The Cambridge History of Nineteenth-Century Music (The Cambridge History of Music)

The most informed reference book on nineteenth-century music currently available, this comprehensive overview of music in the nineteenth century draws on the most recent scholarship in the field. Essays investigate the intellectual and socio-political history of the time, and examine topics such as nations and nationalism, the emergent concept of an avant garde, and musical styles and languages at the turn of the century. It contains a detailed chronology, and extensive glossaries. Half-title......Page 3 Series-title......Page 5 Title......Page 7 Copyright......Page 8 Contents......Page 9 Notes on contributors......Page 11 Editor’s preface......Page 15 PART ONE 1800 – 1850......Page 19 Compositional and contextual histories......Page 21 Then and now......Page 28 The structures of history......Page 35 Bibliography......Page 45 Music, rhetoric and representation......Page 47 Music and the sources of Romantic aesthetics......Page 48 Music in German Idealist philosophy: ‘feeling’ and ‘mediation’ (1)......Page 55 Music in German Romantic philosophy: ‘feeling’ and ‘mediation’ (2)......Page 63 Music, theology and the will......Page 66 Bibliography......Page 72 3 The profession of music......Page 73 The music profession before 1800......Page 74 Political and demographic developments......Page 75 The structure of concert life......Page 77 Institutional concerts......Page 78 Benefit concerts......Page 79 Opera......Page 80 Promenades and ‘cheap’ concerts......Page 81 The nature of professional life......Page 82 Composers......Page 83 Solo instrumentalists......Page 85 Singers......Page 87 Conductors......Page 89 Orchestral and chamber musicians......Page 90 Church musicians......Page 93 Instrument makers......Page 94 Publishers......Page 96 Music journalists......Page 98 Teachers and scholars......Page 100 Bibliography......Page 103 Introduction......Page 105 Imperial opera (1800–1814)......Page 110 Rossini fever (1814–1830)......Page 116 Cross-currents (1830–1850)......Page 122 Bibliography......Page 134 Beethoven vs. ‘Beethoven’......Page 136 Beethoven 1770–1802: pianist-composer......Page 141 Beethoven 1802–1827: composer......Page 150 Discussions of Beethoven’s style, 1810–1852......Page 160 Bibliography......Page 166 6 Music and the poetic......Page 169 Sacred vocal music......Page 171 Song......Page 173 German song; ballads; Schubert and Loewe......Page 174 Song cycles: Schubert and Schumann......Page 177 French song......Page 181 Poetic instrumental music......Page 183 Use of dance measures......Page 184 Piano cycles......Page 186 Instrumental narrative: ballade, symphony and overture......Page 188 Bibliography......Page 194 An imagined past......Page 196 Envisioning a present......Page 204 Bibliography......Page 229 The decline of traditional choral foundations......Page 231 Towards a new choral culture......Page 233 Social developments and their relation to choral practice......Page 237 Revolution, restoration and continuity......Page 239 The role of the composer and the special case of Mendelssohn......Page 244 The St Matthew Passion revival......Page 248 New conceptions of religion......Page 250 Bibliography......Page 253 Social background......Page 255 Musical taste......Page 257 Folk music......Page 259 Music in private......Page 266 The dissemination of music......Page 268 Dance......Page 269 A note on community music......Page 274 Bibliography......Page 276 On canons and spearheads......Page 277 Models of greatness......Page 286 The culture industry......Page 296 Bibliography......Page 301 PART TWO 1850 – 1900......Page 303 Progress: theories and discontents......Page 305 Liszt as forerunner of the avant-garde......Page 308 The French models of Liszt’s early writings......Page 311 Liszt, Idealism and reform......Page 314 Franz Brendel and progress......Page 318 Liszt’s Weimar aesthetic......Page 321 Symphony and symphonic poem: programmes and prefaces......Page 323 The ‘New German chool’: goals and divisions......Page 326 Liszt and Wagner: avant-garde and modernism......Page 328 Bibliography......Page 333 12 Music as ideal: the aesthetics of autonomy......Page 336 Autonomy, expression and the decline of Romanticism......Page 338 1848: revolution, disenchantment and the retreat into inwardness......Page 343 The aesthetics of feeling: chopenhauer and Nietzsche......Page 348 The aesthetics of form: Hanslick and Nietzsche......Page 351 Symbolism, l’art pour l’art, and the triumph of the aesthetics of autonomy......Page 355 Bibliography......Page 359 13 The structures of musical life......Page 361 The rhythms of urban musical life......Page 363 Repertory and canon......Page 365 Elitism and exclusion......Page 374 Gender and education......Page 377 Class, populism and democratisation......Page 380 Conclusion......Page 385 Bibliography......Page 386 Paris, 1850: Wagner and Meyerbeer......Page 389 Verdi’s ‘middle period’ (1849–1871)......Page 392 Comic opera: high