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Music in the Nineteenth Century examines the period from the Congress of Vienna in 1815 to the advent of Modernism in the 1890s. Frisch traces a complex web of relationships involving composers, performers, publishers, notated scores, oral traditions, audiences, institutions, cities, and nations. The book's central themes include middle-class involvement in music, the rich but elusive concept of Romanticism, the cult of virtuosity, and the ever-changing balance between musical and commercial interests. The final chapter considers the sound world of nineteenth-century music as captured by contemporary witnesses and early recordings. Western Music in Context: A Norton History comprises six volumes of moderate length, each written in an engaging style by a recognized expert. Authoritative and current, the series examines music in the broadest sense-as sounds notated, performed, and heard-focusing not only on composers and works, but also on broader social and intellectual currents.
Table of Contents
|Anthology Repertoire||p. xii|
|Series Editor's Preface||p. xiii|
|Author's Preface||p. xv|
|Nineteenth-Century Music and Its Contexts||p. 1|
|Around 1815||p. 2|
|The Final Decade of the Century||p. 5|
|From 1815 to the 1890s||p. 7|
|The "Tristan" Chord||p. 9|
|For Further Reading||p. 11|
|The Romantic Imagination||p. 13|
|The Reaction Against Classicism||p. 14|
|Romantic Longing||p. 19|
|Music in the Romantic Imagination||p. 21|
|The Religion of Art||p. 23|
|Fantasy Versus Reality||p. 24|
|Romantic Irony||p. 26|
|Romanticism and Nationalism||p. 28|
|For Further Reading||p. 31|
|Music and the Age of Metternich||p. 32|
|The Congress of Vienna||p. 33|
|Biedermeier Culture||p. 34|
|Ludwig van Beethoven||p. 37|
|Franz Schubert||p. 42|
|Virtuosity, Virtuosos||p. 46|
|For Further Reading||p. 51|
|The Opera Industry||p. 52|
|Italian Opera||p. 53|
|French Opera||p. 62|
|German Opera||p. 65|
|Russian Opera||p. 71|
|For Further Reading||p. 72|
|Making Music Matter: Criticism and Performance||p. 73|
|Music Journalism||p. 74|
|Civic Engagement: The Case of Felix Mendelssohn||p. 82|
|Fanny Mendelssohn Hensel and the Musical Salon||p. 85|
|Clara Wieck Schumann and the Keyboard||p. 87|
|For Further Reading||p. 91|
|Making Music Speak: Program Music and the Character Piece||p. 92|
|Absolute and Program Music||p. 93|
|Romantic Piano Music: The Character Piece||p. 100|
|Robert Schumann and the Lied||p. 109|
|For Further Reading||p. 111|
|Beyond Romanticism||p. 112|
|The Revolutions of 1848||p. 113|
|Anti-Romanticism and Pessimism||p. 114|
|Idealism Versus Materialism||p. 116|
|For Further Reading||p. 131|
|Richard Wagner and Wagnerism||p. 133|
|Wagner's Early Life and Career||p. 134|
|Wagner's Theories of Operatic Reform||p. 136|
|The Wagnerian Artwork of the Future||p. 138|
|Wagner's Mature Operas||p. 141|
|Wagner's Nationalism and Anti-Semitism||p. 146|
|For Further Reading||p. 152|
|Verdi, Operetta, and Popular Appeal||p. 153|
|Giuseppe Verdi||p. 154|
|French Opera||p. 168|
|For Further Reading||p. 172|
|Concert Culture and the "Great" Symphony||p. 174|
|Concert Culture||p. 174|
|The Great Symphony in the Later Nineteenth Century||p. 177|
|Johannes Brahms and Anton Bruckner in Vienna||p. 178|
|Concert Culture in France||p. 185|
|Russian Concert Culture arid Tchaikovsky's Sixth (Pathétique) Symphony||p. 190|
|For Further Reading||p. 193|
|Musical Life and Identity in the United States||p. 195|
|Federal Boston||p. 196|
|Spanish Colonial America||p. 197|
|New Orleans and Louis Moreau Gottschalk||p. 200|
|Stephen Foster and American Popular Song||p. 202|
|America at the Opera||p. 205|
|Classical Music in the Cities||p. 208|
|For Further Reading||p. 214|
|The Fin de Siècle and the Emergence of Modernism||p. 215|
|Connections and Contradictions||p. 216|
|Strauss, Mahler, and the Modern World||p. 219|
|Italian Verismo in Opera||p. 226|
|Color and Sonority: Claude Debussy||p. 232|
|For Further Reading||p. 235|
|The Sound of Nineteenth-Century Music||p. 236|
|Chopin at the Keyboard||p. 241|
|The Romantic Tenor||p. 242|
|Orchestras in the Nineteenth Century||p. 245|
|Instrumental Color: The Case of the Brass||p. 247|
|Three Works, Three Recordings||p. 250|
|For Further Reading||p. 253|
|Table of Contents provided by Ingram. All Rights Reserved.|