Name: Samuel Barber Remembered
Brand: Peter Dickinson
Price: 60.0 USD
Availability: InStock

Peter Dickinson

Samuel Barber Remembered

$60.00

Compulsively readable interviews with the great American composer and his friends and colleagues, including Aaron Copland, Virgil Thomson, and Leontyne Price.

Samuel Barber is one of America's most popular classical composers. His widely beloved works include "Adagio for Strings" and Knoxville: Summer of 1915 .
The main source for Samuel Barber Remembered: A Centenary Tribute is a panoply of vivid and eminently readable interviews by Peter Dickinson for a BBC Radio 3 documentary in 1981. The interviewees include Barber's friends, fellow composers, and performers, notably Gian Carlo Menotti, Aaron Copland, William Schuman, Virgil Thomson, soprano Leontyne Price, and pianist John Browning. The book also includes three of the very few interviews extant with Barber himself. Dickinson contributes substantial chapters on Barber's early life and on Barber's reception in England. The book has a foreword by the distinguished composer and admirer of Barber, John Corigliano.

Peter Dickinson, British composer and pianist, has written or editednumerous books about twentieth-century music, including CageTalk: Dialogues with and about John Cage (University of Rochester Press) and three books published by Boydell Press: The Music of Lennox Berkeley; Copland Connotations; and Lord Berners: Composer, Writer, Painter.

Anthony Hammond

Pierre Cochereau

$170.00

Noted organist and scholar Anthony Hammond tells the full story, for the first time, of one of the great organists of the twentieth century.

Described by his teacher Marcel Dupré as "a phenomenon without equal in the history of the contemporary organ," Pierre Cochereau is considered one of the twentieth century's greatest French organists.This book tells, for the firsttime, the full story of of his extraordinary life and glittering, worldwide career.

In 1955 Cochereau was appointed Organiste Titulaire at Notre-Dame de Paris, where he restored the cathedral's musical glory and oversawa far-reaching and controversial transformation of its organ.

As a recitalist, he toured South America, Australia, Asia, Canada, and Europe in addition to twenty-five tours of the United States. He was the first western organist to perform in the former Soviet Union., played with many major orchestras under the batons of distinguished conductors, participated in numerous music festivals in Europe, made over eighty recordings, and was one of the founders of the Chartres International Organ Competition. He was honored several times for his achievements, including being named an Officer of the Legion of Honor (1978).

A tireless campaigner for standards in music education, Cochereau also served as director at many of France's prominent conservatories, including Le Mans, Lyons, and Nice, which under his directorhsip became one of the leading music schools in France.

Biographer AnthonyHammond draws from a variety of of prominent primary sources, notably Marcel Dupré's papers in the Bibliothèque Nationale, Paris, but also from Cochereau's surviving family and friends, and uses recordings and previously overlooked archive films in the Institut National de l'Audiovisuel, France to construct this definitive account and critical appraisal of one of France's most distinguished organists.

Anthony Hammond is an English concert organist, improviser, and musicologist who specializes in French Romantic and twentieth-century organ music.

Drew Massey

John Kirkpatrick, American Music, and the Printed Page

$120.00

How one extraordinary pianist, scholar, and editor prepared for publication important scores by Ives, Copland, and Ruggles, and reshaped the history of American musical modernism.

For over sixty years, the scholar and pianist John Kirkpatrick tirelessly promoted and championed the music of American composers. In this book, Drew Massey explores how Kirkpatrick's career as an editor of music shaped the musicand legacies of some of the great American modernists, including Aaron Copland, Ross Lee Finney, Roy Harris, Hunter Johnson, Charles Ives, Robert Palmer, and Carl Ruggles. Drawing on oral histories, interviews, and Kirkpatrick's own extensive archives, Massey carefully reconstructs Kirkpatrick's collaborations with such luminaries, displaying his editorial practice and inviting reconsideration of many of the most important debates in American modernism --for example, the self-fashioning of young composers during the 1940s, the cherished myth of Ruggles as a composer in communion with the "timeless," and Ives's status as a pioneer of modernist techniques.

First winner (November 2014) of ASCAP's Virgil Thomson Award for Outstanding Music Criticism.

Drew Massey is an Assistant Professor of Music at Binghamton University.

John Kirkpatrick, American Music, and the Printed Page

John W. Barker

Wagner and Venice Fictionalized

$170.00

The first account of how Wagner's last years and his death in Venice have been mythologized in novels and other works of the creative imagination.

The vast literature about Richard Wagner and his works includes a surprising number of fictional works, including novels, plays, satires, and an opera. Many of these deal with his last years and his death in Venice in 1883 -- andeven a fabricated eleventh-hour romance.

These fictional treatments -- many presented here in English for the first time -- reveal a striking evolution in the way that Wagner's character and reputation have been viewed over more than a century. They offer insights into changing contexts in Western intellectual and cultural history. And they make clear how much Wagner's associations with Venice have become part of the accumulated mythology of "thefloating city."

John Barker's Wagner and Venice Fictionalized: Variations on a Theme will be of interest to all lovers of opera, Venice, and European culture generally.

John W. Barker is Emeritus Professor of History at the University of Wisconsin-Madison, specializing in medieval (including Venetian) history. He is also a passionate music lover and record collector, and an active music critic and journalist.

Andrew Deruchie

The French Symphony at the Fin de Siècle

$130.00

WINNER: 2014 CHOICE Outstanding Academic Title Award

The first extended study of seven beloved French symphonic masterpieces, from Saint-Saëns and Franck to d'Indy and Dukas.

In this first full-length study of the symphony in late nineteenth- and early twentieth-century France, Andrew Deruchie provides extended critical discussion of seven of the most influential and frequently performed works of the era, by Camille Saint-Saëns, César Franck, Édouard Lalo, Vincent d'Indy, and Paul Dukas. The volume explores how these symphonists modernized the art form yet preserved many of the formal and rhetorical conventions of the canon, reconciling, in particular, Beethoven's symphonic legacy with the musical culture, intellectual environment, and political milieu of fin-de-siècle France. Drawing on contemporary criticism, music histories, composers' prose, and unpublished sketches, Deruchie's readings offer fresh insights on issues of musical form and technique, and also move beyond the notes to consider questions of meaning.

Andrew Deruchie is a lecturer in musicology at the University of Otago (New Zealand).

The French Symphony at the Fin de Siècle

Guy Capuzzo

Elliott Carter's What Next?

$120.00

The first book about Elliott Carter's only opera--or indeed about any single work by this still-productive modern master.

In 1997, the eminent American composer Elliott Carter teamed with British music critic/librettist Paul Griffiths to create the one-act opera What Next? Hailed by the New York Times as "theatrically dynamic" and "poignant," the opera explores how six people work together to emerge from the wreckage of an accident. Today, What Next? enjoys a prominent position in Carter's celebrated "late late" compositional period.

In the firstbook to focus exclusively on one Carter composition, Guy Capuzzo uses the metaphors of communication, cooperation, and separation to trace the dramatic arc of What Next? Through an approach that places stage action, words,and music on equal footing, Capuzzo's readings of four excerpts from the opera reveal the inner workings of Carter and Griffiths's tragicomedy.

Elliott Carter's "What Next?": Communication, Cooperation, and Separation sheds light on a significant work by a major figure in twentieth-century concert music and will be of interest to all who study American music, vocal music, and musical criticism.

Guy Capuzzo is associate professor of music theory at the University of North Carolina - Greensboro.

Sarah McCleave

Dance in Handel's London Operas

$130.00

Examines the pivotal role of dance in the Italian operas of Handel, perhaps the greatest opera composer between Monteverdi and Mozart.

George Frideric Handel set himself apart from his contemporaries by employing choreographed instrumental music to complement and reinforce the emotional impact of his operas. Of his fifty-three operas, no fewer than fourteen -- including ten written for the London stage -- feature dances. Dance in Handel's London Operas explores the relationship between music, drama, and dance in these London works, dispelling the notion that dance was a largely peripheral element in Italian-language operas prior to those of Gluck.
Taking a chronological approach, Sarah McCleave examines operas written throughout various periods in Handel's life, beginning with his early London operas,including his time at the Royal Music Academy and the "Sallé" operas of the 1730s, and concluding with his unstaged dramatic opera Alceste (1750). In considering the various influences on Handel (particularly the London stage), McCleave blends analysis of information from eighteenth-century treatises with that found in more modern studies, offering an informed and imaginative understanding of the role dance played in the work of this major figure --one who remained responsive throughout his career to the vital and innovative theatrical environment in which he worked.

Sarah McCleave is a lecturer at The School of Creative Arts at Queen's University Belfast.

Daniel Jay Grimminger

Sacred Song and the Pennsylvania Dutch

$120.00

Sheds light on the process of cultural change that occurred over the course of a century or more in the majority of Pennsylvania German communities and churches.

The Pennsylvania Dutch comprised the largest single ethnic group in the early American Republic of the late eighteenth and early nineteenth centuries. Yet like other ethnic minorities in early America, they struggled to maintain their own distinct ethnic identity in everything that they did. Eventually their German Lutheran and Reformed customs and folkways gave way to Anglo-American pressure. The tune and chorale books printed for use in Pennsylvania Dutch churches document this gradual process of Americanization, including notable moments of resistance to change.

Daniel Grimminger's Sacred Song and the Pennsylvania Dutch is the only in-depth study of the shifting identity of the Pennsylvania Dutch as manifested in their music. Through a closer examination of music sources, folk art, and historical contexts, this interdisciplinary study sheds light on the process of cultural change that occurred over the course of a century or more in the majority of Pennsylvania German communities and churches.

Grimminger's book also provides a model with which to view all ethnic enclaves, in America and elsewhere, andthe ways in which loyalties can shift as a group becomes part of a larger cultural fabric.

Daniel Grimminger holds a doctorate in sacred music and choral conducting, as well as a PhD in musicology. He also holds a masterof theological studies degree and is a clergyman in the North American Lutheran Church. Grimminger teaches at Kent State University and is the pastor at Faith Lutheran Church in Millersburg, Holmes County, Ohio.

Rebecca Cypess

Word, Image, and Song, Vol. 2

$130.00

Applies the notion of musical "voice" to diverse repertoires, ranging from the operas and cantatas of Handel to the autograph albums of nineteenth-century collector Charlotte de Rothschild.

The concept of musical voice has been a subject of controversy in recent decades, as the primacy of the composer's place in the creation of the work has been called into question. The essays in Word, Image, and Song: Essays onMusical Voices take the notion of musical voice as a starting point, and apply it in varying ways to diverse repertoires and music-historical circumstances, ranging from the operas and cantatas of Handel to the autograph albums of nineteenth-century collector Charlotte de Rothschild. Rather than attributing interpretive control to the composer, performer, or audience alone, these essays present a range of interpretive strategies with respect to the various voices that one might hear and understand as emerging from a musical work: the composer's voice, the performer's voice, the patron's voice, the collector's voice, and the social or receptive voice.

Contributors: Bathia Churgin, Rebecca Cypess, Roger Freitas, Philip Gossett, Ellen T. Harris, Joseph Kerman, Nathan Link, Daniel R. Melamed, Giovanni Morelli, Kristina Muxfeldt, Ruth Smith, Ruth A. Solie.

Rebecca Cypess is Assistant Professor of Music at the Mason Gross School of the Arts at Rutgers, the State University of New Jersey. Beth L. Glixon is instructor in musicology at the University of Kentucky School of Music. Nathan Link is NEH Associate Professor of Music at Centre College.

George W. Martin

Verdi in America

$190.00

A renowned Verdi authority offers here the often-astounding first history of how Verdi's early operas -- including one of his great masterpieces, Rigoletto -- made their way into America's musical life.

The operas of Giuseppe Verdi stand at the center of today's operatic repertoire, and have done so for more than a century. The story of how the reputation and wide appeal of these operas spread from Western Europe throughout the world has long needed to be told. This latest book by noted Verdi authority George W. Martin, Verdi in America: Oberto through Rigoletto, specifically details the changing fortunes of Verdi's early operas in the theaters andconcert halls of the United States.
Among the important works whose fates Martin traces are Nabucco, Attila, Ernani, Macbeth (in its original version), Luisa Miller, and one of Verdi's immortal masterpieces: Rigoletto, denounced in 1860 as the epitome of immorality.
Martin also explores the astonishing revival of many of these operas in the 1940s and onward (including Macbeth in its revised version of 1865), and the first American productions-sometimes in small opera houses outside the main circuit of some Verdi operas that had never previously managed to cross the Atlantic. Extensive quotations from newspaper reviews testify tothe eventual triumph of these remarkable works. They also reveal the crucial shifts in tastes and expectations that have occurred from Verdi's day to our own.

Independent scholar George W. Martin is the author of several books on Italian opera, including Verdi, His Music, Life and Times, Verdi at the Golden Gate: Opera and San Francisco in the Gold Rush Years, and Aspects of Verdi.

Melissa J. de Graaf

The New York Composers' Forum Concerts, 1935-1940

$130.00

The first detailed narrative of the Composers' Forum, documenting the vast array of composers, musical styles, ideologies, and audience responses in New York in the 1930s.

The New York Composers' Forum was a weekly series of new-music concerts sponsored by the Federal Music Project and Works Progress Administration. It showcased the music of modern American composers such as Aaron Copland, Amy Beach, Henry Cowell, and Ruth Crawford Seeger, and included question-and-answer sessions between the composers and audiences. These sessions led to discussions, arguments, and sometimes even riots, all documented in nearly complete transcripts.
This book is the first to tell the story of the Composers' Forum. Following the fascinating threads of dialogue from the transcripts, Melissa de Graaf explores the remarkable diversity of composers and musical styles represented, including numerous composers who have since been ignored or forgotten. She also examines the composers' and listeners' attitudes toward modernism, politics, gender, race, and American identity. In this important study of a unique and overlooked American institution, de Graaf shows that "modern" aesthetics in the 1930s comprised far more diverse styles and thought than we imagine today.

Melissa J. de Graaf is Associate Professor ofMusicology at the University of Miami.

The New York Composers' Forum Concerts, 1935-1940

Stephen Hastings

The Bjorling Sound

$65.00

Detailed examination of the vocal and interpretive artistry of the great Jussi Björling.

A half century after his death in 1960, Swedish tenor Jussi Björling remains one of the most beloved singers in the world. He spent forty-five of his forty-nine years performing in public, rapidly conquering opera-house and concert stages on both sides of the Atlantic. Along the way, he left a vast recorded legacy that continues to enchant lovers of vocal music and inspire young singers. In this ground-breaking book, Stephen Hastings analyzes more than four hundred of the great tenor's recordings, comparing them with the output of a hundred other tenors, from Caruso to Alagna. The repertoire ranges from brief art songs by Schubert and Sibelius to entire opera recordings--some madein the studio, others captured live. What emerges is a richly layered portrait of this most musical of singers. As Hastings's comparisons demonstrate, Björling left his unique imprint on all the scores he sang, combining a perennial freshness of approach with the richly inflected phrasing made possible by a perfectly honed technique.

Born in London and educated in Oxford, Stephen Hastings has been the Milan correspondent of Opera Newssince 1991 and editor in chief of the Italian monthly Musica for the past twelve years.

George Rochberg

A Dance of Polar Opposites

$120.00

The renowned American composer George Rochberg (1918-2005) distilled a lifetime of insights about Western music across some three hundred years in A Dance of Polar Opposites: The Continuing Transformation of Our Musical Language.

In A Dance of Polar Opposites: The Continuing Transformation of Our Musical Language, the renowned American composer George Rochberg distilled a lifetime of insights about Western music across some three hundred years. Rochberg describes how the asymmetrical tonal language of the late eighteenth century--the era of Haydn and Mozart--evolved through the gradual incursion of symmetry into a system based on the juxtaposition of tonal and atonal, asymmetrical and symmetrical--as seen in notable composers such as Webern, Prokofiev, and Rochberg himself.

A Dance of Polar Opposites takes us inside the composer's studio, reveals how he assessed his and our musicalpast, and paints a picture of what he believed our musical future may be.

George Rochberg (1918-2005), one of the most respected composers and writers about music in the second half of the twentieth century, was a finalist twice for the Pulitzer Prize and longtime professor at University of Pennsylvania. His writings include The Aesthetics of Survival: A Composer's View of Twentieth-Century Music (which won the ASCAP-Deems Taylor Award);the memoir Five Lines, Four Spaces; and a volume of letters.

Jeremy Gill was a student of George Rochberg and is a composer, conductor, and pianist.

Rebecca Cypess

Word, Image, and Song, Vol. 1

$170.00

New essays by noted authorities on music and related arts in early modern Italy, giving special attention to musical sources, poetry, performance, and visual arts.

The rich cultural environment of early modern Italy inspired a vast array of musical innovations: this was the first age of the virtuoso performer, the era that witnessed the beginnings of opera, and a moment that saw the intersection and cross-fertilization of madrigals and songs of all sorts. Word, Image, and Song: Essays on Early Modern Italy presents a broad range of approaches to the study of music and related arts in that era. Topics include musical source studies, issues of performance, poetry and linguistics, influences on music from the classical tradition, and the interconnectedness of music and visual art. Their points of departure include well-known musical workssuch as Monteverdi's madrigals, librettos of seventeenth-century operas, the poetry of Giambattista Marino, and the paintings of Titian and his contemporaries.