and low......Page 398 Wagner and the ‘music drama’......Page 405 The grand opera legacy and the colonisation of the exotic......Page 411 Nationalism, realism and natural song: Russian opera and ‘the voice of the people’......Page 417 Drame lyrique and verismo: opera, literature and naturalism......Page 425 From Wagnerism to modernism......Page 434 Bibliography......Page 439 15 Beethoven reception: the symphonic tradition......Page 442 Dilemmas of symphonic practice at mid-century......Page 443 Poetic content: the challenge of Liszt......Page 448 Between absolute and programme music......Page 452 1. The purely abstract symphony......Page 453 2a. Dialogues with the musical tradition......Page 454 2b. ‘Nationalistic’symphonies......Page 457 2c. Tacit, implicit or suspected programmes throughout or for substantial sections......Page 461 3.Programme symphony/suite, symphonic poem and overture......Page 463 Structural deformation......Page 465 Two waves of composers......Page 472 Bibliography......Page 476 16 Words and music in Germany and France......Page 478 The German-speaking world: tradition, struggle, homage......Page 479 From romance and chanson to mélodie : French song and the French language......Page 503 Bibliography......Page 515 The historical challenge and a black and white response......Page 518 The core compositions......Page 522 Interlude: genre/genera......Page 528 Paths to the future: two case studies......Page 530 Bibliography......Page 537 18 Choral culture and the regeneration of the organ......Page 540 Restoring tradition in music and liturgical practice......Page 542 Composers and the religions of the later nineteenth century......Page 548 Liszt and the revolutionary restoration of religion......Page 549 Brahms and the personal definition of religion......Page 551 The professional church musician......Page 553 The organ and its rehabilitation......Page 555 Bibliography......Page 560 19 Music and social class......Page 562 Professionalisation and commercialisation......Page 564 New markets for cultural goods......Page 567 Music, morals and social order......Page 575 The rift between art and entertainment......Page 581 Bibliography......Page 583 Nationalisms......Page 586 Conquering the cities......Page 591 Forging the nations......Page 599 Music at the edge......Page 608 Bibliography......Page 617 21 Styles and languages around the turn of the century......Page 619 Bibliography......Page 638 Chronology......Page 639 Institutions......Page 677 Personalia......Page 707 Index......Page 765 The musical work and nineteenth-century history / Jim Samson Music and the rise of aesthetics / Andrew Bowie The profession of music / John Rink The opera industry / Roger Parker The construction of Beethoven / K.M. Knittel Music and the poetic / Julian Rushton The invention of tradition / John Irving Choral music / John Butt The consumption of music / Derek Carew The great composer / Jim Samson Progress, modernity and the concept of an avant-garde / John Williamson Music as ideal: the aesthetics of autonomy / Max Paddison The structures of musical life / Katharine Ellis Opera and music drama / Thomas Grey Beethoven reception: the symphonic tradition / James Hepokoski Words and music in Germany and France / Susan Youens Chamber music and piano / Jonathan Dunsby Choral culture and the regeneration of the organ / John Butt Music and social class / Derek B. Scott Nations and nationalism / Jim Samson Styles and languages around the turn of the century / Anthony Pople Chronology / Sarah Hibberd Institutions / Sarah Hibberd Personalia / Sarah Hibberd. This comprehensive overview of music in the nineteenth century draws on the most recent scholarship in the field. It avoids mere repertory surveys, focusing instead on issues which illuminate the subject in novel and interesting ways. The book is divided into two parts (1800–1850 and 1850–1900), each of which approaches the major repertory of the period by way of essays investigating the intellectual and socio-political history of the time. The music itself is discussed in five central chapters within each part, amplified by essays on topics such as popular culture, nationalism, genius, and the emergent concept of an avant-garde. The book concludes with an examination of musical styles and languages around the turn of the century. The addition of a detailed chronology and extensive glossaries makes this the most informed reference book on nineteenth-century music currently available. This comprehensive overview of music in the nineteenth century draws on the most recent scholarship in the field. It is divided into two parts (1800–1850 and 1850–1900), each of which approaches the major repertory of the period through investigations into the intellectual and socio-political history of the time. Even the formula 'compositional and contextual', suggestive of a dual perspective - a 'double root' - may not fully embrace the materials and methods of a music history, whose very subject-matter must open to debate.