Name: Music Speaks
Brand: Daniel Albright
Price: 120.0 USD
Availability: InStock

Music Speaks

$120.00

Explores the meaning[s] of music, the most intricate and significant language invented by our culture.

From Daniel Albright, author of Musicking Shakespeare and Berlioz's Semi-Operas, comes a collection of essays on music and on dance, probing the problems of articulating the meaning[s] of music; the larger question of how music and language interact; how text-setting highlights certain areas of meter, theme, or ironic undertone, and leaves others in darkness; how a musical composition can behave as a critique of a previous composition; and how one might rehabilitate certain underappreciated or much-scorned figures, such as Meyerbeer, by showing that the very terms of invective used against them can be seen, from another angle, as an indication of what is exciting in their work.
Albright shows that music history has an aesthetic of its own, and how music history interacts with intellectual history (from Rousseau to Paul de Man). By abutting music against literature and painting, and by juxtaposing the musics of different centuries, Albright frames a particular work, isolating what is arresting and important in it.
The essays range widely, but they rarely stray far from opera, for the opera house is the venue where the performances speak the most intricate and significant language invented by our culture -- a language that speaks in music, words, pictures, and light.

Daniel Albright teaches courses in the English, ComparativeLiterature, and Music departments at Harvard University.

Unmasking Ravel

$130.00

Collection of critical and analytical scholarly essays on the music of Ravel by prominent scholars.

Unmasking Ravel: New Perspectives on the Music fills a unique place in Ravel studies by combining critical interpretation and analytical focus. From the premiere of his works up to the present, Ravel has been associated with masks and the related notions of artifice and imposture. This has led scholars to perceive a lack of depth in his music and, consequently, to discourage investigation of his musical language. This volume balances and interweavesthese modes of inquiry. Part 1, "Orientations and Influences," illuminates the sometimes contradictory aesthetic, biographical, and literary strands comprising Ravel's artistry and our understanding of it. Part 2, "Analytical Case Studies," engages representative works from Ravel's major genres using a variety of methodologies, focusing on structural process and his complex relation to stylistic convention. Part 3, "Interdisciplinary Studies," integratesmusical analysis and art criticism, semiotics, and psychoanalysis in creating novel methodologies.

Contributors include prominent scholars of Ravel's and fin-de-siècle music: Elliott Antokoletz, Gurminder Bhogal, Sigrun B. Heinzelmann, Volker Helbing, Steven Huebner, Peter Kaminsky, Barbara Kelly, David Korevaar, Daphne Leong, Michael Puri, and Lauri Suurpää.

Peter Kaminsky is Professor of Music at the University of Connecticut, Storrs.

August Halm

$130.00

The first detailed study of a prolific and influential early twentieth-century composer, critic, educator-a true sage of music.

In the early 1900s, August Halm was widely acknowledged to be one of the most insightful and influential authors of his day on a wide range of musical topics. Yet, in the eighty years since his untimely death at age 59 (in 1929),Halm -- the author of six widely read books and over 100 essays -- has received much less attention than such contemporaries as Hugo Riemann, Heinrich Schenker, Ernst Kurth, and Arnold Schoenberg. Lee Rothfarb's engaging and deeply researched study provides the missing images that comprise the multifaceted life of this astute musical sage.
August Halm: A Critical and Creative Life in Music begins by setting the cultural stage and examining Halm's life with rich details from unpublished personal letters, diaries, notebooks, and lecture notes. Further chapters explore Halm's notion of musical logic and his proposal that the evolution of compositional technique had, by hisday, culminated in three successive musical "cultures" epitomized in Bach (fugue), Beethoven (sonata), and Bruckner (symphony). Another chapter examines, for the first time anywhere, Halm's own compositions, their motivating aesthetic premises, and their connection with late twentieth-century postmodernism. The volume closes with an assessment of Halm's significance for present-day music theory, including its branches that deal with narrativity, plot theory, embodiment, and semiotics.
Halm's subject matter and creative activities ranged widely, and he aimed at maintaining a style that would be accessible and intriguing to music amateurs and music educators at all levels. LeeRothfarb's book -- written in the same spirit -- will interest not only music theorists and musicologists but also composers and classroom and private music teachers.

Lee Rothfarb is Professor of Music at the University of California, Santa Barbara. His previous publications include Ernst Kurth as Theorist and Analyst and Ernst Kurth: Selected Writings.