Contributors: Jennifer Williams Brown, Mauro Calcagno, Alan Curtis, Suzanne G. Cusick, Ruth I. DeFord, Dinko Fabris, Beth L. Glixon, Jonathan E. Glixon, Barbara Russano Hanning, Wendy Heller, Robert R. Holzer, Deborah Howard, Giuseppe Mazzotta, Margaret Murata, David Rosand, Susan ParkerShimp, Gary Tomlinson, Alvaro Torrente, Andrew H. Weaver.

Rebecca Cypess is Assistant Professor of Music at the Mason Gross School of the Arts at Rutgers, the State University of New Jersey. Beth L. Glixon is Instructor in Musicology at the University of Kentucky School of Music. Nathan Link is NEH Associate Professor of Music at Centre College.

Christopher Seaman

Inside Conducting

$35.00

Exactly what does a conductor do in front of an orchestra? Internationally renowned conductor Christopher Seaman offers lively and informative answers in this wise yet humorous book.

What does a conductor actually do? How much effect does he or she have? Can the orchestra manage without one? Why don't the players look at the conductor more? Is it necessary for the conductor to play every instrument? What about interpretation? What happens at rehearsals? Why do some conductors "thrash around" more than others? Who's the boss in a concerto: the soloist or the conductor?
These are some of the questions that receive lively andinformative answers in this book by renowned conductor Christopher Seaman. Composed of short articles on individual topics, it is accessible and easy to consult. Each article begins with an anecdote or saying and ends with quotations from musicians, often expressing opposing views.
There are many books on the art of conducting, but none like this. Music lovers wondering what the figure on the podium actually does, and aspiring conductors eager to learn more about the art and craft of leading an orchestra, will all treasure this wise yet humorous book.

Christopher Seaman has been successful at both ends of the baton. After four years as principal timpanist of the London Philharmonic Orchestra, he was appointed principal conductor of the BBC Scottish Symphony Orchestra and has enjoyed a busy international conducting career for over forty years. He is now Conductor Laureate for Life of the Rochester Philharmonic Orchestra, New York, and he continues to bring great music and wise words to audiences, students, and readers around the world.

Martin Chusid

Verdi's "Il trovatore"

$120.00

The first comprehensive study of Verdi's perennially popular opera Il trovatore, written by one of the world's great Verdi authorities.

No full-length study has ever been written on Il trovatore, in his day Verdi's most successful stage work. This book by one of the world's great Verdi authorities fills that gap, providing a comprehensive look at the opera,from its genesis and structure to its early performance history and critical reception.

Starting with the background of the opera, the volume traces the origins of the original play by Antonio García Gutiérrez, El trovador, and offers a new, more credible source for the drama. In addition, it examines the evolution of the libretto, the music, and the arrangement of the narrative, revealing innovative musical and dramatic features not seenby other critics. The book also includes a discussion of contemporary reviews and a section on some of the important performers in the twentieth century (for example, Toscanini and Caruso), as well as a consideration of several ofthe more unusual stagings of the work mounted during the final decades of the century.

With these and other explorations, Martin Chusid offers a thorough survey of Verdi's Il trovatore and in the process deepens and enhances our encounter with one of the mainstays of the operatic reparatory.

Martin Chusid is Professor Emeritus of Music, New York University, and founding director of the American Institute for Verdi Studies.

Chris Walton

Lies and Epiphanies

$65.00

Presents case studies of "inspiration" in five composers -- Wagner, Mahler, Furtwängler, R. Strauss, and Berg -- examining how the supposedly extrarational world of creative inspiration intersects with the highly rational world ofmoney and politics.

Lies and Epiphanies offers case studies of "inspiration" in five composers -- Richard Wagner, Gustav Mahler, Wilhelm Furtwängler, Richard Strauss, and Alban Berg. Their own tales of their epiphanies played a determining role in the reception history of their works: the finale of Mahler's Second Symphony was supposedly born of a "lightning bolt" of inspiration at the funeral of Hans von Bülow, while Alban Berg's Violin Concerto was purportedly his direct response to the tragic early death of Alma Mahler's daughter.
Chris Walton looks behind these tales to explore instead the composer's dual role as author and self-commentator, laying bare the fissures and inconsistencieswithin these artists' testimonies and revealing how the putatively extrarational world of creative inspiration intersects with the highly rational world of money and politics. As Walton points out, the composer often imposes on the audience an interpretation of a work and its genesis that is as superficial as the score itself is not. This study seeks to show why.

Chris Walton teaches music history at the Basel University of Music in Switzerland.He is the author of Othmar Schoeck: Life and Works (University of Rochester Press, 2009) and Richard Wagner's Zurich: The Muse of Place (Camden House, 2007).

Professor Craig Monson

Music in Print and Beyond

$130.00

Fresh and innovative takes on the dissemination of music in manuscript, print, and, now, electronic formats, revealing how the world has experienced music from the sixteenth century to the present.

This collection of essays examines the diverse ways in which music and ideas about music have been disseminated in print and other media from the sixteenth century onward. Contributors look afresh at unfamiliar facets of the sixteenth-century book trade and the circulation of manuscript and printed music in the seventeenth to nineteenth centuries. They also analyze and critique new media forms, showing how a dizzying array of changing technologies has influenced what we hear, whom we hear, and how we hear. The repertoires considered include Western art music -- from medieval to contemporary -- as well as popular music and jazz.
Assembling contributions from experts in a wide range of fields, such as musicology, music theory, music history, and jazz and popular music studies, Music in Print and Beyond: Hildegard von Bingen to The Beatles sets new standards for the discussion of music's place in Western cultural life.

Contributors: Joseph Auner, Bonnie J. Blackburn, Gabriela Cruz, Bonnie Gordon, Ellen T. Harris, Lewis Lockwood, Paul S. Machlin, Roberta Montemorra Marvin, Honey Meconi, Craig A. Monson, Kate van Orden, Sousan L. Youens.

Roberta Montemorra Marvin teaches at the University of Iowa and is the author of Verdi the Student -- Verdi the Teacher (Istituto Nazionale di Studi Verdiani, 2010) and editor of The Cambridge Verdi Encyclopedia (Cambridge University Press, 2013).
Craig A. Monson is Professor of Musicology at Washington University (St Louis, Missouri) and is the author of Divas in the Convent: Nuns, Music, and Defiance in Seventeenth-Century Italy (University of Chicago Press, 2012).

Katherine R. Syer

Wagner's Visions

$130.00

Examines the impact of contemporary ideas about the psyche and neglected yet crucial artistic influences on the psychological dimension of Wagner's operas, especially Die Feen, Der fliegende Holländer, Tannhäuser, Lohengrin, and the Ring.

Wagner's Visions studies crucial influences on Wagner's dramatic style during the years before and just after the failed Dresden revolutionary uprising of 1849. Offering a detailed examination of Die Feen, Wagner's least-known complete opera, together with analysis of Der fliegende Holländer, Tannhäuser, Lohengrin, and the four Ring dramas, Katherine Syer explores the inner experiences of Wagner's protagonists. Sources ofparticular political significance include the fables of the eighteenth-century Venetian playwright Carlo Gozzi, the Iphigenia operas of Christoph Willibald Gluck, and the legacy of the martyr Theodor Körner, whose poetry became the lingua franca of the revolutionary movement to liberate and unify Germany. Syer's book offers fresh insights into the historical context that gave rise to Wagner's dramatic art, revealing how his distinct and powerful imagery is intimately bound up with the crises and instabilities of his era.

Katherine R. Syer is associate professor of theatre and musicology at the University of Illinois at Urbana-Champaign.

Sarah Gutsche-Miller

Parisian Music-Hall Ballet, 1871-1913

$170.00

This pioneering study of ballets staged in Parisian music halls brings to light a vibrant dance culture central to the renewal of French choreography at the fin de siècle.

This pioneering study of Parisian music-hall ballet brings to light a vibrant dance culture that was central to the renewal of French ballet at the turn of the twentieth century. Long thought a lost period for ballet in France, the fin de siècle in fact saw a flourishing of choreographic activity. More than four hundred ballets were created to great acclaim, half of which were full-scale pantomime-ballets, with entertaining narratives, catchy music, titillating choreography, lavish sets and costumes, appealing corps girls, and star ballerinas. Most of these productions were staged not at the elite Paris Opéra but in the city's trendiest commercial venues: music halls.

Between 1871 and 1913, the Folies-Bergère, the Olympia, and the Casino de Paris brought together the era's leading authors of light theater and comic opera to produce a flurry of imaginative ballets that combined the conventional structures of high art with the popular idioms of mass entertainment. They also drew unprecedented numbers of people who had never before attended ballet. Parisian Music-Hall Ballet, 1871-1913 rediscovers this repertoire and culture, supplying a missing chapter in the history of French dance.

Sarah Gutsche-Miller is Assistant Professor of Musicology at the University of Toronto.

Silvio J. dos Santos

Narratives of Identity in Alban Berg's "Lulu"

$120.00

This book explores the crossroads between autobiographical narratives and musical composition in Alban Berg's Lulu, unveiling aspects of encoded social customs, gender identity, and personal experiences within musical structures.

Exploring the crossroads between autobiographical narrative and musical composition, this book examines Berg's transformation of Frank Wedekind's Erdgeist and Die Büchse der Pandora -- the plays used in the formationof the libretto for Lulu -- according to notions of gender identity, social customs, and the aesthetics of modernity in the Vienna of the 1920s and 1930s. While Berg modernized several aspects of the plays and incorporatedserial techniques of composition from Arnold Schoenberg, he never let go of the idealistic Wagnerian perspectives of his youth. In fact, he went as far as reconfiguring aspects of Richard Wagner's life as an ideal identity to beplayed out in the compositional process. In composing the opera, Berg also reflected on the most important cultural figures in fin-de-siècle Vienna that affected his worldview, including Karl Kraus, Emil Lucka, Otto Weininger, andothers.
Combining analysis of Berg's correspondence, numerous sketches for Lulu, and the finished work with interpretive models drawn from cultural studies and philosophy, this book elucidates the ways in which Berg grappled at the end of his life with his self-image as an "incorrigible romantic," and explains aspects of his musical language that have been considered strange or anomalous in Berg scholarship.

Silvio J. dos Santos isassistant professor of musicology at the University of Florida.

Narratives of Identity in Alban Berg's "Lulu"

Julius Julius Rudel

First and Lasting Impressions

$60.00

The long-awaited memoir of Julius Rudel, the legendary opera conductor and arts administrator, gives insight into his ground-breaking repertory choices and his collaborations with Beverly Sills, Plácido Domingo, and others.

As a seventeen-year-old Jewish boy, Julius Rudel escaped from Austria after the Nazi invasion and moved to New York, where he began his career as an unpaid musical assistant and worked his way up through the ranks of the newly formed New York City Opera, being named in 1957 as the company's general director and principal conductor. Later, he became the first artistic director of the Kennedy Center in Washington, DC.
In his twenty-two-year leadership of New York City Opera, Rudel challenged audiences with new and unusual repertoire -- including fifteen world premieres and three seasons consisting entirely of American operas -- turning the popularly priced "People's Opera" intothe most influential and daring opera company in the United States.

Rudel writes in detail of his unusual repertoire choices and of the political battles behind New York City Opera's move to Lincoln Center in 1966, and hereminisces about his legendary collaborations with Beverly Sills (on Handel's Giulio Cesare and Donizetti's "Three Queens") and Plácido Domingo (on Ginastera's Don Rodrigo) -- and about his work with other extraordinary talents including Norman Treigle, Phyllis Curtin, William Ball, Frank Corsaro, Tito Capobianco, Leopold Stokowski, Leonard Bernstein, Harold Prince, and Gian Carlo Menotti.

First and Lasting Impressions givesa rare personal look into Julius Rudel's career as a conductor and administrator during the glory years of New York City Opera.

Julius Rudel was general director and principal conductor of New York City Opera from 1957to 1979, and since that time has been a frequent guest conductor at the Metropolitan Opera and many of the world's other great opera houses.

Rebecca Paller, a curator at the Paley Center for Media in New York, has written about the arts for publications including Opera News, Opera, Vogue, Playbill, Symphony, and American Theatre.

Ralph Kirkpatrick

$120.00

This collection of letters to and from the eminent harpsichordist, scholar, and early-music pioneer Ralph Kirkpatrick provides a portrait of the musician from the beginning of his career in Paris in the 1930s to its end in the early 1980s.

This collection of letters to and from the eminent harpsichordist, scholar, and early-music pioneer Ralph Kirkpatrick provides a portrait of the musician from the beginning of his career in Paris in the 1930s to its end in the early 1980s, offering new insights into his work and scholarship. The volume contains letters from Europe to his family as well as correspondence with harpsichord makers, performers, and composers, including Nadia Boulanger, Alexander Schneider, John Kirkpatrick, Elliott Carter, Henry Cowell, John Challis, Kenneth Gilbert, Serge Koussevitzky, and Vincent Persichetti. In addition, two former students of Kirkpatrick, the guitarist Eliot Fisk and the harpsichordist Mark Kroll, write about their experiences studying with Kirkpatrick in a foreword and an afterword. The volume also includes a bibliography of publications by and about the musician, as well as a discography.

MeredithKirkpatrick is a librarian and bibliographer at Boston University and is the niece of Ralph Kirkpatrick.

Robert Riggs

The Violin

$35.00

Provides new perspectives on the violin's beloved concert repertoire, its diverse roles in indigenous musical traditions on four continents, and its metaphorical presence in visual arts and literature.

With a colorful history that spans 450 years, the violin has proven to be one of the world's most important and versatile instruments. Addressed to performing musicians, serious concertgoers, and collectors of recordings, The Violin offers insightful, up-to-date essays on a wide range of topics. Essays discuss beloved masterpieces from the violin's solo repertoire, with individual chapters on the Italian Baroque, Bach, Mozart, Beethoven, and the violin concerto in the nineteenth and twentieth centuries, as well as the evolution of performance styles and interpretation as documented in recordings. The volume also illustrates the broad cultural and geographic reach of the instrument, offering readers a taste of the traditional music of Argentina, Mexico, Norway, and India, in which the violin's participation is an essential and characteristic element. Other chapters are devoted to American fiddling andto the violin and violinists as metaphors in literature and the visual arts.

CONTRIBUTORS: Chris Goertzen, Eitan Ornoy, Robert Riggs, Peter Walls, Peter Wollny.

Musicologist and violinist Robert Riggs (PhD,Harvard University) chairs the Department of Music at the University of Mississippi and is the author of articles on Mozart as well as the monograph Leon Kirchner: Composer, Performer, and Teacher (URP 2010).

Sterling E. Murray

The Career of an Eighteenth-Century Kapellmeister

$190.00

A unique look at the career of a little-known contemporary of Haydn and Mozart, presented against a fascinating background of court musical life in late eighteenth-century Germany.

Today the classical style is defined by the music of a handful of composers, Haydn and Mozart being the most prominent. As a result, the accomplishments of these masters have all but eclipsed the music of most of their contemporaries. In this book, Sterling Murray examines one of the most talented of this group, Antonio Rosetti. Born around 1750 and trained in Bohemia, Rosetti spent most of his creative life in Germany, where he served as music director to the Prince of Oettingen-Wallerstein between 1773 and 1789 and then the Duke of Mecklenburg-Schwerin until his death in 1792.
The Career of an Eighteenth-Century Kapellmeister offers the first comprehensive study of Rosetti's life. The events of the composer's biography are unfolded against a vivid picture of musical life at the two small German courts where Rosetti was employed. The second half of the book is devoted to an examination of formand style in Rosetti's music, illustrated with full-score musical examples in the text and on a complementary website. What emerges from this investigation is a portrait of a composer who, having conquered the stylistic languageof his day, challenged those conventions to produce imaginative and highly creative works of great beauty.

Sterling E. Murray is professor emeritus of the School of Music at West Chester University in West Chester, Pennsylvania.

The Career of an Eighteenth-Century Kapellmeister

Catherine Saucier

A Paradise of Priests

$80.00

Embraces an all-encompassing interdisciplinary methodology to uncover the symbiosis of saintly and civic ideals in music, rituals, and hagiographic writing celebrating the origins and identity of a major clerical center.

Medieval Liège was the seat of a vast diocese in northwestern Europe and a city of an exceptional number of churches, clergymen, and church musicians. Recognized as a priestly paradise, the city accommodated as many Masses each day as Rome. In this volume, musicologist Catherine Saucier examines the music of religious worship in Liège and reveals within the liturgy and ritual a civic function by which local clerics promoted the holy status of their city. Analyzing hagiographic and historical writings, religious art, and sung ceremonies relevant to the city's genesis, destruction, and eventual rebirth, Saucier uncovers richly varied ways in which liégeois clergymen fused music with text, image, and ritual to celebrate the city's sacred episcopal origins and saintly persona.
A Paradise of Priests forges new interdisciplinary connections between musicology, the liturgical arts, the cult of saints, church history, and urban studies, and is an essential resource for scholars and students interested in the history of the Low Countries, hagiography and its reception, and ecclesiastical institutions.

CatherineSaucier is assistant professor of music history at Arizona State University.

Scott Messing

Marching to the Canon

$110.00

Marching to the Canon examines the history of Schubert's Marche militaire no.1 from its beginnings, through its many arrangements, to its impact on dance, literature, film, and music.

