos with such conductors as Nikisch, Toscanini, Weingartner, Walter, Furtwängler, Boult, Wood, Barbirolli and his elder brother Fritz. He was, moreover, an outstanding composer whose works enjoyed performances in Germany and further afield. Frequently he appeared as soloist and composer in the same concert. His courageous decision to boycott his native country from April 1933 - despite Hitler's efforts to persuade 'our German violinist' to return - drastically reduced his income and damaged his career as soloist and composer. In 1938, because of Mussolini's race laws, he imposed a similar boycott on Italy, where he was wildly popular. The following year he emigrated with his quartet colleagues to the United States, where he was not fully appreciated, although he had many successes with a new chamber orchestra and founded the Marlboro summer school. This biography, based on more than thirty years' research, examines Busch's exemplary behaviour in the context of a tumultuous era. Volume One traces his progress from childhood in Westphalia, through friendships with Fritz Steinbach, Donald Tovey and Max Reger, early triumphs in Berlin, London and Vienna, years of maturity and fulfilment, rejection of Hitler's Germany and close bonds with British musicians and concert-goers in the 1930s. It ends just before his move into American exile. Volume Two follows Busch through the Second World War, his return to give concerts in Europe in the late 1940s and his founding of the Marlboro summer school in Vermont shortly before his untimely death. A series of appendices consider Busch as violinist, violist and teacher, his taste and repertoire, his interpretations, his colleagues, his celebrated recordings and his compositions.
Fanny Hensel (1805-1847) was an extraordinary musician and astute observer of European culture. Previously she was known mainly as the granddaughter of philosopher Moses Mendelssohn and the sister of composer Felix Mendelssohn Bartholdy, yet Hensel is now recognized as the leading woman composer of the nineteenth century. She produced well over four hundred compositions and excelled in short, lyrical piano pieces and songs of epigrammatic intensity, but the expressive range of her art also accommodated challenging virtuoso piano and chamber works, orchestral music, and cantatas written in imitation of J.S. Bach. Her gender and position in society restricted her from opportunities afforded her brother, however, who himself quickly rose to an international career of the first rank. Hensel's own sphere of influence revolved around her Berlin residence, where she directed concerts that attracted such celebrities as Franz Liszt, Clara Schumann, Clara Novello, and her brother Felix. In this semi-public space, shared with exclusive audiences drawn from the elite of Berlin society, Hensel found her own voice as pianist, conductor and composer. For much of her life, she composed for her own pleasure, and her brother ranked her songs among the very best examples of the genre. Felix silently incorporated several of the songs into his own early publications, while a few other songs were published anonymously. Hensel began releasing her works under her own name in 1847, only to die of a stroke as the first reviews of her music began to appear. Tragically, the vast majority of her music was forgotten for a century and a half before its recent rediscovery. Renowned Mendelssohn scholar R. Larry Todd now offers a compelling, full account of Hensel's life and music, her extraordinary relationship with her brother, her position in one of Berlin's most eminent families, and her courageous struggle to define her own public voice as a composer [Publisher description].
Lateness and Brahms takes up the fascinating, yet understudied problem of how Brahms fits into the culture of turn-of-the-century Vienna. Brahms's conspicuous and puzzling absence in previous scholarly accounts of the time and place raises important questions, and as Margaret Notley demonstrates, the tendency to view him in neutralized, ahistorical terms has made his music seem far less interesting than it truly is.In pursuit of an historical Brahms, Notley focuses on the later chamber music, drawing on various documents and perspectives, but with particular emphasis on the relevance of Western Marxist critical traditions.
(Book). Evenings with Horowitz details a special friendship between two musicians. The book is a vivid account of their mutual passion for music and the piano. It reflects the struggles and triumphs of Vladimir Horowitz, a flaming genius who was also insecure and fearful of old age and the loss of his powers. In his conversations with the author, the Maestro reveals the agony and the ecstasy of a pianist's career and his love and awe for the great composers whose music he played. "Dubal, broadcaster, concert pianist, and faculty member at Juilliard, draws upon his knowledgeable background to produce a fascinating portrait of the brilliant and electrifying pianist Vladimir Horowitz ... Discussions ensued on repertoire, stylistic interpretations, tastes of audiences, other famous pianists, favored composers, and even such non-musical topics as care of animals, modern-day presidents, and American youth. Dubal provides a rare and intimate glimpse of Horowitz and illustrates the precariousness of accommodating the temperament of a genius." Library Journal
Accessible and affordable biography illustrated throughout with over 30 full-color plates
Explores Liszt's compositional processes and methods of revision as the product of the composer's interactions with a large variety of social, cultural, personal and political forces. Franz Liszt (1811-86) is mostly known for his virtuosic piano works, but his compositional achievements in the genre of song have so far been neglected. Many of Liszt's Lieder exist in multiple versions, sometimes radically altered, and many with equal claims to 'authenticity'. This has sometimes been viewed as a barrier to performance and a hindrance to scholarly scrutiny. Nicolás Puyané now redresses this imbalance and draws attention to this rich and varied corpus of works. Liszt's songs contain a myriad of intertextual links, not just with the songs of other composers, but also with Liszt's own works in other genres and his own revisions. By focusing on the multi-version songs, the book uncovers how these intertextual relationships have evolved over time. Introducing the concept of "textual fluidity", the book explores Liszt's compositional processes and methods of revision, interpreting the work as being the product of the composer's interactions with a large variety of social, cultural, personal and political forces: for instance, the contemporaneous reception of Liszt's early Lieder, or the change in Liszt's performing and compositional environments from his virtuoso to his Weimar years. The book then offers close readings of selected songs, including the Goethe and Schiller Lieder, by applying the concept of textual fluidity. Its findings will impact the way in which we see Urtext editions, arguing instead for an online fluid-text edition as an ideal resource with which to study Liszt's multi-version compositions.
Intended for the music student, the professional musician, and the music lover, Chamber Music: An Essential History covers repertoire from the Renaissance to the present, crossing genres to include string quartets, piano trios, clarinet quintets, and other groupings. Mark A. Radice gives a thorough overview and history of this long-established and beloved genre, typically performed by groups of a size to fit into spaces such as homes or churches and tending originally toward the string and wind instruments rather than percussion. Radice begins with chamber music's earliest expressions in the seventeenth century, discusses its most common elements in terms of instruments and compositional style, and then investigates how those elements play out across several centuries of composers- among them Mozart, Bach, Haydn, and Brahms- and national interpretations of chamber music. While Chamber Music: An Essential History is intended largely as a textbook, it will also find an audience as a companion volume for musicologists and fans of classical music, who may be interested in the background to a familiar and important genre.