Wagner and Venice

$190.00

Explores Wagner's lengthy stays in Venice, his death there, and the meaning of his works -- and his death -- for that great city and its mystique.

Richard Wagner had a longstanding love affair with the city of Venice. His sudden death there in 1883 also initiated a process through which Wagner and his reputation were integrated into Venice's own cumulative cultural image.
In Wagner and Venice, John Barker examines the connections between the great composer and the great city. The author traces patterns of Wagner's visits to Venice during his lifetime, considers what the city came to meanto Wagner, and investigates the details surrounding his death. Barker also examines how Venice viewed Wagner, by analyzing the landmark presentation of Wagner's Ring cycle two months after the composer's death, and by consideringVenice's subsequent extensive Wagner celebrations and commemorations.
Throughout the volume, biographical detail from new and previously unavailable sources provides readers with a fresh interpretation of this seminal figure.Those already familiar with Wagner's life will find new information about, and insights into, the man and his career, while simultaneously discovering a neglected corner of Italian and Venetian cultural history.

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.

French Music, Culture, and National Identity, 1870-1939

$130.00

New, insightful essays from musicologists, historians, art historians, and literary scholars reconsider the relationship of Debussy, Gauguin, Zola, and other great French creative artists to cultural and political trends during the Third Republic.

This collection of new essays examines the relationships between discourses of French national and regional identity, political alignment, and creative practice during one of France's most fascinating eras: the Third Republic.
The authors, from a variety of disciplinary backgrounds, explore the ways in which the architects of the Third Republic [re]constructed France culturally and artistically, in part through artful use of the press and [at the 1889Paris World's Fair] new technologies. The chapters also investigate changing attitudes toward Debussy's opera Pelléas et Mélisande, attempts by composers and critics to define a musical canon, and the impact of religious education, spirituality, and exoticism for Gauguin and Jolivet. Tensions between the center and region are seen in celebrations for the national musical figurehead, Rameau, and in the cultural regionalism that flourished in the annexed territories of Alsace and Lorraine.

Contributors: Edward Berenson, Katharine Ellis, Annegret Fauser, Didier Francfort, Brian Hart, Steven Huebner, Barbara L. Kelly, Detmar Klein, Deborah Mawer, James Ross, Marion Schmid, and Debora Silverman.

Barbara L. Kelly is Professor of Musicology at Keele University.

French Music, Culture, and National Identity, 1870-1939

Laughter between Two Revolutions

$130.00

Tells the forgotten story of post-Rossinian opera buffa, with attention to masterpieces by Donizetti and fascinating comic works by Luigi Ricci, the young Verdi, and other composers.

This study represents the first substantial assessment of Italian comic operas composed during the central years of the Risorgimento -- the period during which upheavals, revolutions, and wars ultimately led to the liberation andunification of Italy. Music historians often view the period as one during which serious Romantic opera flourished in Italy while opera buffa inexorably declined.
Laughter between Two Revolutions revises this widespread notion by viewing well-known comic masterpieces -- such as Donizetti's L'elisir d'amore (1832) and Don Pasquale (1843) -- as part of a still-thriving tradition. Also examined are opere buffe by LuigiRicci, Lauro Rossi, Verdi (Un giorno di regno), and others, many of which circulated widely at the time. Francesco Izzo's pathbreaking study argues that in the "realm of seriousness" of mid-nineteenth-century Italy, comedywas not an anachronistic intruder, but a significant and vital cultural presence.
This important volume offers new insights into opera history and theories of comedy in the arts. It will be of interest to opera lovers everywhere and to students in music, philosophy, comparative literature, and Italian cultural studies. Francesco Izzo is senior lecturer in music at the University of Southampton.

Gunther Schuller

$65.00

The autobiography of composer and conductor Gunther Schuller and a recounting of the American musical scene through the twentieth century and into the twenty-first.

Finalist for Foreword's Book of the Year in the Biography/Autobiography Category.