Marche militaire is Franz Schubert's most recognizable and beloved instrumental work. Originally published for piano four hands in 1826, this tuneful march -- Schubert's first of three military marches -- was arranged, adapted, and incorporated into new incarnations over the next two centuries. Its success was due to its chameleonlike ability to cross the still-porous borders between canonic and popular repertories, creating a performance life thatmade deep inroads into dance, literature, and film, and inspired quotations or allusions in other music
Marching to the Canon examines the history of Schubert's storied Marche militaire from its modest beginnings as aduet published for domestic consumption to its now-ubiquitous presence. After detailing the composition, publication, and reception of the original march, the book analyzes the impact of transcriptions and arrangements for solo piano, orchestra, band, and other settings. In addition, it considers the ways the march was used symbolically, even manipulated, during the Franco-Prussian War and the two world wars, as well as the diverse creative uses of the piece by significant figures as varied as Willa Cather, Isadora Duncan, Walt Disney, and Igor Stravinsky. This study of the reception and impact of the Marche militaire offers a unique narrative illuminating the world that enshrined this remarkable score as one of the most memorable musical works of the nineteenth century.

Scott Messing is the Charles A. Dana Professor of Music at Alma College, and the author of two works available from theUniversity of Rochester Press: Neoclassicism in Music and the two-volume Schubert in the European Imagination.

Jürgen Thym

Mendelssohn, the Organ, and the Music of the Past

$130.00

Examines Mendelssohn's relationship to the past, shedding light on the construction of historical legacies that, in some cases, served to assert German cultural supremacy only two decades after the composer's death.

By upbringing, family connections, and education, Felix Mendelssohn was ideally positioned to contribute to the historical legacies of the German people, who in the aftermath of the Napoleonic Wars discovered that they were a nation with a distinct culture. The number of cultural icons of German nationalism that Mendelssohn "discovered," promoted, or was asked to promote (by way of commissions) in his compositions is striking: Gutenberg and the invention of the printing press, Dürer and Nuremberg, Luther and the Augsburg Confession as the manifesto of Protestantism, Bach and the St. Matthew Passion, Beethoven and his claims to universal brotherhood.
The essays in thisvolume investigate from a variety of perspectives Mendelssohn's relationship to the music of the past, including the significance of Bach's music for the Mendelssohn family, the homages to Bach in Mendelssohn's organ compositions,the influence of Beethoven in the Reformation Symphony, and Mendelssohn's reception and use of Handel's oratorios. Together, the essays shed light on the construction of legacies that, in some cases, served to assert German cultural supremacy only two decades after the composer's death in 1847.

Contributors: Celia Applegate, John Michael Cooper, Hans Davidsson, Wm. A. Little, Peter Mercer-Taylor, Siegwart Reichwald, Glenn Stanley, Russell Stinson, Benedict Taylor, Nicholas Thistlethwaite, Jürgen Thym, R. Larry Todd, Christoph Wolff

Jürgen Thym is professor emeritus of musicology at the Eastman School of Music and editor of Of Poetry and Song: Approaches tothe Nineteenth-Century Lied (University of Rochester Press, 2010).

Mendelssohn, the Organ, and the Music of the Past

Dr François de Médicis

Debussy's Resonance

$240.00

Some of Debussy's most beloved pieces, as well as lesser-known ones from his early years, set in a rich cultural context by leading experts from the English- and French-speaking worlds.

The music of Claude Debussy has always been widely beloved by listeners and performers alike, more perhaps than that of any of the other pioneers of musical modernism. However rich in itself, his creative output also participated,and continues to participate, in a network of cultural connections, the scope and meaning of which can only be gleaned through multiple interpretive frameworks. Debussy's Resonance offers twenty new studies by some of themost active and respected English- and French-language scholars of French music. The book treats a large swath of the composer's music, from previously unexplored mélodies of his early years to late pieces such as the ballet Jeux and the Douze Études, and takes into consideration the numerous contexts that helped shape the works and the different ways that musicologists and critics have explained them.

CONTRIBUTORS: Katherine Bergeron, Matthew Brown, David J. Code, Mark DeVoto, Michel Duchesneau, David Grayson, Denis Herlin, Jocelyn Ho, Roy Howat, Steven Huebner, Julian Johnson, Barbara L. Kelly, Richard Langham Smith, Mark McFarland, François de Médicis, Robert Orledge, Boyd Pomeroy. Caroline Rae, Marie Rolf, August Sheehy

FRANÇOIS DE MÉDICIS is Professor of Music at the Université de Montréal. STEVEN HUEBNER is Professor of Music at McGill University.

Paul F. Rice

Venanzio Rauzzini in Britain

$170.00

Examines the remarkable career of leading soprano castrato Venanzio Rauzzini (1746-1810), the first castrato to make Britain his home.

Venanzio Rauzzini (1746-1810), the celebrated Italian castrato, is best known for his performance in Mozart's Lucio Silla in 1772, with which Mozart was so pleased that he composed for the singer the famous motet Exsultate Jubilate. In 1774, Rauzzini moved to London where he performed three seasons of serious operas at the King's Theatre. From 1777 until his death in 1810, he was the director of the concert series in Bath, a series that matched the prestige of any that were given in London. In addition, he composed prolifically, writing music for eleven operas.

This book is a study of Rauzzini's remarkable yet often overlooked career in Britain. Paul Rice chronicles Rauzzini's performances at the King's Theatre and examines his leadership of the Bath subscription concerts from 1780-1810, recovering much of the repertory. Rice shows in detail how Rauzzini responded musically to the social and political conditions of his adopted country, and analyzes the castrato's reception, as well as compositional choices, shedding new light on changing musical tastes in late eighteenth-century Britain.

Paul F. Rice is Professor of Musicology at the School of Music, Memorial University of Newfoundland.

David Schulenberg

The Music of Carl Philipp Emanuel Bach

$190.00

In this first comprehensive examination of the music of the most prolific Bach son, David Schulenberg offers new perspectives on the career, style, and originality of Carl Philipp Emanuel Bach.

Of Bach's four sons who became composers, Carl Philipp Emanuel Bach (1714-88) was the most prolific, the most original, and the most influential both during and after his lifetime. This is the first comprehensive study of his music, examining not only the famous keyboard sonatas and concertos but also the songs, the chamber music, and the sacred works, many of which resurfaced only recently and have not previously been evaluated. A compositional biography,the book surveys C. P. E. Bach's extensive output of nearly a thousand works while tracing his musical development-from his student days at Leipzig and Frankfurt (Oder), through his nearly three decades as court musician to Prussian King Frederick "the Great," to his final twenty years as cantor and music director at Hamburg.
David Schulenberg, author of important books on the music of J. S. Bach and his first son, W. F. Bach, here considers the legacy of the second son from a compelling new perspective. Focusing on C. P. E. Bach's compositional choices within his social and historical context, Schulenberg shows how C. P. E. Bach deliberately avoided his father's style whileborrowing from the manner of his Berlin colleagues, who were themselves inspired by Italian opera. Schulenberg also shows how C. P. E. Bach, now best known for his virtuoso keyboard works, responded to changing cultural and aesthetic trends by refashioning himself as a writer of vocal music and popular chamber compositions. Audio versions of the book's musical examples, as well as further examples and supplementary tables and texts, are available on a companion website.

David Schulenberg is professor of music at Wagner College and teaches historical performance at the Juilliard School. He is the author of The Music of Wilhelm Friedemann Bach (University of Rochester Press, 2010).

Rutger Helmers

Not Russian Enough?

$120.00

Offers fresh perspectives on the function of nationalist thought in the cosmopolitan opera world, with particular emphasis on the idea of "Russianness" in four nineteenth-century operas by Glinka, Serov, Tchaikovsky, and Rimsky-Korsakov.

In the nineteenth century, Russian composers and critics were encouraged to cultivate a national style to distinguish their music from the dominant Italian, French, and German traditions. Not Russian Enough? explores this aspiration for a nationalist musical tradition as it was carried out in the cosmopolitan world of opera. Rutger Helmers analyzes the cultural context, music, and reception of four important operas: Glinka's A Life for the Tsar (1836), Serov's Judith (1863), Tchaikovsky's The Maid of Orléans (1881), and Rimsky-Korsakov's The Tsar's Bride (1899). He discusses such issues as the influence of Italian and French opera, the use of foreign subjects, the application of local color, and the adherence to the classics, and considers how these related to a sense of "Russianness." Besides yielding new insights for each of these works, this study offers a fresh perspective on the function of nationalist thought in the nineteenth-century Russian opera world..

Rutger Helmers is Assistant Professor in Historical Musicology at the University of Amsterdam and lectures in literary and cultural studies at Radboud University Nijmegen.

Bryan Proksch

Reviving Haydn

$130.00

Examines the decline and resurgence of Haydn's reputation in an effort to better understand the forces that shape critical reception on a broad scale.

By the 1840s Joseph Haydn, who died in 1809 as the most celebrated composer of his generation, had degenerated into the bewigged "Papa Haydn," a shallow placeholder in music history who merely invented the forms used by Beethoven.In a remarkable reversal, Haydn swiftly regained his former stature within the opening decades of the twentieth century. Reviving Haydn: New Appreciations in the Twentieth Century examines both the decline and the subsequent resurgence of Haydn's reputation in an effort to better understand the forces that shape critical reception on a broad scale.

No single person or event marked the turning point for Haydn's reputation. Instead a broad resurgence reshaped opinion in Europe and the United States in short order. The Haydn revival engaged many of the music world's leading figures -- composers (Vincent d'Indy and Arnold Schoenberg), conductors (Arturo Toscanini), performers (Wanda Landowska), critics (Lawrence Gilman), and scholars (Heinrich Schenker and Donald Tovey) -- each of whom valued Haydn's music for specific reasons and used it to advance particular goals. Yet each advocated for a rehearing and rereading of the composer's works, calling for a new appreciation of Haydn's music.

Bryan Proksch is Assistant Professor of Music History at Lamar University.

Dolores Pesce

Liszt's Final Decade

$170.00

Liszt's Final Decade reveals in the composer's own words to his confidantes Carolyne von Sayn-Wittgenstein and Olga von Meyendorff how he resolved his conflicted self-image as a celebrated performer but underappreciated composer.

WINNER: 2017 Alan Walker Book Award

Toward the end of his life Franz Liszt maintained extensive correspondence with two women who were at the time his closest confidantes, Carolyne von Sayn-Wittgenstein and Olga von Meyendorff. Liszt wrote to them regularly, expressing his intimate feelings about personal and career events and his conflicted self-image as a celebrated performer but underappreciated composer. Absent a diary, the letters offer the most direct avenue into Liszt's psyche in hisfinal years.
Liszt's Final Decade explores through these letters the mind and music of one of the nineteenth century's most popular musicians, providing insight into Liszt's melancholia in his last years and his struggle to gain recognition for his music yet avoid criticism. The exchange indicates that Liszt ultimately resolved his inner conflict through a personally constructed Christian moral philosophy that embraced positive resignation to suffering, compassionate love, and trust in a just reward to come. The book also examines how Liszt's late sacred compositions affirm the yielding of suffering to joy and hope. Significantly, Liszt viewed these works, commonly overlooked today, as a major part of his compositional legacy. This volume thus challenges the idea of a single "late" Lisztian style and the notion that despair overwhelmed the composer in his final years.

We are pleased to announce that Liszt's Final Decade is the winner of the 2017 Alan Walker Book Award, given by the American Liszt Society. Dolores Pesce is the Avis Blewett Professor of Music in Arts and Sciences at Washington University in St. Louis.

Markand Thakar

On the Principles and Practice of Conducting

$29.95

A practical manual for building musical understanding and physical skills, intended for conductors at all stages of development.

This book is a practical manual for anyone who stands on a podium helping an ensemble make music. The four main chapters address the major obligations of the conductor: (1) bringing the musical tones to life in the most beautiful, most moving way possible; (2) freeing the mind to fully absorb all the tones; (3) freeing the body of unnecessary tension; and (4) effectively using the freed mind and body to influence the sounds. Each chapter begins with a summary of the underlying principles, presents real-life applications, and offers exercises for developing skills.
Video demonstrations of the exercises as well as downloadable scores and parts are available on a companion website. The parts, in multiple transpositions, allow for hands-on experience where standard instrumental complements are unavailable.

Markand Thakar, music director of the Baltimore Chamber Orchestra, is an internationally renowned pedagogue of conducting. A protégé of the legendary Sergiu Celibidache and former assistant conductor of the New York Philharmonic, Thakar is author of Looking for the "Harp" Quartet: An Investigation into Musical Beauty (University of Rochester Press, 2011) and Counterpoint: Fundamentals of Music Making (Yale University Press, 1990).

On the Principles and Practice of Conducting

Lex Eisenhardt

Italian Guitar Music of the Seventeenth Century

$130.00

One of Europe's foremost experts on early guitar music explores this little known but richly rewarding repertoire.

In the seventeenth century, like today, the guitar was often used for chord strumming ("battuto" in Italian) in songs and popular dance genres, such as the ciaccona or sarabanda. In the golden age of the baroque guitar, Italy gave rise to a unique solo repertoire, in which chord strumming and lute-like plucked ("pizzicato") styles were mixed. Italian Guitar Music of the Seventeenth Century: Battuto and Pizzicato explores this little-known repertoire, providing a historical background and examining particular performance issues. The book is accompanied by audio examples on a companion website.

Lex Eisenhardt is one of Europe's foremost experts on early guitar. He teaches both classical guitar and historical plucked instruments at the Conservatory of Amsterdam. He has produced a number of highly acclaimed CD recordings, and has given concerts and masterclasses in Europe, the United States, and Australia.

Italian Guitar Music of the Seventeenth Century

Sandra Mangsen

Songs without Words

$130.00

Pathbreaking study of a vast and intriguing repertoire: arrangements for keyboard instruments of songs, arias, and other vocal pieces, from the age William Byrd to that of Handel.

Keyboard arrangements of vocal music flourished in England between1560 and 1760. Songs without Words, by noted harpsichordist and early-music authority Sandra Mangsen, is the first in-depth study of this topic, uncovering abody of material that is remarkably varied, musically interesting, and indicative of major trends in musical and social life at the time.
Mangsen's Songs without Words argues that the pieces upon which these keyboardarrangements were based constituted a shared repertoire, akin to the jazz standards of the twentieth century. In Restoration England, the ballad tradition saw tunes and texts move between oral, manuscript, and printed transmissionand from street to playhouse and back again. During the eighteenth century, printed keyboard arrangements were aimed particularly at female amateur keyboardists and helped opera to become a widely popular genre.
Songs without Words considers a wide range of model pieces, including songs of many kinds and arias and other numbers from operas and oratorios. The resulting keyboard versions range from simple and pedagogically oriented to highly virtuosic. Two central issues -- the relationship between an arrangement and its model and the reception and aesthetics of arrangements -- are explored in the framing chapters. The result is a study that will be of great interest toscholars, performers, and anyone who loves the music of the late Renaissance, Baroque, and early Classic eras.

Sandra Mangsen is professor emerita of music at the University of Western Ontario.

Thomas D. Svatos

Martinu's Subliminal States

$130.00

The composer's diaries, translated for the first time, with commentary on his distinctive musical aesthetics and his relationship to artistic cross-currents in Czechoslovakia, France, and America.

Bohuslav Martinu (1890-1959) was one of the most productive and frequently performed composers of the mid-twentieth century, renowned for such works as his opera Julietta; the Double Concerto for Two String Orchestras, Piano, and Timpani; and Symphony no. 6 ("Fantaisies symphoniques"). History books, however, rarely give a sense of what he stood for as a musician.

Martinu's Subliminal States fills this gap by discussing the political, cultural, and musical challenges that he faced. The book also offers, for the first time, a translation of the composer's American Diaries, in which he set down his musical philosophy in direct and convincing terms.

Martinu's diaries are, in large measure, a quest to establish a new kind of discourse on music. In place of the Romantic sentiment that he found others invoking to explain musical inspiration, Martinu suggested looking for"emotion" elsewhere, such as in the technical decisions a composer makes while producing the score, or even in the composer's ability to work "without conscious involvement." And in place of the schematic formal analyses that hefelt were misleading listeners about a work's "musical structure," he urged that we treat the work as a Gestalt, or as a synergy of functional relations. Martinu's diaries provide a unique contribution to the history of musical aesthetics and shed light on a composer who loomed large in the musical worlds of Europe and America.

THOMAS D. SVATOS is Assistant Professor at Zayed University.

Renee Levine-Packer

Gay Guerrilla

$65.00

A compelling portrait of composer-performer Julius Eastman's enigmatic and intriguing life and music.

Composer-performer Julius Eastman (1940-90) was an enigma, both comfortable and uncomfortable in the many worlds he inhabited: black, white, gay, straight, classical music, disco, academia, and downtown New York. His music, insistent and straightforward, resists labels and seethes with a tension that resonates with musicians, scholars, and audiences today. Eastman's provocative titles, including Gay Guerrilla, Evil Nigger, Crazy Nigger, and others, assault us with his obsessions.

