Contains a concise . . . account of Wagner's life by John Deathridge and . . . a treatment of Wagner's music, aesthetics, and individual operas and music dramas by Carl Dahlhaus which is a tour de force. --Joseph Kerman, New York Review of Books
This collection provides us with that rarest of objects: a genuinely new book on Wagner. Virtually every page offers fresh perspectives, some of them mined from the most unlikely of sources; indeed, the sheer eclecticism of the book, its willingness to range widely and irreverently through both popular and elite culture, is one of its greatest strengths."—Roger Parker, author of Remaking the Song: Operatic Visions and Revisions from Handel to Berio "John Deathridge is one of the most authoritative, widely-regarded Wagner scholars around in any language. Few can match his command of scholarship and primary sources, and no one else knows how to put them to such clever, provocative uses. In addition, Deathridge enjoys an impressive range of critical, historical, and literary reference. The writing is consistently lively and engaging. The collection will provide a welcome change of diet for those tired of the usual Wagnerian fare. This is a welcome contribution, indeed."—Thomas Grey, author of Wagner's Musical Prose: Texts and Contexts
Contains a concise . . . account of Wagner's life by John Deathridge and . . . a treatment of Wagner's music, aesthetics, and individual operas and music dramas by Carl Dahlhaus which is a tour de force. --Joseph Kerman, New York Review of Books
This collection provides us with that rarest of objects: a genuinely new book on Wagner. Virtually every page offers fresh perspectives, some of them mined from the most unlikely of sources; indeed, the sheer eclecticism of the book, its willingness to range widely and irreverently through both popular and elite culture, is one of its greatest strengths."—Roger Parker, author of Remaking the Song: Operatic Visions and Revisions from Handel to Berio "John Deathridge is one of the most authoritative, widely-regarded Wagner scholars around in any language. Few can match his command of scholarship and primary sources, and no one else knows how to put them to such clever, provocative uses. In addition, Deathridge enjoys an impressive range of critical, historical, and literary reference. The writing is consistently lively and engaging. The collection will provide a welcome change of diet for those tired of the usual Wagnerian fare. This is a welcome contribution, indeed."—Thomas Grey, author of Wagner's Musical Prose: Texts and Contexts
Historical Dictionary of Romantic Music, Second Edition covers the persons, ideas, practices, and works that made up the worlds of Western music during the long 19th century (ca. 1780–1918). It’s the first book to recognize that Romantic music was very nearly a global phenomenon. It includes more women, more Black musicians and other musicians of color, and more exponents of musical Romanticism from Central and South America as well as Central and Eastern Europe than any other single-volume study of Romantic music—thus challenging the conventional hegemony of musical Romanticisms by men and by Western European nations. This book includes entries on topics including anti-Semitism, sexism, and racism that were pervasive and defining to the worlds of musical Romanticism but are rarely addressed in general studies of that subject. It includes Romantic musicians who were not primarily composers, as well as topics such as the Haitian Revolution, spirituals, and ragtime that were more important for music in the long 19th century than is generally acknowledged. The result is an expansive, inclusive, diverse, and more richly textured portrayal of Romantic music than is elsewhere available. Historical Dictionary of Romantic Music, Second Edition contains a chronology, an introduction, an extensive bibliography, and a dictionary section with more than 600 cross-referenced entries on traditions, famous pieces, persons, places, technical terms, and institutions of Romantic music. This book is an excellent resource for students, researchers, and anyone wanting to know more about Romantic music.
Felix Mendelssohn Bartholdy: A Research and Information Guide is a valuable tool for any scholar, performer, or music student interested in accessing the most pertinent resources on the life, works, and cultural context of the composer. It is an updated, annotated bibliography of resources on the biographical, musical, and religious aspects of Mendelssohn's life.
Utah toponyms, or place names. Where are they? What istheir history? Their importance? Over thousand toponyms are listed alphabetically, marking the passagesof peoples and cultures from earliest times.
Grand Staircase-Escalante National Monument contains abundant fossil material in most formations within its borders. These formations range in age from Permian to Cretaceous. More than 800 individual fossil localities are known so far, and almost all areas of the monument that were examined contain at least some fossil material. Important new findings of this survey include: several partial dinosaur skeletons in the Kaiparowits Formation; a ceratopsian skull in the Wahweap Formation; the previously unreported presence of many ammonoid and bivalve genera in the monument in the Dakota, Tropic, and Straight Cliffs Formations; the first fossils of any kind from the Entrada Sandstone within the monument, including a dinosaur tracksite containing more than 250 tracks of at least 30 individuals; previously unrecognized sites and abundances of vertebrate ichnogenera in the Navajo, Kayenta, Moenave, and Chinle Formations; the first ichnofossil material from the Wingate Sandstone in the monument; and a previously unreported sponge genus from the Kaibab Limestone. The Cretaceous rocks exposed within the monument contain one of the best and most continuous records of Late Cretaceous terrestrial life in the world. Research on these strata is still in its earliest stages.
German opera from its primitive origins up to Wagner is the subject of this wide-ranging history. It traces the growth of the humble Singspiel into a vehicle for the genius of Mozart and Beethoven, together with the persistent attempts at German Grand Opera. Seventeenth-century Hamburg opera, the role of the travelling companies and Viennese Singspiel are all explored. Discussions that from early days absorbed Germans concerned for the development of a national art are followed, together with the influence of new critical thought at the start of the nineteenth century. The many operas studied are placed in their historical, social and theatrical context, and attention is paid to the literary, artistic and philosophical ideas that made them part of the country's intellectual history. Warrack assesses the contributions of Schubert, Mendelssohn and Schumann, as well as Weber and Hoffmann, among others.
This is a new biography of the German composer Richard Wagner, 200 years after his birth, re-examining his life in light of new documents and new sensibilities. Since World War II Wagner has often been wrongly associated with Adolf Hitler because Hitler liked Wagner's music and used it in Nazi propaganda. But Wagner died in 1883--fifty years before Hitler's regime. It is time to have a fresh look at Wagner's life without the Nazi associations. His life was a series of abandonments and traumas for the self-destructive but creative genius, as he tried to survive as a freelance composer in the hostile environments of 19th century Germany.
In its revised third edition, this volume argues that an appreciation of opera is based on understanding of several key aspects: history, language, theatrical production, the power of the conductor, vocal tradition and standard repertory. This unique approach is intended for the newcomer curious about the art form. The author discusses how opera has changed in the last three decades and how it is now more easily enjoyed than ever before. Originally published in 1986, this book has been translated into four languages and has been used as an "Introduction to Opera" text in college classrooms around the world.
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.
Over the past two decades, the process of cultural development and, in particular, the role of reading has been of growing interest, but recent research has been episodic and idiosyncratic. In this biographical dictionary, research devoted specifically to the reading habits of 19th century individuals who shaped Western culture is brought together for the first time. While giving prominent coverage to literary and political figures, the volume's 270 entries also include musicians, painters, educators, and explorers. Each entry includes brief biographical information, a concise summary of literary influences on the subject, and clear direction for further research. The book provides a practical tool for scholars wishing to trace the reading experience of important Western cultural figures. Subjects were selected from the people most responsible for the cultural development of Europe, Britain and the British Empire, and the Americas between 1800 and 1914. Although selective, the sample of 270 figures is substantial enough to suggest broad, cross-cultural habits and effects, enabling scholars to better understand the relationship between reading and culture. In an introductory essay, Powell explores the patterns and relationships that can be discerned from the entries. The first of three anticipated volumes, the book is an important step forward in researching the role of reading in cultural development.
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