Simultaneously the memoir of a famed composer, conductor, and music educator, and an important historical sourcebook on the American musical scene during the twentieth century and into the twenty-first, the autobiography of Gunther Schuller chronicles the first thirty-five years of this multifaceted and expansive figure's life and work.
Schuller began composing music at an early age and joined the Cincinnati Symphony as its principal French horn player at seventeen. Since then he has written for many major orchestras and his work has earned him a MacArthur Foundation "genius" grant and the Pulitzer Prize in 1994 for his large-scale orchestral piece Of Reminiscences and Reflections. Perhaps most famously, Schuller contributed to a new stylistic blend between progressive factions of jazz and classical music, for which he coined the term "Third Stream," and collaborated with John Lewis, the ModernJazz Quartet, and others in the development of this style.
In this exquisitely detailed reflection on his early influences, experiences of good fortune, and powers of curiosity, as well as firsthand recounting of critical cultural and social moments and major movers of the jazz world, Schuller here beautifully and honestly narrates a life lived beyond limits.

Gunther Schuller has been on the faculties of the Manhattan School of Music andYale University; he was, for many years, head of contemporary music activities (succeeding Aaron Copland) and Director of the Tanglewood Music Center, and served as president of the New England Conservatory. He is the author of The Swing Era: The Development of Jazz, 1930-1945; Early Jazz: Its Roots and Musical Development; The Compleat Conductor, and many other books.

The Whistling Blackbird

$190.00

A collection of essays on new music, composers, and issues in American music criticism and aestheticson by composer and music theorist Robert Morris.

The Whistling Blackbird: Essays and Talks on New Music is the long-awaited book of essays from Robert Morris, the greatly admired composer and music theorist. In these essays, Morris presents a new and multifaceted view ofrecent developments in American music. His views on music, as well as his many compositions, defy easy classification, favoring instead a holistic, creative, and critical approach.
The Whistling Blackbird contains fourteen essays and talks, divided into three parts, preceded by an "Overture" that portrays what it means to compose music in the United States today. Part 1 presents essays on American composers John Cage, Milton Babbitt, Richard Swift, and Stefan Wolpe. Part 2 comprises talks on Morris's music that illustrate his ideas and creative approaches over forty years of music composition, including his outdoor compositions, an ongoing project that began in 1999. Part 3 includes four essays in music criticism: on the relation of composition to ethnomusicology; on phenomenology and attention; on music theory at the millennium; and on issues in musical time.
Threaded throughout this collection of essays are Morris's diverse and seemingly disparate interests and influences. English romantic poetry, mathematical combinatorics, group and set theory, hiking, Buddhist philosophy, Chinese and Japanese poetry and painting, jazz and nonwestern music, chaos theory, linguistics, and the American transcendental movement exist side by side in a fascinating and eclectic portrait of American musical composition at the dawn of the new millennium.

Robert Morris is Professor of Music Composition at the Eastman School of Music, University of Rochester.

The Music of Wilhelm Friedemann Bach

$170.00

The first book in nearly a century dedicated to a close examination of the musical works of Wilhelm Friedemann Bach, first son of Johann Sebastian Bach.

The first-born of the four composer sons of Johann Sebastian Bach, Wilhelm Friedemann was often considered the most brilliant. Yet he left relatively few works and died in obscurity. This monograph, the first on the composer in nearly a century, identifies the unique features of Friedemann's music that make it worth studying and performing. It considers how Friedemann's training and upbringing differed from those of his brothers, leading to a style that diverged from that of his contemporaries.
Central to the book are detailed discussions of all Friedemann's extant works: the virtuoso sonatas and concertos for keyboard instruments, the extraordinary chamber compositions (especially for flute), and the hitherto-neglected vocal music, including sacred cantatas and a remarkable work in honor of King Frederick the Great of Prussia. Special sections consider performance questions unique to Friedemann's music and provide a handy list of his works and their sources. Numerous musical examples provide glimpses of many little-known compositions, including a concerto ignored by previous students of Friedemann's music, here restored to hislist of works.

David Schulenberg, Professor of Music at Wagner College in New York City, has performed much of W. F. Bach's output on harpsichord, clavichord, and fortepiano. His previous writings include The Keyboard Music of J. S. Bach and The Instrumental Music of C. P. E. Bach.

The Ballet Collaborations of Richard Strauss

$170.00

A richly interdisciplinary study of Strauss's contributions to ballet, his collaboration with prominent dance artists of his time, and his explorations of musical modernism.