Eastman tested limits with his political aggressiveness, as reflected in legendary scandals like his June 1975 performance of John Cage's Song Books, which featured homoerotic interjections, and the uproar over his titles at Northwestern University. These episodes are examples of Eastman's persistence in pushing the limits of the acceptable in the highly charged arenas of sexual and civil rights.
In addition to analyses of Eastman's music, the essays in Gay Guerrilla provide background on his remarkable life history and the era's social landscape. The book presents an authentic portrait of a notable American artist that is compelling reading for the general reader as well as scholars interested in twentieth-century American music, American studies, gay rights, and civil rights.

Renée Levine Packer's book This Life of Sounds: Evenings for New Music in Buffalo received an ASCAP Deems Taylor Award for excellence. Mary Jane Leach is a composer and freelance writer, currently writing music and theatre criticism for the Albany Times-Union.

Donald G. Traut

Stravinsky's "Great Passacaglia"

$120.00

The first full-length analytic study devoted to the Concerto for Piano and Wind Instruments, combining sketch studies, musicological context, and straightforward analyses of all three movements.

Stravinsky's "Great Passacaglia" marks the first full-length analytic study devoted to the Concerto for Piano and Wind Instruments, an important neoclassic piece composed by one of the most influential composers of the twentieth century. Donald Traut examines the complex significance of this piece for Stravinsky and his contemporaries. For the composer, the Concerto was both a major artistic accomplishment in his burgeoning neoclassic style and a vehicle for financial gain as a touring soloist, an endeavor that took him throughout Europe and was instrumental in bringing him to America for the first time. For many of Stravinsky's critics it came to represent all that was wrong with his new style, while for others it pointed the way forward through the past, taking on an important role in the Bach revival of the 1920s. By combining sketch studies, musicological context, and straightforward analyses ofall three movements, the book paints a comprehensive picture of the piece's creation, impact, and structure that will be of interest not only to musicologists and music theorists, but to pianists, conductors, and concert-goers aswell.

Donald Traut is associate professor of music theory at the University of Arizona.

Steven Vande Moortele

Formal Functions in Perspective

$190.00

Presents thirteen studies that engage with the notion of formal function in a variety of ways

Among the more striking developments in contemporary North American music theory is the renewed centrality of issues of musical form (Formenlehre). Formal Functions in Perspective presents thirteen studies that engage with musical form in a variety of ways. The essays, written by established and emerging scholars from the United States, the United Kingdom, Canada, and the European continent, run the chronological gamut from Haydn and Clementito Leibowitz and Adorno; they discuss Lieder, arias, and choral music as well as symphonies, concerti, and chamber works; they treat Haydn's humor and Saint-Saëns's politics, while discussions of particular pieces range from Mozart's arias to Schoenberg's Verklärte Nacht. Running through the essays and connecting them thematically is the central notion of formal function.

CONTRIBUTORS: Brian Black, L. Poundie Burstein, Andrew Deruchie, Julian Horton, Steven Huebner, Harald Krebs, Henry Klumpenhouwer, Nathan John Martin, François de Médicis, Christoph Neidhöfer, Julie Pedneault-Deslauriers, Giorgio Sanguinetti, Janet Schmalfeldt, Peter Schubert, Steven Vande Moortele

Steven Vande Moortele is assistant professor of music theory at the University of Toronto. Julie Pedneault-Deslauriers is assistant professor of music at the University of Ottawa. Nathan John Martin is assistant professor of music at the University of Michigan.

Kelly St. Pierre

Bedrich Smetana

$120.00

This book reveals Czech composer Bedrich Smetana as a dynamic figure whose mythology has been rewritten time and again to suit shifting political perspectives.

Interpretations of Czech composer Bedrich Smetana and his music have shifted as frequently as the political contexts in which they were written. This book examines not just Smetana, but also the scholar-politicians who have imagined and reimagined him and his works since the nineteenth century. During the 1870s, Smetana helped found a powerful nationalist organization called the Umelecká beseda ("Artistic Society," or UB), whose members produced the earliest scholarship on the composer as part of their calls for political action. Within the increasingly radicalized discourses of the twentieth century, individuals including future Minister of Culture and Education Zdenek Nejedlý attacked the UB for not being nationalistic enough, producing their own revisionist histories of Smetana and his works. Kelly St. Pierre investigates Smetana as both nationalist composer and national symbol, revealing the composer'slegacy as a dynamic figure whose mythology has been rewritten time and time again to suit changing political perspectives.

Kelly St. Pierre is assistant professor of musicology at Wichita State University.

David Beach

Explorations in Schenkerian Analysis

$170.00

Displays the range and diversity of Schenkerian studies today in fifteen essays covering music from Bach through Debussy and Strauss.

Explorations in Schenkerian Analysis is a collection of fifteen essays dedicated to the memory of Edward Laufer, an influential advocate of Schenker's method. The chapters are presented in chronological order by composer, opening with Charles Burkhart's contribution, which is presented as a letter to Edward Laufer (written before his death), and ending with excerpts from Stephen Slottow's 2003 interview with Laufer (in an appendix).

Whilethe unifying focus is Schenkerian analysis, there is considerable variety in the approaches taken by the contributors. There is also variety in the composers represented, ranging from Bach to Debussy and Strauss. The volume thusdisplays the scope and diversity of Schenkerian studies today.

CONTRIBUTORS: Mark Anson-Cartwright, David Beach, Matthew Brown, Charles Burkhart, L. Poundie Burstein, Timothy L. Jackson, Roger Kamien, Leslie Kinton, SuYin Mak, Ryan McClelland, Don McLean, Boyd Pomeroy, William Rothstein, Frank Samarotto, Stephen Slottow, Lauri Suurpää

David Beach is professor emeritus and former dean of the Faculty of Music, University of Toronto. SuYin Mak is associate professor of music at the Chinese University of Hong Kong.

Jeffrey Swinkin

Performative Analysis

$130.00

This book proposes a new model for understanding the musical work, which includes interpretation -- both analysis- and performance-based -- as an integral component.

This book proposes a model for understanding the musical work in which both analysis-based and performance-based modes of interpretation are integral to the work. Jeffrey Swinkin explores the important role that performance playsin elucidating a work and argues for the performative nature of music analysis itself, focusing in particular on Schenkerian analysis. Swinkin's aim is to show that music analysis is grounded in the same kinds of physical and emotional experiences that performers are necessarily concerned to project. Analysis and performance are thus deeply compatible and can enjoy an equitable, fruitful relationship. The first three chapters theorize this stance; thelast three apply it to works by Chopin, Beethoven, and Schumann, respectively.

Jeffrey Swinkin is assistant professor of music theory at the University of Oklahoma.

Warren Roberts

Rossini and Post-Napoleonic Europe

$120.00

Warren Roberts has discovered a Rossini that others have not seen, a composer who commented ironically and satirically on religion and politics in Post-Napoleonic Europe.

This book examines Rossini within the context of his own time, one of Napoleonic domination of Italy, restoration of the Bourbon monarchy in Naples in 1815, and the 1830 Revolution in Paris. Using the techniques of the historian,and reading librettos as texts, the author analyzes the five operas treated in detail in the book (Il barbiere di Siviglia, Cenerentola, La gazza ladra, Matilde di Shabran, and Il viaggio a Reims) as responses, each in its own way, to the history that the composer experienced. Roberts shows that Rossini made probing commentaries on politics and religion in a time of reaction and revolution, and that the composer was well-informed on post-Napoleonic politics. Rossini's comic writing served very serious purposes, exposing the problems and complications of an age that he observed with striking clarity.

Warren Roberts is Professor Emeritusof History at the University at Albany, SUNY, and has published extensively on eighteenth-century French culture.

Edmund J. Goehring

Coming to Terms with Our Musical Past

$120.00

A bold, restorative vision of Mozart's works, and Western art music generally, as manifestations of an idealism rooted in the sociable nature of humans.

WINNER: 2019 Marjorie Weston Emerson Award from the Mozart Society of America

For over a generation now, many leading performers, critics, and scholars of Mozart's music have taken a rejection of transcendence as axiomatic. This essentially modernist, antiromantic orientation attempts to neutralize the sorts of aesthetic experiences that presuppose an enchantment with Mozart's art, an engagement traditionally articulated by such terms as intention, mimesis, author, and genius. And what is true of much recent Mozart interpretation isoften manifest in the interpretation of Western art music more generally.

Edmund Goehring's Coming to Terms with Our Musical Past explores what gets lost when the vocabulary of enchantment is abandoned. The bookthen proceeds to offer an alternative vision of Mozart's works and of the wider canon of Western art music. A modernized poetics, Goehring argues, reduces art to mechanism or process. It sees less because it excludes a necessaryand enlarging human presence: the generative, and receiving, "I."

This fascinating new book-length essay is addressed to any reader interested in the performing arts, visual arts, and literature and their relationship to the broader culture. Goehring draws on seminal thinkers in art criticism and philosophy to propose that such works as Mozart's radiate an idealism that has human sociability both as its source and its object.

This book is available as an Open Access eBook under the Creative Commons license: CC BY-NC.

Margaret R. Butler

Musical Theater in Eighteenth-Century Parma

$120.00

How do you create a style of opera that speaks to everyone, when no one agrees on what it should say -- or how?

French and Italian varieties of opera have intermingled and informed one another from the genre's first decades onward. Yet we still have only a hazy view of why and how those intersections occurred and what they meant to a givenopera's creators and audiences.

Margaret Butler's Musical Theater in Eighteenth-Century Parma: Entertainment, Sovereignty, Reform tackles these issues, examining performance, spectatorship, and politics in the Bourbon-controlled, northern Italian city of Parma in the mid-eighteenth century.

Reconstructing the French context for Tommaso Traetta's Italian operas that consciously set out to fuse French and Italian elements, Butler explores Traetta's operas and recreations in Parma of operas and ballets by Jean-Philippe Rameau and other French composers. She shows that Parma's brand of entertainment is one in which Traetta's operas occupy points along a continuum representing a long and rich tradition of adaptation and generic play. Such a reading calls into question the very notion of operatic reform, showing the need for a more flexible conception of a volatile moment in opera's history.

The book elucidates the complicated circumstances in which entertainments were created that spoke not only to Parma's multicultural audiences but also to an increasingly cosmopolitan Europe.

MARGARET R. BUTLER is Associate Professor at the University of Wisconsin-Madison.

Musical Theater in Eighteenth-Century Parma

Emily H Green

Consuming Music

$130.00

This collection of nine essays investigates the consumption of music during the long eighteenth century, providing insights into the activities of composers, performers, patrons, publishers, theorists, impresarios, and critics.

The successful sale and distribution of music has always depended on a physical and social infrastructure. Though the existence of that infrastructure may be clear, its organization and participants are among the least preserved and thus least understood elements of historical musical culture. Who bought music and how did those consumers know what music was available? Where was it sold and by whom? How did the consumption of music affect its composition? How was consumers' musical taste shaped and by whom?

Focusing on the long eighteenth century, this collection of nine essays investigates such questions from a variety of perspectives, each informed by parallels betweenthe consumption of music and that of dance, visual art, literature, and philosophy in France, the Austro-German lands, and the United States. Chapters relate the activities of composers, performers, patrons, publishers, theorists,impresarios, and critics, exploring consumers' tastes, publishers' promotional strategies, celebrity culture, and the wider communities that were fundamental to these and many more aspects of musical culture.

CONTRIBUTORS: Glenda Goodman; Roger Mathew Grant; Emily H. Green; Marie Sumner Lott; Catherine Mayes; Peter Mondelli, Rupert Ridgewell, Patrick Wood Uribe, Steven Zohn

Emily H. Green is assistant professor of music at George Mason University. Catherine Mayes is assistant professor of musicology at the University of Utah.

Scott Murphy

Brahms and the Shaping of Time

$130.00

Combines fresh approaches to the life and music of the beloved nineteenth-century composer with the latest and most significant ways of thinking about rhythm, meter, and musical time.

WINNER: 2019 Outstanding Multi-Author Collection Award from the Society for Music Theory

Brahms and the Shaping of Time brings together essays by leading music scholars, each of which analyzes the music of Brahms with a particular focus on the music's temporality. The volume reveals numerous ways in which Brahms manipulates such basic elements as rhythm and phrase structure in pieces ranging from the Third Piano Sonata and the Double Concerto to a number of his most important and beloved songs.

The first two essays examine aspects of rhythm and meter in Brahms's lieder, recognizing his meaningful deviations from temporal norms. The second two pick up the mantle from William Rothstein's landmark text Phrase Rhythm in Tonal Music. Rothstein's study focused on the music of other composers, but suggested how a future study might explore the music of Brahms; these essays contribute to such a study while also pivoting the book's focus from vocal to instrumental music. Each of the chapters of the third pair cross-examines and expands our understanding of the hemiola. The concluding trio of essays promotes, through further analysis of individual works, ways of hearing that encourage the reader to breach the confines of the score's metric notation.

Together, the essays in this volume offer fresh approaches to the life and music of the beloved nineteenth-century composer and incorporate significant new ways of thinking about rhythm, meter, and musical time.

CONTRIBUTORS: Eytan Agmon, Richard Cohn, Harald Krebs, Ryan McClelland, Jan Miyake, Scott Murphy, Samuel Ng, Heather Platt, Frank Samarotto

Scott Murphy is professorof music theory at the University of Kansas.

Rebecca Cypess

Sara Levy's World

$130.00

A rich interdisciplinary exploration of the world of Sara Levy, a Jewish salonnière and skilled performing musician in late eighteenth-century Berlin, and her impact on the Bach revival, German-Jewish life, and Enlightenment culture.

WINNER: Book Prize from the Jewish Music and Jewish Studies Group of the American Musicological Society

Sara Levy née Itzig (1761-1854), a salonnière, skilled performing musician, and active participant in enlightened Prussian Jewish society, played a powerful role in shaping the dynamic cultural world of late eighteenth- and earlynineteenth-century Berlin. A patron and collector of music, she studied harpsichord with Wilhelm Friedemann Bach (1710-84) and commissioned musical compositions from both Friedemann and his brother Carl Philipp Emanuel Bach (1714-88). Archival evidence demonstrates Levy's position as an essential link in the transmission of the music of their father, Johann Sebastian Bach (1685-1750), and as a catalyst for the "Bach revival" of the early nineteenth century, which was led by her great-nephew Felix Mendelssohn.

Sara Levy's World: Gender, Judaism, and the Bach Tradition in Enlightenment Berlin represents the first scholarly exploration of the cultural, political, and aesthetic contexts that shaped Levy's world. Bringing together leading scholars from the fields of musicology, Jewish Studies, history, literary studies, gender studies, and philosophy, this volume presents cutting-edge, multidisciplinary research on the numerous mutually reinforcing aspects of Levy's life and work.

Contributors: Rebecca Cypess, Marjanne E. Goozé, Barbara Hahn, Martha B. Helfer, Natalie Naimark-Goldberg, Elias Sacks, Yael Sela, Nancy Sinkoff, George B. Stauffer, Christoph Wolff, Steven Zohn

Rebecca Cypess is Associate Professor of Music at Rutgers University. Nancy Sinkoff is Associate Professor of Jewish Studies and History and Director ofthe Center for European Studies at Rutgers University.

Meredith Kirkpatrick

Reflections of an American Harpsichordist

$125.00

Presents previously unpublished memoirs (1933-77), lectures, and essays by the eminent harpsichordist and scholar Ralph Kirkpatrick.

This collection of unpublished writings by the eminent harpsichordist and scholar Ralph Kirkpatrick contains his memoirs for the period 1933-77 as well as essays on a variety of topics, including his preparation for the first performance of Elliott Carter's Double Concerto, thoughts on editing Bach's Goldberg Variations, and reflections on recording, chamber music, performance, and harpsichords and their transport. The volume also contains five lectures from a Yale University lecture series presented between 1969 and 1971, a bibliography of publications by and about Kirkpatrick, a discography of his recordings, and a foreword by former Kirkpatrick student and renowned organist William Porter.

Meredith Kirkpatrick, the niece of Ralph Kirkpatrick, is a librarian and bibliographer at Boston University and the editor of Ralph Kirkpatrick: Letters of the American Harpsichordist and Scholar (University of Rochester Press, 2014).

Reflections of an American Harpsichordist

Bálint András Varga

The Courage of Composers and the Tyranny of Taste

$45.00

All-new interviews with 33 of the world's leading composers--from Adams and Crumb to Gubaïdulina and Rihm--give unique insights into the creative process.

Bálint András Varga is perhaps the world's most respected interviewer of living composers. For The Courage of Composers and the Tyranny of Taste: Reflections on New Music, Varga has confronted thirty-three composers with quotations carefully chosen to elicit their thoughts about an issue that is crucial for any serious creative artist: How can one find courage to deal with the sometimes tyrannical expectations of the outside world?

The result is an imaginary roundtable at which we encounter fresh, revealing, previously unpublished statements from such world-renowned composers as John Adams, Friedrich Cerha, George Crumb, Sofia Gubaïdulina, Georg Friedrich Haas, Giya Kancheli, György Kurtág, Helmut Lachenmann, Libby Larsen, Robert Morris, and Wolfgang Rihm. Also represented are composers who are becoming more prominent with the passing years -- Chaya Czernowin, Pascal Dusapin, and Rebecca Saunders -- as well as conductor-composer Michael Gielen, festival director Nicholas Kenyon, and music critics Paul Griffiths and Arnold Whittall. In The Courage of Composers and the Tyranny of Taste, composers and other insightful individuals comment on choices made, traps avoided, unforeseen consequences, proud accomplishments, occasional regrets: the whole range of experiences central to artistic creativity.

