Music in 1853: the biography of a year
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Woodbridge
Boydell Press / Boydell & Brewer
2012
|
| Ausgabe: | 1. publ. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | XVI, 208 S. Ill., Kt., Notenbeisp. |
| ISBN: | 9781843837183 |
Internformat
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Datensatz im Suchindex
| _version_ | 1804149298825265152 |
|---|---|
| adam_text | Contents
List of Illustrations
vi
Preface
xi
ι
Brahms Leaves Home April
-
May
ι
2
Berlioz and Spohr in London May-July
15
3
Brahms and Liszt in Weimar June
33
4
Wagner and Liszt in Zurich May-July
42
5
Berlioz in Baden-Baden and Frankfurt July
-
August
58
6
Joachim and Brahms in
Göttingen
and Bonn July
-
September
71
7
Liszt in Frankfurt, Weimar, and Carlsbad July
-
September
84
8
Wagner in
St Moritz
and
La Spezia
July
-
September
95
9
Liszt in Karlsruhe September
-
October
106
10
Schumann and Brahms in
Düsseldorf
September
-
October
12,0
11
Liszt, Wagner and Berlioz in Paris October
133
12
Berlioz, Joachim and Brahms in Hanover October
-
November
147
13
Brahms, Berlioz and Liszt in Leipzig November
-
December
157
14
The
Schumanns
in Holland and Hanover November
-
February
172
Epilogue
184
Bibliography
189
Index
199
This book is a close chronicle of an important
year in the history of music. Why
1853?
Because for many leading composers of the
nineteenth century this year brought far-
reaching changes to their lives, and whether
or not these changes were connected, they
happened within a few months of each other.
Brahms emerged from obscurity to celebrity,
Schumann ceased to be an active composer,
and both Berlioz and Wagner became active
composers again after long silences.
By limiting the perspective to a single year,
the narrative is able to follow the lives and
actions of these composers in much greater
detail than a standard biography of any
individual; and by extending it to a group of
musicians, their constant interconnections
become the central motif of the historical
process. Brahms meets Berlioz and Liszt as
well as Schumann; Liszt is a constant link in
every chain; Joachim is close to all of them;
Wagner is on everyone s mind. No one
composer is at the centre of the story, but a
network of musicians, all of them friends or
at least acquaintances, spread across the map
of Europe from London and Paris to Leipzig
and Zurich.
Music in
1853
shows how musicians were
now more closely connected than ever before,
through the constant exchange of letters
and through the rapidly expanding railway
network. The book links geography and
day-to-day events to show how international
the European musical scene had become.
A larger picture emerges of a shift in musical
scenery, from the world of the innocent
Romanticism of Berlioz and Schumann to
the more potent musical politics of Wagner
and of his antidote (as many saw him) Brahms.
HUGH
MACDONALD
is Avis H. Blewett
Professor Emeritus of Music at Washington
University, St Louis. He has authored books
on Skryabin and Berlioz and has previously
published Beethoven s Century: Essays on
Composers and Themes with Boydell/URP.
FRONT COVER ILLUSTRATIONS
Liszt: photograph, Ernst Burger Collection. Munich;
Schumann: drawing by
Laurens,
Musée de Carpentras;
Wagner: watercolour by Clementine Stockar-Escher,
Richard-Wagner-Gedenkstätte der Stadt Bayreuth;
Joachim:
lithograph after a charcoal drawing by
E. Bendemann.
Kunstmuseum, Düsseldorf;
Brahms:
drawing by
Laurens.
Bibliothèque
Imguimbertine,
Carpentras; Berlioz: lithograph by Charles Baugniet
BACK COVER ILLUSTRATION
Inauguration of the Nancy railway line,
1852,
Histoire populaire contemporaine de
¡a France, Paris,
1864,
Part III, p.
339.
JACKET DESIGN: SIMON LOXLEY
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