Richard Strauss contributed music to several ballets during his career, collaborating with prominent dance artists of his time. His ballets include an unfinished Die Insel Kythere (The Island of Cythera), 1900], inspired by French Rococo paintings; Josephslegende (The Legend of Joseph, 1914), choreographed by Léonide Massine for the Ballets Russes; a 1923 Ballettsoirée with dances by Heinrich Kröller, showcasing the Vienna Ballet and including Strauss's arrangements of music by François Couperin; Schlagobers (Whipped Cream, 1924), a "Comic Viennese Ballet" choreographed by Kröller; and Verklungene Feste: Tanzvisionen aus Zwei Jahrhunderten (Faded Celebrations: Dance Visions from Two Centuries, 1941), premiered in Munich with meta-historical dances by the dancer-choreographer team Pia and Pino Mlakar.
In The Ballet Collaborations of Richard Strauss, Heisler considers Strauss's ballet scores alongside story, mise-en-scène, and choreography, revealing Strauss's shift from a parodic conception of classical dance in the years leading up to World War I to a belatedobsession with Romantic-era ballet in its aftermath. Heisler explores issues central to Strauss's relationship to modernism: his mining in Die Insel Kythere (1900) of the decorative aspects of dance, suggesting a shared sensibility with fin-de-siècle Jugendstil and a critique of Romanticism; the dynamics of collective creation and Strauss's penchant for parody in relation to Josephslegende (1914); his stance on interwar cultural politics through the 1923 Ballettsoirée and Schlagobers (1924); and Verklungene Feste (1941) as this composer's autumnal meditation on the conceit of music and dance as vehicles for transcendence. The Ballet Collaborations of Richard Strauss is a richly interdisciplinary study that promises to nuance the popular, critical, and academic reception of this ever-popular composer.

Wayne Heisler Jr. is Assistant Professor and Coordinator of Historical and Cultural Studies in Music at The College of New Jersey.

The Ballet Collaborations of Richard Strauss

Othmar Schoeck

$190.00

Places the Swiss composer Schoeck, master of a late-Romantic style both sensuous and stringent, in context and gives insight into his increasingly popular musical works.

The work of the late-Romantic Swiss composer Othmar Schoeck (1886-1957) has in recent years enjoyed a surge of interest. His 300 songs with piano accompaniment are now all on CD, as are his orchestral song cycles and five of his eight stage works. Yet despite an impressive discography featuring names such as Dietrich Fischer-Dieskau, Lucia Popp and Ian Bostridge, no biographical study of Schoeck has ever been available in English.
Chris Walton, authorof Richard Wagner in Zurich: The Muse of Place, charts the turbulent course of Schoeck's life and career with care and candor, from a rampant youth to midlife monogamy and an old age ravaged by fears of neglect. He tracesSchoeck's relationships to musicians such as Max Reger, Ferruccio Busoni, Wilhelm Furtwängler, Paul Hindemith, and Igor Stravinsky, and to writers Thomas Mann, Hermann Hesse, and James Joyce. New light is also shed on Schoeck's uneasy relationship with Nazi Germany and its culmination, for him, in public humiliation and private catastrophe.
As an accompanist, Schoeck was an arch-Romantic master of rubato; as a conductor, he was a fervent champion of the new; and in his compositions, he moved from late-Romanticism through a modernist vortex to emerge in full mastery of an individual musical language both sensuous and stringent.
In this thorough new biography, Waltonplaces Schoeck the man and the artist squarely in the context of his time.

Chris Walton is Extraordinary Professor at the University of Stellenbosch in South Africa and Managing Director of the Orchestre Symphonique Bienne in Switzerland. He is the recipient of the 2010 Max Geilinger Prize honoring exemplary contributions to the literary and cultural relationship between Switzerland and the English-speaking world.

Three Questions for Sixty-Five Composers

$49.95

Master interviewer Bálint András Varga poses three probing questions to renowned contemporary composers about their work, and carefully renders their answers in their own words.

Do today's composers draw inspiration from life experiences or from, say, the natural world?
What influences, past and present, have influenced recent composers?
How essential is it for a composer to develop a personal style, and when does this degenerate into self-repetition?
These are questions about which some of the most important composers of the late twentieth and early twenty-first century often have quite strong feelings--but have seldom been asked.
In this pathbreaking book, Bálint András Varga puts these three questions to such renowned composers as Luciano Berio, Pierre Boulez, Alberto Ginastera, Sofia Gubaidulina, Hans Werner Henze, Helmut Lachenmann, György Ligeti, Witold Lutoslawski, Luigi Nono, Krzysztof Penderecki, Wolfgang Rihm, Karlheinz Stockhausen, Toru Takemitsu, and Iannis Xenakis. Varga's sensitive English renderings capture the subtleties of their sometimes confident, sometimes hesitant, answers.
All statements from English-speaking composers -- such as Milton Babbitt, John Cage, Elliott Carter, Sir Peter Maxwell Davies, Morton Feldman, Lukas Foss, Steve Reich, Gunther Schuller, andSir Michael Tippett -- consist of the composers' own carefully chosen words.
Three Questions for Sixty-Five Composers is vital reading for anybody interested in the current state of music and the arts.