Bálint András Varga isthe acclaimed author of György Kurtág: Three Interviews and Ligeti Homages; Three Questions for 65 Composers; and From Boulanger to Stockhausen: Interviews and a Memoir (all available from University of Rochester Press).

The Courage of Composers and the Tyranny of Taste

John W. Barker

The Pro Arte Quartet

$50.00

An engaging window into a century of musical life, as seen in the history of the Pro Arte String Quartet, first organized in 1912 and still performing today.

First organized in Brussels in 1912 by precocious young Belgian musicians, the Pro Arte String Quartet has survived two world wars and is still performing more than a century later -- a durability unique in the annals of such ensembles. Its membership has included such extraordinary musicians as founding first violinist Alphonse Onnou and his successor, Rudolf Kolisch. The Pro Arte was the first string quartet to be affiliated with an American university,a significant and much-imitated status, and the group continues to function in residence at the University of Wisconsin.

This book traces the Pro Arte Quartet's history from its beginnings to the present, highlighted byportraits of the diverse, fascinating, and colorful personalities, musicians and others, who have been a part of that history. The phases of its repertoires are analyzed, and the legacy of its recordings, many of pioneering significance, is reviewed. As a whole, the volume offers a panoramic window into a century of musical life.

John W. Barker is Emeritus Professor of History at the University of Wisconsin-Madison. He is the author of Wagner and Venice (2008) and Wagner and Venice Fictionalized: Variations on a Theme (2012), both available from the University of Rochester Press.

François Lesure; Revised and trans. Marie Rolf

Claude Debussy

$59.95

English translation and revised edition of the most comprehensive and reliable biography of Claude Debussy.

François Lesure's "critical biography" of Claude Debussy (Fayard, 2003) is widely recognized by scholars as the most comprehensive and reliable account of that composer's life and career as well as of the artistic milieu in whichhe worked. This encyclopedic volume draws extensively on Debussy's complete correspondence (at that time unpublished), a painstaking tracking of contemporary reviews and comments in the press, and an examination of other primary documents-including private diaries-that had not been available to previous biographers. As such, Lesure's book presents a wealth of new information while debunking a number of myths that had developed over the years since the composer's death in 1918.

The present English translation and revised edition, by Debussy authority Marie Rolf, augments Lesure's numerous notes with several thousand new ones by Rolf, providing more precise information oncrucial and sometimes contentious points. It also reflects Debussy scholarship that has appeared since 2003, updating Lesure's seminal work. Rolf's translation-the first ever-will make Lesure's findings accessible to scholars, musicians, and music lovers in English-speaking lands and around the world.

FRANÇOIS LESURE (1923-2001) was the Director of the Music division of the Bibliothèque nationale de France, Professor of Musicology at the Université libre de Bruxelles, and Chair of Musicology at the École pratique des Hautes Études.

MARIE ROLF is senior associate dean of graduate studies and professor of music theory at the Eastman School of Music and a memberof the editorial board for the Ouvres complètes de Claude Debussy.

Robert Doran

Liszt and Virtuosity

$190.00

CO-WINNER: The Triennial Alan Walker Book Award, sponsored by the American Liszt Society 2023

A new and wide-ranging collection of essays by leading international scholars, exploring the concept and practices of virtuosity in Franz Liszt and his contemporaries.

In the annals of music history, few figures have dominated the discussion of virtuosity as much as Franz Liszt. A flamboyant performer whose hair-raising technical feats at the piano created a sense of awe-inspiring excitement and an icon whose star power radiated far beyond the realm of music, Liszt was, along with his early model, Paganini, among the first major performer-composers to define himself principally by virtuosity.

Featuring new essays by an international group of preeminent scholars, Liszt and Virtuosity offers a reevaluation of the concept and practices of virtuosity as shaped and defined in Liszt's multifaceted oeuvre, as well as a reconsideration of Liszt's relation to other major and lesser-known musical figures, including Czerny, Schubert, Chopin, Brahms, Debussy, and Marie Jaëll.

Set in the context of larger trends within the fields of music history, music analysis, intellectual history, and performance studies, these capacious explorations demonstrate that Liszt's uniqueness and significance resided in his ability to transform virtuosity into a revolutionary musical force, pushing the piano aesthetic to the limits of sound and poetic meaning.

Melissa D. Burrage

The Karl Muck Scandal

$34.95

The demonization, internment, and deportation of celebrated Boston Symphony Orchestra conductor Dr. Karl Muck, finally told, and placed in the context of World War I anti-German sentiment in the United States.

BEST CLASSICAL MUSIC BOOK RELEASE OF 2019 by Classical-music.com, the official website of BBC Music Magazine.

2019 SUMMER READS ABOUT CLASSICAL MUSIC by the Australian Broadcasting Corporation.

2019 BEST BOOK AWARD FINALIST in both the History and Performing Arts categories, sponsored by American Book Fest.

2019 SUBVENTION AWARD by the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.

One of the cherished narratives of American history is that of the Statue of Liberty welcoming immigrants to its shores. Accounts of the exclusion and exploitation of Chinese immigrants in the late nineteenth century and Japanese internment during World War II tell a darker story of American immigration. Less well-known, however, is the treatment of German-Americans and Germannationals in the United States during World War I. Initially accepted and even welcomed into American society at the outbreak of war, this group would face rampant intolerance and anti-German hysteria.

Melissa D. Burrage's book illustrates this dramatic shift in attitude in her engrossing narrative of Dr. Karl Muck, the celebrated German conductor of the Boston Symphony Orchestra, who was targeted and ultimately disgraced by a New York Philharmonic board member and by capitalists from that city who used his private sexual life as a basis for having him arrested, interned, and deported from the United States. While the campaign against Muck made national headlines, and is the main focus of this book, Burrage also illuminates broader national topics such as: Total War; State power; vigilante justice; internment and deportation; irresponsible journalism; sexual surveillance; attitudes toward immigration; anti-Semitism; and the development of America's musical institutions. The mistreatment of Karl Muck in the United States provides a narrative thread that connects these various wartime and postwar themes.

MELISSAD. BURRAGE, a former writing consultant at Harvard University Extension School, holds a Master's Degree in History from Harvard University and a PhD in American Studies from University of East Anglia.

Support for thispublication was provided by the Howard Hanson Institute for American Music at the Eastman School of Music at the University of Rochester.

Cover image for The Karl Muck Scandal, isbn: 9781580469500

Maria Razumovskaya

Heinrich Neuhaus

$130.00

WINNER: 2019 CHOICE Outstanding Academic Title Award

The first critical study of the life and distinctive artistic vision of Heinrich Neuhaus, a legendary pianist-pedagogue widely considered one of the leading shapers of the renowned Russian piano tradition.

Heinrich Neuhaus (1888-1964) was one of the most charismatic and sought after pianist-pedagogues of the twentieth century, earning a formidable reputation in the West as one of the pillars of Russian pianism through the success ofhis star pupils Emil Gilels and Sviatoslav Richter, and his book About the Art of Piano Playing.

Maria Razumovskaya's Heinrich Neuhaus: A Life beyond Music is the first critical study of this masterful artist. It explores what went on in his teaching studio but also seeks to understand the vibrant circumstances that underpinned Neuhaus's unique outlook and approach. These circumstances include his formative years of study in Europealongside Karol Szymanowski (his cousin) and the renowned pianist Artur Rubinstein, the turbulence of life during the Russian Civil War, Neuhaus's meteoric rise to fame in Moscow, and his lifelong friendship with the poet Boris Pasternak.

Razumovskaya's book draws on previously unseen documents relating to Neuhaus's arrest and imprisonment in the infamous Lubyanka for criticizing the Soviet regime. By revealing how these influences helped form Neuhaus's distinct vision of a performer's subjectivity -- what he called an artist's "autopsychography" -- the book emphasizes important aesthetic principles and practices that were adopted by creative artists eager to escape the banality and limitations imposed by Socialist Realism.

MARIA RAZUMOVSKAYA, a recital pianist and researcher, teaches at the Guildhall School of Music and Drama.

Hyun Joo Kim

Liszt's Representation of Instrumental Sounds on the Piano

$120.00

Examines Liszt's piano arrangements of music originally created for other instruments, especially the symphony orchestra and the Hungarian Gypsy band.

Liszt's adaptation of existing music is staggering in its quantity, scope, and variety of technique. He often viewed the model work as a source that he strove to improve, rival, and even surpass. Liszt's Representation of Instrumental Sounds on the Piano: Colors in Black and White provides a comprehensive survey of Liszt's reworking of instrumental music on the piano, particularly his emulation of tone colors and idiomatic gestures. The book relatesLiszt's sonic reproductions to the widespread nineteenth-century interest in visual-art reproduction. Hyun Joo Kim illustrates Liszt's diverse approaches to the integrity of the music in a detailed, vivid, and insightful manner through close study of his arrangements of Beethoven's symphonies and Rossini's Guillaume Tell Overture, his two-piano arrangements of his own symphonic poems such as Mazeppa and Hunnenschlacht, and his Hungarian Rhapsodies. By examining orchestral music and Hungarian Gypsy-style music as sources of Liszt's sound representations, this book reveals Liszt's musical discourse as straddling the musical, cultural, and aesthetic divides between mainstream and peripheral, art and folk, serious and popular.

HYUN JOO KIM holds a PhD from Indiana University and is an independent scholar in Seoul, South Korea.

Liszt's Representation of Instrumental Sounds on the Piano

Rachel Orzech

Claiming Wagner for France

$130.00

A pathbreaking study of the Parisian press's attempts to claim Richard Wagner's place in French history and imagination during the unstable and conflict-ridden years of the Third Reich.

Richard Wagner was a polarizing figure in France from the time that he first entered French musical life in the mid nineteenth century. Critics employed him to symbolize everything from democratic revolution to authoritarian antisemitism. During periods of Franco-German conflict, such as the Franco-Prussian War and World War I, Wagner was associated in France with German nationalism and chauvinism. This association has led to the assumption that, with the advent of the Third Reich, the French once again rejected Wagner.

Drawing on hundreds of press sources and employing close readings, this book seeks to explain a paradox: as the German threat grew more tangible from 1933, the Parisian press insisted on seeing in Wagner a universality that transcended his Germanness. Repudiating the notion that Wagner stood for Germany, French critics attempted to reclaim his role in their own national history and imagination.

Claiming Wagner for France: Music and Politics in the Parisian Press, 1933-1944 reveals how the concept of a universal Wagner, which was used to challenge the Nazis in the 1930s, was gradually transformed into the infamous collaborationist rhetoric promoted by the Vichy government and exploited by the Nazis between 1940 and 1944. Rachel Orzech's study offers a close examination of Wagner's place in France's cultural landscape at this time, contributing to our understanding of how the French grappled with one of the most challenging periods in their history.

Lily E. Hirsch

Anneliese Landau's Life in Music

$120.00

A detailed and moving account of the life of Anneliese Landau, who, in Nazi Germany and later in émigré California, fought against prejudice to do notable work in music.

This book introduces readers to a woman who truly persisted. Anneliese Landau pushed past bias to earn a PhD in musicology in 1930. She then lectured on early German radio, breaking new ground in a developing medium. After the Nazis forced the firing of all Jews in broadcasting in early 1933, Landau worked for a time in the Berlin Jewish Culture League (Jüdischer Kulturbund), a closed cultural organization created by and for Jews in negotiation with Hitler's regime. But, in 1939, she would emigrate alone, the fate of her family members tied separately to the Kindertransport and to the Terezín concentration camp.

Landau eventually settled in Los Angeles, assuming duties as music director of the Jewish Centers Association in 1944. In this role, she knew and worked with many significant historical figures, among them the composer Arnold Schoenberg, conductor Bruno Walter, and the renowned rabbi andphilosopher Leo Baeck.

Anneliese Landau's Life in Music offers fresh perspective on the Nazi period in Germany as well as on music in southern California, impacted as it was by the many notable émigrés from German-speaking lands who settled in the area. But the book, the first to study Landau's life in full, is also a unique story of survival: an account of one woman's confrontation with other people's expectations of her, as a woman anda Jew.

Lily E. Hirsch is the author of A Jewish Orchestra in Nazi Germany: Musical Politics and the Berlin Jewish Culture League.

John R. Near

Widor on Organ Performance Practice and Technique

$75.00

Widor's pedagogical writings, translated for the first time, offer essential guidance for interpreting his organ compositions as well as those of his followers in the French Romantic organ school.

Renowned organist, composer, and Paris Conservatory professor Charles-Marie Widor (1844-1937) was a leading figure of the French Romantic organ school. In the extensive Preface he wrote for his edition of the complete organ worksof J. S. Bach, Widor conveyed what he considered to be the essential maxims of organ performance practice and technique. Given that he felt that "the art of organ playing has not changed at all since Johann Sebastian Bach," the principles detailed in his highly articulate writings can be seen today as relevant to his own organ compositions as well as those of his circle of followers.

In Widor on Organ Performance Practice and Technique,John Near translates for the first time all the statements from Widor's Bach Preface that reflect his distinctive and influential approach to performance style and artistic awareness. Correlative source material that clarifies andaugments these passages is included after the translations.

To complement the pedagogical material and bring a broader view of Widor's involvement in all things pertaining to the organ, his four most significant writings about the organ and organ playing are included in the appendixes.

JOHN R. NEAR is Professor Emeritus of Music, Principia College. His publications include Widor: A Life beyond the Toccata, available from theUniversity of Rochester Press.

Widor on Organ Performance Practice and Technique

Daniel Abraham

Leonard Bernstein and Washington, DC

$130.00

Bold new essays demonstrate how Leonard Bernstein influenced American culture, society, and politics through his conducting, composing, political relationships, and activism.

Composer, conductor, activist, and icon of twentieth-century America, Leonard Bernstein (1918-90) had a rich association with Washington, DC. Although he never lived there, the US capital was the site of some of the most important moments in his life and work, as he engaged with the nation's struggles and triumphs. By examining Bernstein through the lens of Washington, DC, this book offers new insights into his life and music from the 1940s through the 1980s, including his role in building the city's artistic landscape, his political-diplomatic aims, his works that received premieres and other early performances in Washington, and his relationships with the nation's liberal and conservative political elites. The collection also contributes new perspectives on twentieth-century American history, government, and culture, helping to elucidate the political function of music in American democracy.

The essays in Leonard Bernstein and Washington, DC, all newly written by leading authorities, situate this important American cultural figure in the seat of United States government. The result is a fresh new angle on Leonard Bernstein, American politics, and American culture in the second half of the twentieth century.

Scott Messing

Self-Quotation in Schubert

$130.00

Examines the history of musical self-quotation, and reveals and explores a previously unidentified case of Schubert quoting one of his own songs in a major instrumental work.

Enthusiasts and experts have long relished Schubert's quotations of his own music. This study centers on a previously unidentified pairing: "Ave Maria," one of his most beloved songs, and the Piano Trio no. 2, a masterpiece that holds a unique position in his career. Messing's Self-Quotation in Schubert interrogates the concept of self-quotation from the standpoints of terminology and authorial intent, and it demonstrates, for the first time, how Schubert's practice of self-quotation relates to prevailing practices in the late eighteenth and early nineteenth centuries. Messing goes on to analyze in detail the musical relationships between the two works and to investigate thecircumstances that led Schubert to compose each of them.

"Ave Maria" is one of the few Schubert songs for which we have documentation of some early private performances, and the trio stood at the heart of Schubert's only public concert devoted to his works. Messing establishes that Schubert sought to convey an associative meaning with this self-quotation, trusting in his contemporaries' familiarity with the original melody and with Walter Scott's poem, a text that carried profound resonances in Catholic Vienna. Scrutinizing this evidence yields the symbolic purpose behind Schubert's allusion to "Ave Maria" in the piano trio: honoring the recently deceased Beethoven andvalidating Schubert as his legatee.

SCOTT MESSING is Charles A. Dana Professor of Music Emeritus at Alma College.

Marissa Silverman

Gregory Haimovsky

$130.00

In the bleak cage of the Soviet Union, a brilliant pianist, inspired by the music of Olivier Messiaen, survived and triumphed. This is his story, told partly in his own words.

Interlacing material from previously unknown Russian archives, original recordings, photographs, and essays, Gregory Haimovsky: A Pianist's Odyssey to Freedom is the story of an extraordinary Russian concert pianist who, fighting the cultural prohibitions of the USSR, eventually succeeded in performing and recording major works by the prominent French composer Olivier Messiaen.

At the lowest point of his life, expelled from Moscow and exiled to a small provincial city, Haimovsky discovered Messiaen's oeuvre uncatalogued and hidden in the library of the Union of Soviet Composers. Haimovsky's intense studies and Soviet premieres of these banned compositions healed and liberated his mind, spirit, and artistic imagination. Messiaen's music also deepened and fueled Haimovsky's fierce personal and musical opposition to Soviet political and cultural doctrines.

Told partly in Haimovsky's own words and supplemented by interviews with several performers who worked with him between 1960 and 1972 as well as stories from his correspondence with major Russian artists, writers, and musicians of the time, Marissa Silverman's vivid narrative sheds new light on relationships between twentieth-century Russian music, Soviet politics, and the culture wars that raged during and after Stalin's barbaric rule.

