Title:
Music in the nineteenth century
Author:
Publication Date:
2010
Publication Information:
Oxford ; New York : Oxford University Press, 2010.
Physical Description:
xxii, 905 pages : illustrations, music ; 26 cm.
ISBN:
9780195384833
Abstract:
"The universally acclaimed and award-winning Oxford History of Western Music is the eminent musicologist Richard Taruskin's provocative, erudite telling of the story of Western music from its earliest days to the present. Each book in this superlative five-volume set illuminates-through a representative sampling of masterworks-the themes, styles, and currents that give shape and direction to a significant period in the history of Western music. In Music in the Nineteenth Century , Richard Taruskin offers a panoramic tour of this magnificent century in the history music. Major themes addressed in this book include the romantic transformation of opera, Franz Schubert and the German lied, the rise of virtuosos such as Paganini and Liszt, the twin giants of nineteenth-century opera, Richard Wagner and Giuseppe Verdi, the lyric dramas of Bizet and Puccini, and the revival of the symphony by Brahms. Laced with brilliant observations, memorable musical analysis, and a panoramic sense of the interactions between history, culture, politics, art, literature, religion, and music, this book will be essential reading for anyone who wishes to understand this rich and diverse period." -- Publisher.
General Note:
Revised edition of: Oxford history of western music. Vol. 3, The nineteenth century. Oxford ; New York : Oxford University Press, 2005.
Contents:
1. Real worlds, and better ones -- Beethoven vs. Rossini -- Bel canto romanticism -- Deeds of music -- The dialectical antithesis -- The Code Rossini -- Imbroglio -- Heart throbs -- "Realism" -- Bel canto -- Utopia -- 2. The music trance -- Romantic characterstücke -- Schubert's career -- The I and the we -- Private music -- Altered consciousness -- Salon culture -- Schubert : a life in art -- Privatizing the public sphere -- Crossing the edge -- Only connect -- New cycles -- B-minor moods -- Constructions of identity -- 3. Volkstümlichkeit -- The romantic lied -- Mendelssohn's career -- The two nationalisms -- The lied is born -- The discovery of the folk -- Kultur -- Lyrics and narratives -- The lied grows up : Haydn, Mozart, Beethoven -- Schubert and romantic irony -- Representations of consciousness -- Romantic nationalism -- the liturgy of nationhood -- The oratorio reborn -- Mendelssohn and civic nationalism -- Nationalism takes a turn -- Epilogue : two prodigies -- 4. Nations, states, and peoples -- Romantic opera in Germany (Mozart, Weber), France (Auber, Meyerbeer), and Russia (Glinka) -- Peasants (Germany -- Mr. Natural -- Der Freishchütz -- History (France) -- Opera and revolution -- Bourgeois kings -- Grandest of the grand -- Vagaries of reception -- Peasants and history (Russia) -- A newcomer to the tradition -- 5. Virtuosos -- Paganini and Liszt -- Stimulus -- Response -- the concerto transformed -- A divided culture -- 6. Critics -- Schumann and Berlioz -- The public sphere -- What is a philistine? -- Literary music -- How music poses questions -- Anxiety and recoil -- Instrumental drama -- The limits of music -- Varieties of representation -- Discriminating romanticisms --
7. Self and other -- Chopin and Gottschalk as exotics : Orientalism -- Genius and stranger -- National or universal? -- Or exotic? -- The pinnacle of salon music -- The Chopinesque miniature -- Nationalism as a medium -- Harmonic dissolution -- Playing "romantically" -- The Chopinesque sublime -- Sonata late on -- Nationalism as a message -- America joins in -- Art and democracy -- Stereotyping the other : Orientalism -- Sex à la russe -- The other in the self -- 8. Midcentury -- The new German school -- Liszt's symphonic poems -- Harmonic explorations -- Historicism -- The new German school -- The symphony later on -- But what does it really mean? -- The new madrigalism -- Art and truth -- Art for art's sake -- 9. Slavs as subjects and citizens -- Smetana, Glinka, and Balakirev -- Progressive vs. popular -- The nationalist compact -- Fluidity -- Folk and nation -- How the acorn took root -- National becomes nationalist -- The politics of interpretation -- 10. Deeds of music made visible (Class of 1813, I) -- Wagner -- The problem -- Art and revolution -- The artwork of the future, modeled (as always) on the imagined past -- From theory into practice -- The Ring -- Form and content -- The texture of tenseless time -- The sea of harmony -- Desire and how to channel it -- The ultimate experience -- How far can you stretch a dominant? -- When resolution comes... -- The problem revisited -- 11. Artist, politician, farmer (Class of 1813, II) -- Verdi -- Spooked -- The galley years -- The popular style -- Tragicomedy -- Opera as modern drama -- A job becomes a calling -- Compression and expansion -- Comedization -- 12. Cutting things down to size -- Russian realism (Musorgsky, Chaikovsky) -- Opéra Lyrique -- Operetta -- Verismo -- Going too far -- Art and autocracy -- Stalemate and subversion -- Crisis -- Codes -- Lyric drama -- Satyr plays -- Operetta and its discontents -- Verismo -- Truth or sadism? -- 13. The return of the symphony -- Brahms -- The dry decades -- Museum culture -- New paths -- Three "firsts" -- Struggle (with whom?) -- A choral (and a nationalistic) interlude -- Inventing tradition -- Victory through critique -- Reconciliation and backlash -- Brahminism -- Developing variation -- 14. The symphony goes (inter)national -- Bruckner -- Dvořák -- Beach -- Franck -- Saint-Ssaëns -- Borodin -- Chaikovsky -- Elgar -- Vaughan Williams -- Grieg -- Sibelius -- Germany recedes -- Symphony as sacrament -- A Bohemian prescription for America -- An American response -- War brings it to France -- Symphonist as virtuoso -- The epic style -- Symphonies of suffering -- National monuments.
Subject Term:
Language:
English