TheHungarian music publisher Bálint András Varga has spent nearly forty years working for and with composers. He has published several books, including extensive interviews with Lutoslawski, Berio, and Xenakis. His previous book forthe University of Rochester Press is György Kurtág: Three Interviews and Ligeti Homages.

Three Questions for Sixty-Five Composers

Intimate Voices: The Twentieth-Century String Quartet

$170.00

Leading authorities explore, in direct and accessible language, chamber-music masterpieces by twenty-one prominent composers since 1900.

Modern composers as diverse as Béla Bartók, Maurice Ravel, Benjamin Britten, and John Cage have confided some of their most personal and intense thoughts to the medium of the string quartet. The resulting repertoire has won the allegiance of string players-and of listeners in the concert hall and at home. Yet, until now, no book has addressed the language of these remarkable works, their interactions with the masterpieces of Beethoven and others, and theirnew approaches to musical expression. Intimate Voices, organized in rough chronological order, offers the observations and intuitions of twenty leading authorities on quartets by twenty-one composers from eleven countries.Its two volumes-available separately or together-comprise an indispensable guide to amateur and professional chamber musicians, scholars, students, and anyone seeking a deeper acquaintance with the great achievements of twentieth-century music.

Edited by Evan Jones, Associate Professor of Music Theory, Florida State University College of Music.

Volume 1: Debussy and Ravel [Marianne Wheeldon]; Sibelius [Joseph Kraus]; Bartók [JosephN. Straus]; Hindemith [David Neumeyer]; Schoenberg [Matthew R. Shaftel]; Berg [Dave Headlam]; Webern [David Clampitt]; Villa-Lobos [Eero Tarasti]; Prokofiev [Neil Minturn]

Volume 2: Shostakovich [Patrick McCreless]; Britten [Christopher Mark]; Ligeti [Jane Piper Clendinning]; Berio [Richard Hermann]; Xenakis [Evan Jones]; Scelsi [Eric Drott]; Cage (David W. Bernstein]; Babbitt [Andrew Mead]; Carter [Jonathan W. Bernard]; Mel Powell [Jeffrey Perry]; Shulamit Ran [Robert W. Peck]

Intimate Voices: The Twentieth-Century String Quartet

The Twelve-Tone Music of Luigi Dallapiccola

$130.00

Reveals the great twentieth-century Italian composer's innovative handling of harmony, form, and text setting.

Luigi Dallapiccola was one of twentieth century's most accomplished and admired composers. His music incorporated many of the twelve-tone techniques developed by Arnold Schoenberg, Alban Berg, and Anton von Webern, but blended their expressionistic impulses with an Italianate sense of lyricism. Brian Alegant's The Twelve-Tone Music of Luigi Dallapiccola traces the evolution of Dallapiccola's compositional technique over a thirty-year period (1942-74). Using both historical and music-analytical lenses, this book documents the influences of Webern and Schoenberg, highlights Dallapiccola's innovative handling of harmony, form, and text setting, and sheds light on several worksthat have been virtually ignored. Alegant's book will be a crucial source of insights for scholars and other readers interested in twentieth-century music.

Brian Alegant is Professor of Music Theory at the Oberlin College Conservatory.

The Twelve-Tone Music of Luigi Dallapiccola

Busoni as Pianist

$120.00

A translation of the only book that focuses solely on the pianistic aspect of Busoni's wide-ranging career.