Marissa Silverman is Associate Professor of Music at the John J. Cali School of Music, Montclair State University.

Robert L. Marshall

Bach and Mozart

$60.00

2020 CHOICE Outstanding Academic Title Award Winner

Interpretive and biographical essays by a major authority on Bach and Mozart probe for clues to the driving forces and experiences that shaped the character and the extraordinary artistic achievements of these iconic composers.

The essays in this volume, by one of America's leading authorities on Bach and Mozart, serve a single objective: to promote a deeper understanding of those two great composers both as supremely gifted creators and as human beings. Author Robert L. Marshall draws on a diverse range of interpretive strategies including both textual and musical criticism. Life and work are treated together, just as they were intermingled for the composers.

After a preliminary historiographical contemplation of the "Century of Bach and Mozart," fifteen numbered chapters follow in roughly chronological succession. Among the issues addressed: the artistic consequences of Bach's orphanhood, his relationship to Martin Luther, his attitude toward Jews, his relationship to his sons, the stages of his stylistic development, and his position in the history of music; and, moving to Mozart, the composer's portrayal in Amadeus, his wit, his indebtedness to J. S. Bach, and aspects of his compositional process.

The volume concludes with a factually informed speculation about what Mozart is likely to have done and to have composed, had he lived on for another decade or more.

ROBERT L. MARSHALL is Sachar Professor of Music emeritus, Brandeis University.

Amy Lynn Wlodarski

George Rochberg, American Composer

$120.00

Based on private diaries, correspondence, and unpublished writings, George Rochberg, American Composer, reveals the impact of personal trauma on the creative and intellectual work of a leading postmodern composer.

George Rochberg, American Composer, is the first comprehensive study devoted to tracing and putting into a rich cultural context the career of George Rochberg, widely acknowledged as one of the most prominent musical postmodernists. Drawing from unpublished materials including diaries, letters, sketches, and personal papers, the book traces the impact of two specific personal traumas--Rochberg's service as an infantryman in World War II and the premature death of his son--on his work as a leading composer, college educator, and public intellectual.

The book significantly expands our understanding of Rochberg's creative work by reconstructing and examining the earliest seeds of his aesthetic thinking--which took root while he served in Patton's Third Army--and following their development through his mature compositional period into the final stages of his long career. It argues that Rochberg's military service was a transformative life experience for the young humanist, one that crucially shaped his worldview and influenced his artistic creativity for the next sixty years. As such it reveals personal trauma and aesthetic recovery to be the basis of Rochberg's postwar ideas about humanism, musical quotation, and neotonality.

This book is available as an Open Access eBook under the Creative Commons license: CC-BY-NC.
Support for this publication was provided by the Howard Hanson Institute for American Music at the Eastman School of Music at the University of Rochester.

R. Allen Lott

Brahms's A German Requiem

$190.00

Examines in detail the contexts of Brahms's masterpiece and demonstrates that, contrary to recent consensus, it was performed and received as an inherently Christian work during the composer's life.

Despite its entirely biblical text, Brahms's long-beloved A German Requiem is now widely considered a work in which the composer espoused a theologically universal view. R. Allen Lott's comprehensive reconsideration of the work's various contexts challenges that prevailing interpretation and demonstrates that in its early years the Requiem was regarded as a traditional Christian work.

Brahms's "A German Requiem" systematically documents, for the first time, the early performance history and critical reception of this masterful work. A German Requiem was effortlessly incorporated into traditional Christian observances, and reviews of these performances and other appraisals by respected critics and scholars consistently deemed that the work possessed not only a Christian perspective, but a specifically Protestant one.

A discussion of the musical traditions used by Brahms demonstrates how the work is imbued with the language of Lutheran church music through references to chorales and through allusions to preceding masterworks by Schütz, Bach, Mendelssohn, and others.

Lott also offers an insightful exegesis of the Bible verses that Brahms selected. Altogether, this richly detailed study leads to a thorough reappraisal of Brahms's masterpiece.

Michael Lasser

City Songs and American Life, 1900-1950

$34.95

An insightful look at the urban sensibility that gives the Great American Songbook its pizzazz.

Nothing defines the songs of the Great American Songbook more centrally than their urban sensibility. During the first half of the twentieth century, songwriters such as Harold Arlen, Irving Berlin, Dorothy Fields, George and IraGershwin, and Thomas "Fats" Waller flourished in New York City, the home of Tin Pan Alley, Broadway, and Harlem. Through their songs, these artists described America -- not its geography or politics, but its heart -- to Americansand to the world at large.

In City Songs and American Life, 1900-1950, renowned author and broadcaster Michael Lasser offers an evocative and probing account of the popular songs -- including some written originally for the stage or screen -- that America heard, sang, and danced to during the turbulent first half of the twentieth century. Many songs portrayed the glamor of Broadway or the energy and Jazz Age culture of Harlem. But a city-bred spirit -- or even a specifically New York City way of feeling and talking -- also infused other widely known and loved songs, stretching from the early decades of the century to the Twenties (the age of the flapper, bathtub gin, and women's right to vote), the Great Depression, and, finally, World War II.

Lasser's deftly written book demonstrates how the soul of city life -- as echoed in the nation's songs -- developed and changed in tandemwith economic, social, and political currents in America as a whole.

Michael Lasser, a former teacher and theater critic, is host of the syndicated public-radio show Fascinatin' Rhythm (winner of the Peabody Award) and the author of two previous books.

Support for this publication was provided by the Howard Hanson Institute for American Music at the Eastman School of Music at the University of Rochester.

James Porter

Beyond Fingal's Cave

$170.00

Demonstrates the profound impact of The Poems of Ossian on composers of the Romantic Era and later: Beethoven, Schubert, Mendelssohn, Brahms, Massenet, and many others.

Beyond Fingal's Cave: Ossian in the Musical Imagination is the first study in English of musical compositions inspired by the poems published in the 1760s and attributed to a purported ancient Scottish bard named Ossian. From around 1780 onwards, the poems stimulated poets, artists, and composers in Europe as well as North America to break away from the formality of the Enlightenment. The admiration for Ossian's poems -shared by Napoleon, Goethe, and Thomas Jefferson - was an important stimulus in the development of Romanticism and the music that was a central part of it. More important still was the view of the German cultural philosopher Johann Gottfried Herder, who saw past the controversy over the poems' authenticity to the traditional elements in these heroic poems and their mood of lament.

James Porter's long-awaited book traces the traditional sources used by James Macpherson for his epoch-making prose poems and examines crucial works by composers such as Beethoven, Schubert, Mendelssohn, Brahms, and Massenet. Many other relatively unknown composers were also moved to write operas, cantatas, songs, and instrumental pieces, some of which have proven to be powerfully evocative and well worth performing and recording.

Zdeněk Skoumal

The Music of Leos Janácek

$130.00

The first thorough theoretical study of Janácek's compositions, focusing on motivic and rhythmic structure and identifying elements that give the music coherence, character, and interest.

The works of Leos Janácek, including Jenufa and several of his other operas, have been widely performed in recent years. But they have rarely been investigated closely from a theoretical perspective, and their musical language remains only partially understood. Zdenek Skoumal here offers a chronological exploration of Janácek's compositions that focuses on musical structure, identifying elements and processes that give the music coherence, character, and interest.

Skoumal demonstrates how the music combines and blends traditional tonal elements, folk-influenced features, and techniques that were forward-looking at the time. In particular, the music is shown to employ highly sophisticated and continually transforming motivic and rhythmic components.

The book's numerous musical analyses are motivically centered and employ various analytical approaches, including ones that involve reduction, structural levels, basic set theory, and rhythmic theory. Discussions of Janácek's works with a libretto or other type of text consider relationships between word and music, revealing their connection to deeper structural issues. The companion website https://zdenekskoumal.wixsite.com/janacek features audio versions of most musical examples, as well as material not included in the book.

Marcie Ray

Coquettes, Wives, and Widows

$120.00

A revelatory study of how composers and dramatists of seventeenth- and eighteenth-century France criticized and trivialized independent women in their portrayals of them in works of theater and opera.

Seventeenth- and eighteenth-century French theatrical works created an uneasy dialogue with the often-blistering depictions of marriage in contemporary writings by literary women. For over a century, composers and librettists attempted to silence such anti-traditionalist views through dramas that ridicule, banish, or, even more violently, silence and subjugate female characters who resist marriage. These dramas portray independent-minded women as agents ofchaos who deploy their sexuality to destabilize class demarcations, or to destroy families and at times the monarchy itself.

Coquettes, Wives, and Widows: Gender Politics in French Baroque Opera and Theater shows how dramatists wrested narratives away from women and weaponized those narratives in a defense of the status quo. It examines a wide range of works of different types: from Jean-Philippe Rameau's Platée, ou Junon jalouseand André Campra's Aréthuse, ou la Vengeance de l'Amour to representative works from the Comédie Française, the Comédie Italienne, and the fairgound theaters. Each theater offered denigrating portraits of independent womenas dissolute, obstinate, and extremist.

The operas and other theatrical works explored in Coquettes, Wives, and Widows reveal who (in the view of many at the time) should exercise authority to make choices aboutwomen's lives. They also give evidence of widespread fears about how society might change if it were to grant women themselves that responsibility.

Emily H. Green

Dedicating Music, 1785-1850

$130.00

A synchronic study that highlights the importance of printed packaging, rather than notes on the page, to the complex relationship between composers, publishers, and consumers of music.

Why dedicate music? What did dedications mean to their readers and writers, especially after 1785, when more works were offered to fellow composers as well as to patrons? Borrowing from book history and sociological theory, Dedicating Music, 1785-1850 is a large-scale study of patterns of dedications. Emily H. Green argues that the kinds of offerings printed in the late eighteenth through mid-nineteenth centuries reflect a changing financial and aesthetic landscape in which patronage was waning and independent artistry surging. Dedications labeled written music as a gift while presenting composers with an opportunity for self-promotion. They also contributed to a new kind ofbranding of music by communicating composers' friendships and artistic allegiances..

Dedicating Music considers dedications issued in print between 1785 and 1850 in sets of overlapping corpuses: offerings to peers (as in Mozart's string quartets dedicated to Haydn); to patrons (as in Ignaz Pleyel's string quartets for Count Erdödy); to friends (as in Ferdinand Ries's offerings for Beethoven); and dedications issued by publishers (as in Beethoven's song "In questa tomba oscura," included in publisher Tranquillo Mollo's collection offered to Prince Lobkowitz). The result is a synchronic study that highlights the importance of printed packaging, rather than notes onthe page, to the complex relationship between composers, publishers, and consumers of music.

EMILY H. GREEN is Assistant Professor of Music at George Mason University.

The University of Rochester Press gratefully acknowledges generous support from the Claire and Barry Brook Endowment of the American Musicological Society and the AMS 75 PAYS Endowment of the American Musicological Society, both funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.

Edward Nowacki

Greek and Latin Music Theory

$120.00

A long-needed overview of, and guide to, the principles behind the treatises on music theory written in ancient Greece and Rome and continuing through the Middle Ages.

Long recognized as a foundation of musical composition, criticism, pedagogy, and appreciation, the literature of ancient and medieval music theory has maintained its strong position in the academic curriculum up to the present day. Now blessed with fine English translations of many of the ancient and medieval authors, modern students of music theory have advantages that their predecessors lacked just a few generations ago. Yet the ancient writings by themselves do not yield to easy comprehension. They need expository help. In this collection of fifteen topical essays, the author offers a contribution to that educational goal. Covering a dense theoretical literature from the classical period of ancient Greece to the sixteenth century of the Common Era, these essays present a detailed examination of subjects of concern not only to specialists in the history of theory, but to scholars of the general history ofancient Greek music and the liturgical plainchant of the medieval West.

More than just a collection of specialized studies or a syllabus of obligatory learning, these essays present a persistent reflection on the timelessness of theoretical questions that engaged our musical forebears and that still engage us today. The author's approach is perennialist. It teaches us things about our musical heritage that never go away.

Bonny H. Miller

Augusta Browne

$190.00

The first comprehensive biography of any American woman musician born before the Civil War brings to life a composer whose story is both old-fashioned and strikingly modern.

Honourable Mention, AMS H. Robert Cohen/RIPM Award

Augusta Browne's five-decade career in music and letters reveals a gifted composer and author. Hailed as "one of the most prolific women composers in the USA before 1870," Augusta Browne Garrett (c. 1820-1882) was also a dedicatedmusic educator and music journalist. The Americanness of her story resounds across the decades: an earnest little girl growing up amidst a troubled family business; a young professor of music who burst onto the New York City musical scene; and an entrepreneur who resolutely sought publication of her music and prose to her final day. In Augusta Browne: Composer and Woman of Letters in Nineteenth-Century America, author Bonny Miller presents Browne'sunfamiliar story, assesses her musical works, and describes her literary publications.

Browne's outsider status and self-agency offer a potent narrative that transcends antebellum and Victorian-era norms. She used the public arena of newspapers and magazines as conduits for her work during an era when women were ridiculed for public speaking. And yet in many ways her persona as a tenacious entrepreneur conflicted with her adherence to strict Christian precepts, despite her assertion of woman's equality with man.

Making use of recently digitized sheet music as well as archives of newspapers and books of the period, Miller's narrative provides the first-ever comprehensive, nuanced account of this notable life in American music.

Matthew Mugmon

Aaron Copland and the American Legacy of Gustav Mahler

$60.00

Reveals how Aaron Copland's complex relationship with the music of Gustav Mahler shaped his vision for American music in the twentieth century.

The iconic American composer Aaron Copland (1900-1990) is often credited with creating an unmistakably American musical style, a style free from the powerful sway of the European classics that long dominated the art-music scene inthe United States. Yet Copland was strongly attracted to the music of the late-romantic Austrian composer Gustav Mahler (1860-1911), whose monumental symphonies and powerful songs have captivated and challenged American audiencesfor more than a century.

Drawing extensively on archival and musical materials, Aaron Copland and the American Legacy of Gustav Mahler offers the first detailed exploration of Copland's multifaceted relationshipwith Mahler's music and its lasting consequences for music in America. Matthew Mugmon demonstrates that Copland, inspired by Mahler's example, blended modernism and romanticism in shaping a vision for American music in the twentieth century, and that he did so through his multiple roles as composer, teacher, critic, and orchestral tastemaker. Copland's career-long engagement with Mahler's music, as Mugmon compellingly illustrates, intersected with Copland's own Jewish identity and with his links to such towering figures in American music as Nadia Boulanger, Serge Koussevitzky, and Leonard Bernstein.

MATTHEW MUGMON is Associate Professor of Music at the University of Arizona.

Aaron Copland and the American Legacy of Gustav Mahler

Jean-Jacques Nattiez

Musical Analyses and Musical Exegesis

$190.00

Here translated for the first time, Jean-Jacques Nattiez's widely hailed comparative guide to the techniques of music analysis focuses on a single vivid passage from Wagner's Tristan and Isolde.

The field of musicology has in recent decades branched out to incorporate methods from a wide range of other fields. But, when scholars examine a musical work, to what extent should they emphasize immanent (purely internal) features, and to what extent historical, cultural, psychological, or aesthetic networks of meanings associated with those features? Finally, what specific analytical method should be chosen, given that various methods can lead to seemingly incompatible results?

Jean-Jacques Nattiez, a renowned figure in music theory, musicology, and ethnomusicology, here examines numerous contending approaches that have been applied to the English-horn melody heard in Wagner's Tristan and Isolde. His aim is to offer thereby a methodological guide and compendium that will allow specialists and students alike to navigate the multiplicity of theoretical orientations in musicology.

Analytical models proposed by Heinrich Schenker, Nicolas Ruwet, Leonard B. Meyer, Fred Lerdahl, and other notable figures in the field of music analysis are discussed. Some of the analytical sketches by these scholars were previously unpublished and are presented to the public for the first time in the present book. The author also considers insights from the fields of psychology and psychoanalysis. An examination of Wagner's wide-ranging musical sources (Venetian gondolier songs and Swiss shepherd songs) leads to acutely relevant passages in writings by Rousseau, Goethe, and Schopenhauer. The book culminates in Nattiez's own interpretation of the relationship between vocal and instrumental music in Tristan and Isolde. Jean-Jacques Nattiez is professor emeritus of musicology at the Université de Montréal.

Paula Musegades

Aaron Copland's Hollywood Film Scores

$120.00

A pioneering study of how American composer Aaron Copland helped shape the sound of the Hollywood film industry and introduced the moviegoing public to modern musical styles.

One of the most influential and beloved American composers, Aaron Copland played a critical role in shaping what is often recognized as the "American sound." He is best known for achieving this through his works for the concert hall and ballet. Yet his film scores, though less familiar nowadays, were equally influential.

Between 1939 and 1949, Copland composed the music for five major Hollywood films: Lewis Milestone's Of Mice and Men (1939), Sam Wood's Our Town (1940), Lewis Milestone's The North Star (1943) and The Red Pony (1949), and William Wyler's The Heiress (1949). These were high-prestige projects, based on literary works by such respected figures as Henry James, Lillian Hellman, and John Steinbeck.

Using the film medium to introduce the moviegoing public to modern musical styles, Copland challenged Hollywood's traditional uses of music in film. His innovative approaches enhanced important national themes running through these films while also contributing to Hollywood's transformation as the Great Depression gave way to wartime tribulation and, eventually, postwar prosperity and Red Scare paranoia. Aaron Copland's Hollywood Film Scores explores Copland's scores, interviews, and lectures, tracing his legacy and lasting influence on Hollywood's sound.

Sarah Ann Long

Music, Liturgy, and Confraternity Devotions in Paris and Tournai, 1300-1550

$170.00

The first study focusing on the composition of new plainchant in northern-French confraternities for masses and offices in honor of saints thought to have healing powers

Starting in the fourteenth century, northern France saw the rise of confraternities and other lay communities of men and women, organized around trades and religious devotions dedicated to specific patron saints. The composition of new plainchant for masses and offices in honor of saints thought to have healing powers occupied an important place in the devotional landscape of the region.

Sarah Ann Long's deeply researched new book highlights the decentralized nature of religious and spiritual authority from 1300-1550, which allowed confraternities to cultivate liturgical practices heavily influenced by popular devotional literature. It challenges pre-conceived notions of the power of the Catholic Church at that time, and the extent to which religious devotions were regulated and standardized. The resulting conclusion is that confraternity devotions occupied a liminal space that provided a certain amount of musical freedom. Examining musical culture at the intersection of the medieval and early modern eras, this work explores such subjects as manuscript production and early music printing; and it investigates not only plainchant, but a broad range of musical styles from the fourteenth through the sixteenth centuries. These include polyphonic embellishments of chant written by some of the most famous composers of the era, which were performed at the French, Burgundian, and Papal Courts.

Music, Liturgy, and Confraternity Devotions in Paris and Tournai, 1300-1550

Eckhard John

Songs for a Revolution

$170.00

Makes available twenty-two protest songs of the period up to and including the 1848 Revolution in Germany along with a reception history of the songs through their revival after 1945.

The socially volatile period of the Vormärz (1830-1848) and the 1848 Revolution in Germany produced a wealth of political protest song. Songs for a Revolution makes available twenty-two prominent protest songs from that time, both lyrics (in German and English) and melodies. It also chronicles the songs' reception: suppressed after the revolution, they fell into obscurity, despite intermittent revivals by the workers' movement and later in the Weimar Republic, until they were appropriated as democratic cultural heritage by the folk and political song movements of East and West Germany after 1945.
The songs reflect the new, oppositional political consciousness that emerged during the post-1830 period of restoration and led to the revolution. The book makes use of broadsides, songbooks, newspaper reports, and manuscripts to document the songs' transmission and shed light on the milieus in which they circulated. It also demonstrates how the appropriation of these songs by the German Liedermacher and folk scene shaped today's cultural memory of the 1848 period. It illuminates the functioning of political ideology in these reception processes, which in turn have given rise to myths that have influenced the discourse on the 1848 songs.

Professor Siobhán Donovan

Edinburgh German Yearbook 13

$120.00

Volume 13 deals with the interaction of music and politics, considering a broad range of genres, authors, composers, and artists in Germany since the nineteenth century.

A particularly iconic image of German Reunification is that of Mstislav Rostropovich playing from J. S. Bach's cello suites in front of the Berlin Wall on November 11, 1989. Thirty years on, it is timely to reconsider the cross-fertilization of music and politics within the German-speaking context. Frequently employed as a motivational force, a propaganda tool, or even a weapon, music can imbue a sense of identity and belonging, triggering both comforting and disturbing memories. Playing a key role in the formation of Heimat and "Germanness," it serves ideological, nationalistic, and propagandistic purposes conveying political messages and swaying public opinion.
This volume brings together essays by historians, literary scholars, and musicologists on topics concerning the increasing politicization of music, especially since the nineteenth century. They cover a broad spectrum of genres, musicians, and thinkers, discussing the interplay of music and politics in "classical" and popular music: from the rediscovery and repurposing of Martin Luther in nineteenth-century Germany to the exploitation of music during the Third Reich, from the performative politics of German punk and pop music to the influence of the events of 1988/89 on operatic productions in the former GDR - up to the relevance of Ernst Bloch in our contemporary post-truth society.

Heidi Hart

Hanns Eisler's Art Songs

$120.00

Traces Eisler's art songs through the political crises of the twentieth century, presenting them as a way to intervene in the nationalist appropriation of aesthetic material.

Best known for his collaborations with Bertolt Brecht, composer Hanns Eisler also set nineteenth-century German poetry to music that both absorbs and disturbs the Lieder tradition. This book traces Eisler's art songs (German: Kunstlieder) through twentieth-century political crises from World War I to Nazi-era exile and from Eisler's postwar deportation from the US to the ideological pressures he faced in the early German Democratic Republic. His artsongs are presented not as an escape from the "dark times" Brecht lamented but rather as a way to intervene in the nationalist appropriation of aesthetic material.
The book follows a chronological arc from Eisler's early Morgenstern songs to his Lied-like setting of Brecht's 1939 "To Those Who Come After" and his treatment of Hölderlin's poetry in the 1940s Hollywood Songbook; the final two chapters focus on Eisler's Goethe settings in the early GDR, followed by his late Serious Songs recalling Brahms in their reflective approach. In its combination of textual and musicological analysis, this book balances technical and lay vocabulary to reach readers with or without musical background. The author's practical perspective as a singer also informs the book, as she addresses not only what Eisler asks of the voice but also the challenge of evoking both intimacy and distance in his politically fraught art songs.

Heidi Hart holds a PhD in German Studies from Duke University. She is an instructor in the College of Humanities and Social Sciences at Utah State University.

Sophie Redfern

Bernstein and Robbins

$130.00

The formative early ballets of West Side Story creators Leonard Bernstein and Jerome Robbins explored in detail for the very first time.

2022 CHOICE Outstanding Academic Title Winner.

Leonard Bernstein and choreographer Jerome Robbins stand as giants of the musical-theatre world, but it was ballet that launched their stage careers and established their relationship. With Fancy Free (1944), their triumphant debut collaboration produced by Ballet Theatre, Bernstein, Robbins, and set designer Oliver Smith-all in their mid-twenties- captured the spirit of wartime New York, created a defining ballet of the period still widely performed today, and became overnight sensations. The hit musical On the Town (1944) and a now largely forgotten ballet, Facsimile (1946), followed over the next two years.

Drawing extensively on previously unpublished archival documents, Bernstein and Robbins: The Early Ballets provides a richly detailed and original historical account of the creation, premiere, and reception of Fancy Free and Facsimile. It reveals the vital and sometimes conflicting role of Ballet Theatre, explores how Bernstein composed the scores, sheds light on the central importance of Oliver Smith, and considers the legacy of these works for all involved. The result is a new understanding of Bernstein, Robbins, and this formative period in their lives.

David Breitman

Piano-Playing Revisited

$65.00

A guide, linked to an online suite of video examples, to how historical instruments influenced the composers of keyboard music, and a way to look at their scores with fresh eyes and ears.

Today's pianists are expected to play music of three centuries on a single instrument: Steinway's design from the late 1800s. Other types of pianos, such as Mozart's Walter or Chopin's Pleyel, are increasingly being copied or restored, but they are played almost exclusively by specialists in "Historical Performance." David Breitman has been introducing Oberlin Conservatory students to historical keyboards since 1991, and in this book he focuses on the music he cares about most deeply and the problems he has found most perplexing.

He begins by acknowledging the dilemma of confronting historical repertoire with modern instruments, then shows how to apply insights from period instruments to practical problems on any piano, including the relationship between melody and accompaniment and the use of the pedal. The central portion of the book discusses the pianos and piano music of Haydn and Mozart, Beethoven, Schubert, and Chopin, as well as the special place of the clavichord in eighteenth-century keyboard culture. A wide range of musical examples demonstrates how composers were influenced by the instruments they knew, and how that understanding can help today's performers. The book concludes with a passionate plea for individual creativity and autonomy, authentic voices for our own time.

A suite of videos, including demonstrations of representative musical examples as well as of the moderator pedal and clavichord action, can be found here: https://vimeo.com/showcase/8046349.

William Weber, Beverly Wilcox

Canonic Repertories and the French Musical Press

$130.00

A bold application of the concept of "canonical" works to the development of French operatic and concert life in the eighteenth and nineteenth centuries.

This long-awaited book by a leading historian of European music life offers a fresh reading of concert and operatic life by showing how certain musical works in eighteenth- and nineteenth-century France came to be considered "canonic": that is, admirable and worthy of being taken as models. In a series of interlinked essays, William Weber draws particular attention to the ways in which such reputations could shift in different eras and circumstances.

The first chapter outlines how such a surge of reputation came about for Jean-Baptiste Lully after his death in 1687, followed a century later by one for the operas of Christoph-Willibald Gluck and Niccolò Piccinni. Next, Beverly Wilcox contributes a crucial chapter exploring how a canon of sacred works evolved at the Concert Spirituel between 1725 and 1790. Subsequent chapters detail the rise of an "incipient canon" for Joseph Haydn's music in the 1780s; a new operatic canon centered on works of Gioachino Rossini and Giacomo Meyerbeer; a century-long canonic repertory at the theater of the Opéra-Comique; and, between 1860 and 1914, frequent concert performances of excerpts from Wagner's operas, sometimes along with excerpts from Meyerbeer's.

Throughout, Weber and Wilcox demonstrate how the French musical press reflected musical taste, and also shaped it, across two centuries.

Canonic Repertories and the French Musical Press

Jane Ellsworth

The Clarinet

$65.00

Offers unique perspectives on the clarinet's historical role in various styles, genres, and ensembles, from jazz and ethnic traditions to classical chamber music, concertos, opera, and symphony orchestras.

With essays written by leading performer-scholars, The Clarinet offers unique perspectives on the clarinet's historical role in various styles, genres, and ensembles. Beginning with a chapter on clarinet iconography, the book continues with an overview of the instrument's early history, chapters on the clarinet in the opera orchestra and the traditional symphony orchestra, and examinations of important genres involving the clarinet (the concerto and the clarinet quintet). Also included are chapters on leading twentieth-century clarinetists, the instrument's use in the historically informed performance (HIP) movement, and an expansive look at the clarinet's use in ethnic traditions and early jazz. The emphasis on topics not covered elsewhere makes this book an important contribution to the clarinet literature. Written in an accessible style, this volume engages a wide range of readers, from professional musicians to clarinet aficionados and music lovers with less specialized knowledge.
Contributors to this volume include Jane Ellsworth, Eric Hoeprich, Albert R. Rice, Ingrid Pearson, Julian Rushton, David Schneider, Marie Sumner Lott, Colin Lawson, and S. Frederick Starr.

Michael Hall

Music Theatre in Britain, 1960-1975

$75.00

The author, a former BBC radio producer, conducted interviews with many leading British composers of the day, and his account provides for a unique insight into this often overlooked genre.

Based on Michael Hall's many interviews with leading British composers of the genre, this book looks at the heyday of the British Music Theatre in the 1960s and 70s, a period when the author as a BBC radio producer was actively involved with the contemporary music scene. Music Theatre - a composite of music, singing, dancing and speaking distinct from traditional opera and ballet - has its roots in works by Monteverdi, Schoenberg, Satie, Stravinsky, Weill,Hindemith and Eisler, but flourished anew in the 1960s, in America, Britain and Europe.
Hall's book presents an account of the context for the activity of Birtwistle, Goehr and Maxwell Davies; it uncovers details of little-known early works by other major figures such as Cardew and Tavener; and it recognises the highly distinctive contributions of composers whose works are less well known. Music Theatre in Britain also throws new light upon the reaction of British composers to the economic and social upheavals of 'the Sixties', offering a distinct and valuable contribution to our understanding of the relationship of the post-war musical avant-garde to social movementsand ideology. Music Theatre in Britain will be of interest to all those working in the field of late twentieth-century British music, to students of composition, and to composers, performers and producers of Music Theatre.

MICHAEL HALL, who died in August 2012, had a long career as a conductor, founder of Royal Northern Sinfonia, BBC producer and broadcaster, university lecturer and writer on music.

Nicoleta Paraschivescu

The Partimenti of Giovanni Paisiello

$130.00

Reveals the brilliant musical and pedagogical thinking of the famed eighteenth- and early nineteenth-century Neapolitan composer and teacher of royal students.

Giovanni Paisiello (1740-1816) was one of the most important composers of opera in the eighteenth century. His operas were performed throughout Europe, and his fame led to appointments as a maestro di cappella and composer at prominent European courts. This book is the first study to address his work as a teacher of composition and what we would today call music theory.

The practice of partimento (figured or unfigured bass lines) was an integral part of the training of musicians at the renowned conservatories in eighteenth-century Naples. By employing these often-unprepossessing partimento bass lines, young musicians learned the techniques of variation, improvisation, and composition while seated at the harpsichord.

Paisiello's Regole per bene accompagnare il Partimento (Rules for Harpsichordists; 1782) survives in both autograph and printed forms. It contains forty-six partimenti that have long been considered the core of his pedagogic oeuvre. However, two recently discovered manuscripts contain a further forty-one unknown partimenti, notated as two- and three-part disposizioni (realizations).

The present study offers numerous insights gleaned from the surviving sources and bolsters our understanding of how to perform the music of Paisiello and his contemporaries: music that has often survived in an incomplete form. These findings are relevant not just for keyboard players but also for singers, instrumentalists, and anyone interested in the inner workings of eighteenth- and early nineteenth-century music.

Nicholas Nicholas Temperley

Musicians of Bath and Beyond: Edward Loder (1809-1865) and his Family

$130.00

This book takes advantage of new and often surprising biographical research on the Loder family as a whole and its four main figures, using them to illustrate aspects of music history in the 19th century.

Musicians of Bath and Beyond: Edward Loder (1809-1865) and his Family illuminates three areas that have recently attracted much interest: the musical profession, music in the British provinces and colonies, and English Romantic opera. The Loder family was pre-eminent in Bath's musical world in the early nineteenth century. John David Loder (1788-1846) led the theatre orchestra there from 1807, and later the Philharmonic orchestra and Ancient Concerts in London; he also wrote the leading instruction manual on violin playing and taught violin at the Royal Academy of Music. His son Edward James (1809-65) was a brilliant but underrated composer of opera, songs, and piano music. George Loder (1816-68) was a well-known flautist and conductor who made a name in New York and eventually settled in Adelaide, where he conducted the Australian premieres of Les Huguenots, Faust, and other important operas. Kate Fanny Loder (1825-1904) became a successful pianist and teacher in early Victorian London, and she is only now getting her due as a composer.
This book takes advantage of new and often surprising biographical research on the Loder family as a whole and its four main figures. It uses them to illustrate several aspects of music history: the position of professional musicians in Victorian society; music in the provinces, especiallyBath and Manchester; the Victorian opera libretto; orchestra direction; violin teaching; travelling musicians in the US and Australasia; opera singers and companies; and media responses to English opera. The concluding section isan intense analysis and reassessment of Edward Loder's music, with special emphasis on his greatest work, the opera Raymond and Agnes.

NICHOLAS TEMPERLEY is Professor Emeritus of Musicology at the University ofIllinois at Urbana-Champaign and is a leading authority on Victorian music.

CONTRIBUTORS: Stephen Banfield, David Chandler, Andrew Clarke, Liz Cooper, Therese Ellsworth, David J. Golby, Andrew Lamb, Valerie Langfield, Alison Mero, Paul Rodmell, Matthew Spring, Julja Szuster, Nicholas Temperley

Musicians of Bath and Beyond: Edward Loder (1809-1865) and his Family

Eva Rieger

Minna Wagner

$170.00

This biography of Minna Planer, Richard Wagner's wife of 30 years, reveals her as a self-assured woman and artist who was vital to her husband's creative life.

When Richard Wagner first met Minna Planer in 1834, he was an unknown conductor, she a popular actress. His hectic pursuit of her affections culminated in marriage in 1836. Minna endured poverty with him, nursed him through chronic illness, followed him across Europe as he fled from creditors and pursued his artistic goals, and sought to provide him with the stable domestic and erotic life that he craved. He played his works to her as he wrote them, up to Tannhäuser and Lohengrin, and set store by her opinions. But when he went on the run as a wanted revolutionary, Minna only reluctantly followed him into Swiss exile.

Domestic peace tentatively prevailed, but was ultimately destroyed by Wagner's passion for Mathilde Wesendonck. In 1858, he and Minna separated, she returned home to Germany, and subsequent efforts at reconciliation proved ultimately impossible. They remained married, however, until Minna's death in 1866.

Despite having been at Richard's side as he matured into the composer of the Ring and Tristan, Minna has been given short shrift by most Wagner commentators. In Eva Rieger's acclaimed biography, translated into English by Chris Walton, the author reveals Minna as a self-assured woman and artist who played a crucial role in the creative life of her husband.

Christina Bashford

The Idea of Art Music in a Commercial World, 1800-1930

$170.00

Opens up significant paths for conversation about how musical concepts, practices and products were shaped by interrelationships between culture and commerce.