Ferruccio Busoni is most widely known today as the composer of such works as the Second Violin Sonata, the incidental music for Gozzi's Turandot, and the most monumental piano concerto in the repertory (some eighty minuteslong, with male chorus in the finale). But Busoni was also renowned in his day as an author and pedagogue and, most especially, as a pianist. Busoni's recordings of pieces by Chopin and Liszt -- and of his own arrangements of keyboard works by Bach and Beethoven -- are much prized and studied today by connoisseurs of piano playing. Yet even his most important biographers have cast only a cursory glance at the pianistic aspect of Busoni's fascinating career.
Grigory Kogan's book Busoni as Pianist (published in Russian in 1964, and here translated for the first time) was and remains the first and only study to concentrate exclusively on Busoni's contributions to the worldof the piano. Busoni as Pianist summarizes reviews of Busoni's playing and his own writings on the subject. It also closely analyzes the surviving piano roles and recordings, and examines Busoni's editions, arrangements, and pedagogical output. As such, it will be of interest to pianists, teachers and students of the piano, historians, and all who love piano music and the art of piano playing.

Grigory Kogan (1901-1979) was a leading Soviet pianist and music critic. A conservatory professor at the age of twenty-one, Kogan created the first-ever course in Russia dealing with the history and theory of pianism. Through his brilliant lectures, his concert performances, and his many books, articles, and reviews, Kogan influenced an entire generation of Soviet pianists.

Svetlana Belsky is a teacher and performer, and is coordinator of Piano Studies at the University of Chicago.

The "Musica" of Hermannus Contractus

$120.00

The renowned treatise on music, by an eleventh-century monk, in a critical edition with annotated English translation, introduction, and detailed indexes.

Long recognized as one of the most important medieval treatises on music, the Musica of Hermannus Contractus is here presented in a newly revised translation, with commentary reflecting the best current scholarship.

A polymath and monk, Hermannus Contractus (1013-54) contributed to the important advancements made in European arts and sciences in the first half of the eleventh century, writing on history, astronomy, and time-keeping devices,among other topics, and composing several chants. His music theory, founded on a systematic treatment of traditional concepts and terminology dating back to the ancient Greeks, is concerned largely with the organization of pitchin Gregorian chant. Hermann's approach stems from Germanic species-based thought, and is marked by a distinction between aspects of form and aspects of position, privileging the latter. He expresses this in terms imported from then-new developments in Italian music theory, thus acting as a nexus for the two traditions. Numerology and number symbolism play significant roles in Hermann's theories, and his critiques of other theorists offer insights into medieval intellectual life. Hermann also uses chant citations and exercises to help his readers apply theory to practice.

John L. Snyder's revised edition of Ellinwood's long-standard 1952 text and translation offers a new introduction, including codicological descriptions of the sources; a critical edition of the Latin text with an annotated English translation on facing pages; appendices detailing the documents pertaining to Hermann's life, his citations of plainsong, and his original diastematic notation system; and greatly expanded indexes. Snyder's Musica will serve as the standard version of this major historical document for years to come.

Leonard Ellinwood (1905-94) served in the Library of Congress cataloging divisions in music and in the humanities for thirty-five years. He published scholarly works and editions of both medieval music and church music. John L. Snyder is Professor of Music Theory and Musicology at the University of Houston's Moores School of Music.

Dear Dorothy

$55.00

The fascinating letters of conductor-author Nicolas Slonimsky (1894-1995) to his wife, sharing his adventures as he traveled around the world to conduct new American music.

In the mid-twentieth century renowned musicologist, conductor, and lexicographer Nicolas Slonimsky traveled to cities throughout the world to play and conduct music of the American avant-garde. From trips to Paris, Berlin, Havana,New York, Los Angeles, Buenos Aires, Rio de Janeiro, and Moscow, Slonimsky wrote letters to his wife, the art critic Dorothy Adlow, vividly and humorously describing his adventures.

Dear Dorothy: Letters from NicolasSlonimsky to Dorothy Adlow is a collection of these missives. Though personal, they chronicle Slonimsky's work as an ambassador of modern music who introduced twentieth-century composers, particularly American composers, to audiences worldwide. Full of his admired wit and energy, the letters recount his performances, rehearsals, lectures, day-to-day activities in foreign cities and concert halls, and the anxieties of stretching limited funds to cover an ever-expanding itinerary. They also reveal a side of Slonimsky not seen from his other published writings: a man with deep devotion to his wife and family.

Annotated and with an introduction by Slonimsky's daughter, Electra Slonimsky Yourke, this collection documents the meeting of historic musical cultures-Old World Europe, the Soviet Union, and the vibrant countries of Latin America-with the modernist music of the United States. Written in a lively, humorous style, these letters will be of interest to scholars and students of American music and social historians as well as musicians, music lovers, and concertgoers.

Electra Slonimsky Yourke is the daughter ofNicolas Slonimsky and Dorothy Adlow, and editor of several collections of her father's work, including The Listener's Companion and the four-volume Writings on Music.

Nicolas Slonimsky (1894-1995) was a Renaissance man in the modern-music world of the mid-twentieth century. Composer, conductor, critic, and lexicographer, he authored many books including Lexicon of Musical Invective: Critical Assaults on Composers since Beethoven's Time and a memoir, Perfect Pitch.

Leon Kirchner

$130.00

Biography of the late American composer Leon Kirchner (1919-2009), exploring his work and important personal associations.

In this first biography of American composer, pianist, conductor, and teacher Leon Kirchner (1919-2009), Robert Riggs paints a vivid picture of an extraordinary, multifaceted musician. Refugees from Hitler's Third Reich (Schoenberg, Bloch, and Stravinsky) dominated Kirchner's early development, and he in turn became a transformative mentor for later generations at the University of Southern California, Mills College, and Harvard University. Kirchner's performance persona is brought to life by highlighting his appearances with top orchestras and at major festivals, especially his long tenure at the Marlboro Music Festival, where he worked with Rudolf Serkin and Pablo Casals. Currentchampions of his music (Yo-Yo Ma, Leon Fleisher, and James Levine) are also key protagonists. Kirchner's entire oeuvre is discussed within the chronological narrative, and six representative works are examined in detail.
Inaddition to Riggs's extensive interviews with the composer, the biography is documented with Kirchner's colorful correspondence from a roster of luminaries: Saul Bellow, Leonard Bernstein, Edward Cone, Aaron Copland, Darius Milhaud, Isaac Stern, Roger Sessions, and many others. Excerpts from Kirchner's own elegantly written essays and speeches complete the portrait and reveal his highly personal, romantic view of music as powerful art capable of endowing humanity with an "aesthetic sensibility and protective wisdom, without which we cannot survive."

Robert Riggs is Professor of Music at the University of Mississippi.

Building the Operatic Museum

$130.00

The pathbreaking revival in Paris ca. 1900 of long-neglected operas by Mozart, Gluck, and Rameau -- and what this meant to French audiences, critics, and composers.

Focusing on the operas of Mozart, Gluck, and Rameau, Building the Operatic Museum examines the role that eighteenth-century works played in the opera houses of Paris around the turn of the twentieth century. These works, mostly neglected during the nineteenth century, became the main exhibits in what William Gibbons calls the Operatic Museum -- a physical and conceptual space in which great masterworks from the past and present could, like works ofvisual art in the Louvre, entertain audiences while educating them in their own history and national identity. Drawing on the fields of musicology, museum studies, art history, and literature, Gibbons explores how this "museum" transformed Parisian musical theater into a place of cultural memory, dedicated to the display of French musical greatness.

William Gibbons is Associate Professor of Musicology at Texas Christian University.

Good Music for a Free People

$130.00

A transatlantic perspective that illuminates the Germania Musical Society's crucial role in introducing a "classical," predominantly German, repertory of instrumental works into American musical life.

In Good Music for a Free People, author Nancy Newman examines the activities and reception of the Germania Musical Society, an orchestra whose members emigrated from Berlin during the Revolutions of 1848. These two dozen "Forty-Eighters" gave nearly a thousand concerts in North America during the ensuing six-year period, possibly reaching a million listeners. Drawing on a memoir by member Henry Albrecht, Newman provides insights into the musicians'desire to bring their music to the audiences of a democratic republic at this turbulent time. Eager to avoid the egotism and self-promotion of the European patronage system, they pledged to work for their mutual interests both musically and socially. "One for all, and all for one" became their motto. Originally published in German, Albrecht's memoir is presented here in for the first time in translation.

Nancy Newman is Associate Professor in the Music Department at the University at Albany, SUNY.

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.

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.

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

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.

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

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.

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.

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.

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.

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.

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

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.

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.

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.

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.

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.

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).

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).

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.

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.

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"

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.

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).

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

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.

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.

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

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.

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.

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).

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.

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.

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.

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

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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.

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.

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

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

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.

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.

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.

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

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.

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

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.

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.

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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.

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

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.

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.