Art and money, culture and commerce, have long been seen as uncomfortable bedfellows. Indeed, the connections between them have tended to resist full investigation, particularly in the musical sphere. The Idea of Art Music in aCommercial World, 1800-1930, is a collection of essays that present fresh insights into the ways in which art music, i.e., classical music, functioned beyond its newly established aesthetic purpose (art for art's sake) and intersected with commercial agendas in nineteenth- and early twentieth-century culture. Understanding how art music was portrayed and perceived in a modernizing marketplace, and how culture and commerce interacted, are the book's main goals.
In this volume, international scholars from musicology and other disciplines address a range of unexplored topics, including the relationship of sacred music with commerce in the mid nineteenth century, the roleof music in urban cultural development in the early twentieth, and the marketing of musical repertories, performers and instruments across time and place, to investigate what happened once art music began to be understood as needing to exist within the wider framework of commercially oriented culture. Historical case studies present contrasting topics and themes that not only vary geographically and ideologically but also overlap in significant ways, pushing back the boundaries of the 'music as commerce' discussion. Through diverse, multidisciplinary approaches, the volume opens up significant paths for conversation about how musical concepts, practices and products were shaped byinterrelationships between culture and commerce.

CHRISTINA BASHFORD is Associate Professor of Musicology at the University of Illinois.

ROBERTA MONTEMORRA MARVIN is Director of the Opera Studies Forum in the Obermann Center for Advanced Studies at the University of Iowa, where she is also on the faculty.

CONTRIBUTORS: Christina Bashford, George Biddlecombe, Denise Gallo, David Gramit, Catherine Hennessy Wolter, Roberta Montemorra Marvin, Fiona Palmer, Jann Pasler, Michela Ronzani, Jon Solomon, Jeffrey S. Sposato, Nicholas Vazsonyi, David Wright

The Idea of Art Music in a Commercial World, 1800-1930

Julia Dokter

Tempo and Tactus in the German Baroque

$190.00

Guides modern performers and scholars through the intricacies of German Baroque metric theory, via analyses of treatises and organ music by J.S. Bach and other leading composers, such as Buxtehude, Bruhns, and Weckman.

Before the advent of the metronome ca. 1800, there was little in the way of a standardized, commonly accessible method for precisely communicating how fast musical compositions should be performed. Instead of absolute time (that is, plottable on a metronome), Baroque musicians developed notational cues for relative speed: this was accomplished primarily through combinations of time signatures and note values. Julia Dokter's Tempo and Tactus in the German Baroque helps decode these tempo cues for modern performers.

Part 1 investigates metric theory in music treatises from roughly 1600 to 1790. Parts 2 and 3 explore the organ scores of pivotal composers such as J. S. Bach, Dieterich Buxtehude, Matthias Weckman, and Nicolaus Bruhns, and present case studies demonstrating how Baroque tempo indications may interact in performance situations.

Readers will discover how Baroque musicians modified the Renaissance mensural system to incorporate tempo shifts; how the various duple, triple, and compound meters interrelated; how the technical display of stylus phantasticus writing affected tempo; how tempo words (such as allegro) functioned; and how the choice of performing forces-chorus, solo keyboard, and so on-could affect the way tempo was notated.

By addressing questions of tempo fundamental to German Baroque music, this book lays important groundwork for organists and for performers of other instrumental music of this period.

Christopher Anderson

Karl Straube (1873–1950)

$240.00

The first thorough examination of the most renowned and influential organist in early twentieth-century Germany and of his complex relationship to his country's tumultuous and shifting sociopolitical landscape.

In the course of a multifaceted career, Karl Straube (1873-1950) rose to positions of immense cultural authority in a German musical world caught in unprecedented artistic and sociopolitical upheaval. Son of a German harmonium-builder and an intellectually inclined English mother, Straube established himself as Germany's iconic organ virtuoso by the turn of the century. His upbringing in Bismarck's Berlin encouraged him to develop intensive interests in world history and politics. He quickly became a sought-after teacher, editor, and confidante to composers and intellectuals, whose work he often significantly influenced. As the eleventh successor to J. S. Bach in the cantorate of St. Thomas School, Leipzig, he focused the choir's mission as curator of Bach's works and, in the unstable political climate of the interwar years, as international emissary for German art. His fraught exit from the cantorate in 1939 bore the scars of his Nazi affiliations and issued in a final decade of struggle and disillusionment as German society collapsed.
Christopher Anderson's book presents the first richly detailed examination of Karl Straube's remarkable life, situated against the background of the dynamic and sometimes sinister nationalism that informed it. Through extensive examination of primary sources, Anderson reveals a brilliant yet deeply conflicted musician whose influence until now has been recognized, even hailed, but little understood.

Michael Reynolds

Creating Der Rosenkavalier

$130.00

A full account of the making, during 1909-10, of Der Rosenkavalier with emphasis on its derivation from a French opérette of 1907, L'Ingenu libertin.

L'Ingenu libertin was seen in Paris by Count Harry Kessler and formed the basis of the opera then to be written by Hofmannsthal and Strauss. Previous scholarship has credited the narrative and characters of Der Rosenkavalier to much older French sources known to and studied by Hofmannsthal, but this book shows clearly how every element in L'Ingenu libertin is in fact taken (and transformed) by Kessler and Hofmannsthal into the work that made fortunes for Hofmannsthal and Strauss, but left Kessler on the sidelines.

Michael Reynolds casts a major new light on Strauss's most popular operatic success, highlighting in particular how it was that Hofmannsthal - who had not until then had any theatrical success as an original playwright - was advised and empowered by Kessler to produce a work that succeeded onstage from its very first performance and went rapidly on to conquer the stages of the world.

Michael Reynolds is an established writer on opera, a translator and an online music critic, an interest that he sustained throughout thirty years in the world of international diplomacy. His previous book for Boydell, About Suffolk, was an anthology of writing about his adopted county.

Eric Saylor

The Sea in the British Musical Imagination

$130.00

For centuries, the sea and those who sail upon it have inspired the imaginations of British musicians.

For centuries, the sea and those who sail upon it have inspired the imaginations of British musicians. Generations of British artists have viewed the ocean as a metaphor for the mutable human condition - by turns calm and reflective, tempestuous and destructive - and have been influenced as much by its physical presence as by its musical potential. But just as geographical perspectives and attitudes on seascapes have evolved over time, so too have culturalassumptions about their meaning and significance. Changes in how Britons have used the sea to travel, communicate, work, play, and go to war have all irresistibly shaped the way that maritime imagery has been conceived, represented, and disseminated in British music.
By exploring the sea's significance within the complex world of British music, this book reveals a network of largely unexamined cultural tropes unique to this island nation. The essaysare organised around three main themes: the Sea as Landscape, the Sea as Profession, and the Sea as Metaphor, covering an array of topics drawn from the seventeenth century to the twenty-first. Featuring studies of pieces by thelikes of Purcell, Arne, Sullivan, Vaughan Williams, and Davies, as well as examinations of cultural touchstones such as the BBC, the Scottish fishing industry, and the Aldeburgh Festival, The Sea in the British Musical Imagination will be of interest to musicologists as well as scholars in history, British studies, cultural studies, and English literature.

ERIC SAYLOR is Associate Professor of Musicology at Drake University.

CHRISTOPHER M. SCHEER is Assistant Professor of Musicology at Utah State University.

CONTRIBUTORS: Byron Adams, Jenny Doctor, Amanda Eubanks Winkler, James Brooks Kuykendall, Charles Edward McGuire, Alyson McLamore, Louis Niebur, Jennifer Oates, Eric Saylor, Christopher M. Scheer, Aidan J. Thomson, Justin Vickers, Frances Wilkins

The Sea in the British Musical Imagination

Caroline Potter

Erik Satie

$49.95

Satie's music and ideas are inextricably linked with the City of Light. This book situates Satie's work within the context and sonic environment of contemporary Paris.

Sunday Times Classical Music Book of the Year

Erik Satie's (1866-1925) music appeals to wide audiences and has influenced both experimental artists and pop musicians. Little about Satie was conventional, and he resists classification under easy headings such as "classical music". Instead of pursuing the path of a professional composer, Satie initially earned a living as a café pianist and moved in bohemian circles which prized satire, popular culture and experiment. Small wonder that his music is fundamentally new in conception. It is music which is not always designed to be listened to attentively: music which can be machine-like but is to be played by humans. For Satie, music was part of a wider concept of artistic creation, as evidenced by his collaborations with leading avant-garde artists and in works which cross traditional genre boundaries such as his texted piano pieces. His music was created in some of the most exciting and creatively stimulating environments of the late nineteenth and early twentieth century: Montmartre and Montparnasse. Paris was the artistic centre of Europe, and Satie was a notorious figure whose music and ideas are inextricably linked with the City of Light. This book situates Satie's work within the context and sonic environment of contemporary Paris. It shows that the influence of street music, musicians and poets interested in new technology, contemporary innovations and radical politics are all crucial to an understanding of Satie. Music from the ever-popular Gymnopédies to newly discovered works are discussed, and an online supplement features rare pieces recorded especially for the book.

CAROLINE POTTER is Reader in Music at Kingston University London. A graduate in both French and Music, she has published widely on French music since Debussy and was Series Advisor to the Philharmonia Orchestra's Paris 2014-15 season.

Cover image for Erik Satie, isbn: 9781783270835

Matthias Range

British Royal and State Funerals

$190.00

The first in-depth study of the ceremonial and music performed at British royal and state funerals over the past 400 years.

British royal and state funerals are among the most elaborate and solemn occasions in European history. This book is the first in-depth study of the ceremonial and the music performed at these events over the past 400 years, fromthe funeral of Elizabeth I in 1603. Covering funerals of both royalty and non-royalty, including Nelson, Wellington and Churchill, this study goes up to the funerals of Queen Elizabeth The Queen Mother in 2002 and the ceremonial funeral of Baroness Thatcher in 2013. While some of these funerals have received a good deal of attention - especially the 1997 funeral of Diana, Princess of Wales - these extraordinary events have largely not been discussed in their longer historical context.
The book examines the liturgical changes in the Anglican funeral rite since the Reformation and also the change from the so-called 'public' to 'private' funerals. It includes many new findings onthe development of the ceremonial and its intricate peculiarities, as well as new insights into the music and its performance. British Royal and State Funerals shows that, despite a strong emphasis on continuity in the choice of music, the ceremonial itself has shown an astonishing flexibility over the last four centuries. Overall, the book also contributes to the debate on the monarchy's changing public image over time by paying particular attention to topics such as tradition and propaganda. Drawing on substantial research in principal libraries and archives, including those of Westminster Abbey, the College of Arms, Lambeth Palace and the British Library, this book is an exhaustive resource for musicologists, musicians and historians alike, providing an unprecedented insight into this most sombre of royal and state occasions.

MATTHIAS RANGE is author of Music and Ceremonial at British Coronations (2012). He is a post-doctoral researcher for the Digital Image Archive of Medieval Music and its partner AHRC-funded Tudor Partbooks project at the Faculty of Music, University of Oxford.

Samantha Owens

Music at German Courts, 1715-1760

$190.00

Music at German Courts serves to illustrate the extraordinary diversity of eighteenth-century German court music establishments without losing sight of what these Kapellen had in common.

What was musical life at German courts really like during the eighteenth century? Were musical ensembles as diverse as the Holy Roman Empire's kaleidoscopic political landscape? Through a series of individual case studies contributed by leading scholars from Germany, Poland, the United States, Canada, and Australia, this book investigates the realities of musical life at fifteen German courts of varied size (ranging from kingdoms to principalities), religious denomination, and geographical location. Significant shifts that occurred in the artistic priorities of each court are presented through a series of "snapshots"- in effect "core sample" years - which highlight both individualand shared patterns of development and decline.
What emerges from the wealth of primary source material examined in this volume is an in-depth picture of music-making within the daily life of individual courts, featuring acast of music directors, instrumentalists, and vocalists, together with numerous support staff drawn from across Europe. Music at German Courts serves to illustrate the extraordinary diversity of eighteenth-century German court music establishments without losing sight of what these Kapellen had in common.

SAMANTHA OWENS is Senior Lecturer in Musicology at the University of Queensland, Brisbane, Australia. BARBARA M. REUL is Associate Professor of Musicology at Luther College, University of Regina, Canada. JANICE B. STOCKIGT is a Principal Fellow of the University of Melbourne, Australia.

Contributors: DIETER KIRSCH, URSULA KRAMER, MICHAEL MAUL, MARY OLESKIEWICZ, SAMANTHA OWENS, RASHID-S. PEGAH, BÄRBEL PELKER, BARBARA M. REUL, WOLFGANG RUF, BERT SIEGMUND, JANICE B. STOCKIGT, MICHAEL TALBOT, RÜDIGER THOMSEN-FÜRST, ALINA ZORAWSKA-WITKOWSKA, STEVEN ZOHN

Michael Hampe

The Crafty Art of Opera

$36.95

Insights into an opera stage director's work from an internationally acclaimed director and teacher.

Opera is nowadays performed worldwide. But as an art form it is little understood by performers and audiences alike. The Crafty Art of Opera wants to change that. Here, Michael Hampe brings glimpses of the director's work to a wider audience, uncovering the many techniques and rules that should inform an opera's staging: the need for singers to know their orchestra, the importance of space around singers, the gestures of languages, what we all can learn from Mozart, and the primacy of sense over effect, to name but a few. He shows how stories, through music, become tangible and real.
Packed with many anecdotes from the author's luminous career, this book is dedicatedto opera-lovers who want to understand 'how it is done'; to opera-makers who want to better understand their craft; and, last but not least, to those who loathe opera, in order to prove them wrong. Eminently readable, it brings both insight and wit from a life spent in opera as director and teacher.

MICHAEL HAMPE is an internationally acclaimed opera stage director. The Crafty Art of Opera was published in German as Opernschule.

Andrew Palmer

Encounters with British Composers

$49.95

Contemporary British composers talk about their music, with the emphasis on the aesthetic sensibilities and psychological processes behind composing rather than technique.

This book features interviews with leading and upcoming British composers who use the same raw materials but produce classical music that takes very different forms. Uniquely, Andrew Palmer approaches the sometimes baffling worldof contemporary music from the point of view of the inquisitive, music-loving amateur rather than the professional critic or musicologist. Readers can eavesdrop on conversations in which composers are asked a number of questionsabout their professional lives and practices, with the emphasis on the aesthetic sensibilities and psychological processes behind composing rather than technique. Throughout, the book seeks to explore why composers write the kindof music they write, and what they want their music to do. Along the way, readers are confronted with an unspoken but equally important question: if some composers are writing music that the public doesn't want to engage with, who's to blame for that? Are composers out of touch with their public, or are we too lazy to give their music the attention it deserves?

ANDREW PALMER is a freelance writer and photographer. He is editor of Composing in Words: William Alwyn on His Art (Toccata Press, 2009), author of Divas... In Their Own Words (Vernon Press, 2000) and co-author of A Voice Reborn (Arcadia Books, 1999). Since 1998 he has been a corresponding editor of Strings magazine (USA).

Interviewees include: Julian Anderson, Simon Bainbridge, Sally Beamish, George Benjamin, Michael Berkeley, Judith Bingham, Harrison Birtwistle, Howard Blake, Gavin Bryars, Diana Burrell, Tom Coult, Gordon Crosse, Jonathan Dove, David Dubery, Michael Finnissy, Cheryl Frances-Hoad, Alexander Goehr, Howard Goodall, Christopher Gunning, Morgan Hayes, Robin Holloway, Oliver Knussen, James MacMillan, Colin Matthews, David Matthews, Peter Maxwell Davies, John McCabe, Thea Musgrave, Roxanna Panufnik, Anthony Payne, Elis Pehkonen, Joseph Phibbs, Gabriel Prokofiev, John Rutter, Robert Saxton, John Tavener, Judith Weir, Debbie Wiseman, Christopher Wright

Peter Dickinson

Peter Dickinson: Words and Music

$130.00

Articles, tributes and reminiscences of composer, pianist and author Peter Dickinson are here brought together for the first time.

Peter Dickinson made an enduring contribution to British musical life, and his music has been regularly performed and recorded by leading musicians. His writings, brought together here for the first time, are equally noteworthy. Covering well over half a century, the subjects are fascinatingly varied. Apart from musical interests ranging from Charles Ives to John Cage, they touch on literature; and Dickinson's meetings with W.H. Auden and Philip Larkin are an intriguing insight that led to his Auden songs and the chamber work Larkin's Jazz. American themes are prominent in this collection. There are unique reviews of concert life in New York from 1959 to 1961; an account of the teaching programme at the Juilliard School of Music at that time; three studies of Ives; and features containing original material on Copland, Thomson and Cage, all of whom Dickinson knew. Features on Erik Satie include the imaginary discussion marking his centenary in 1966. Dickinson also writes about his own music, providing an insight into what it was like being a British composer in the later twentieth century.

Peter Dickinson was born in Lancashire in 1934 and lived in Suffolk until his passing. His 80th birthday was marked by a whole variety of tributes, including concerts, articles, broadcasts and various interviews - some included in this book.

PETER DICKINSON was a British composer and pianist as well as author and editor of Boydell/URP books on Berkeley, Copland, Cage, Barber and Berners. As a pianist, Dickinson had a twenty-five-year, international partnership with his sister, the mezzo Meriel Dickinson, for whom he wrote song cycles to poems of E. E. Cummings, Gregory Corso and Stevie Smith. He was a regular contributor to BBC Radio 3 and was widely read as a critic on the Gramophone. He was an Emeritus Professor of the Universities of Keele and London and was chair of the Bernarr Rainbow Trust, for which he edited several books on music education.