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"Symphonies"
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Music as thought
Before the nineteenth century, instrumental music was considered inferior to vocal music. Kant described wordless music as \"more pleasure than culture,\" and Rousseau dismissed it for its inability to convey concepts. But by the early 1800s, a dramatic shift was under way. Purely instrumental music was now being hailed as a means to knowledge and embraced precisely because of its independence from the limits of language. What had once been perceived as entertainment was heard increasingly as a vehicle of thought. Listening had become a way of knowing.
Music as Thoughttraces the roots of this fundamental shift in attitudes toward listening in the late eighteenth and early nineteenth centuries. Focusing on responses to the symphony in the age of Beethoven, Mark Evan Bonds draws on contemporary accounts and a range of sources--philosophical, literary, political, and musical--to reveal how this music was experienced by those who heard it first.
Music as Thoughtis a fascinating reinterpretation of the causes and effects of a revolution in listening.
eBook
Station eleven : a novel
One snowy night Arthur Leander, a famous actor, has a heart attack onstage during a production. Jeevan Chaudhary, is in the audience and leaps to his aid. A child actress named Kirsten Raymonde watches in horror as Jeevan performs CPR, pumping Arthur's chest as the curtain drops, but Arthur is dead. That same night, as Jeevan walks home from the theater, a terrible flu begins to spread. Hospitals are flooded and Jeevan and his brother barricade themselves inside as life disintegrates outside. This novel charts the strange twists of fate that connect five people: the actor, the man who tried to save him, the actor's first wife, his oldest friend, and a young actress with the Traveling Symphony, caught in the crosshairs of a dangerous self-proclaimed prophet.
Book
The Expositional Rondo
This paper argues that “problematic” or “inconvenient” sonata-rondo movements lacking clear recapitulations, such as Haydn’s “Clock” symphony finale, should be defined neither negatively (as a flawed or “lesser” sonata-rondo form) nor experientially (as a midstream conversion from Type 4 to rondo), but rather as descendants of the expositional rondo that originated in finales as early as the 1760s in pieces by Mozart, Joseph and Michael Haydn, J.C. Bach, and Joseph Bologne, the Chevalier St. Georges. Their first couplet-episode (AB) pair forms a sonata exposition (by Galant standards, using Burstein’s (2020) recently revived Kochian terms such as Grundabsätze and Quintabsätze, as well as the Modulating Prinner), and then proceeds to the standard couplet-episode (AC, AD, etc.) layout until complete; the expositional materials never return. As the generic norms of their sonata forms began to take shape in the 1770s, both Mozart and Haydn began to add a section late in the pieces, perhaps to compensate for the lack of the return of expositional materials, a section I label a “balancing” section.
Journal Article
Experiencing Mahler : a listener's companion
\"Arved Ashby takes readers into the seeming chaos of Mahler's work to investigate the elements which make each piece an experiential adventure. The book surveys Mahler's symphonies and song cycles in detail, introducing them as intensely vivid, truthful, and lived and felt experiences\"-- Provided by publisher.
BOOK
Wagner, Schumann, and the lessons of Beethoven’s Ninth
In this original study, Christopher Alan Reynolds examines the influence of Beethoven's Ninth Symphony on two major nineteenth-century composers, Richard Wagner and Robert Schumann. During 1845-46 the compositional styles of Schumann and Wagner changed in a common direction, toward a style that was more contrapuntal, more densely motivic, and engaged in processes of thematic transformation. Reynolds shows that the stylistic advances that both composers made in Dresden in 1845-46 stemmed from a deepened understanding of Beethoven's techniques and strategies in the Ninth Symphony. The evidence provided by their compositions from this pivotal year and the surrounding years suggests that they discussed Beethoven's Ninth with each other in the months leading up to the performance of this work, which Wagner conducted on Palm Sunday in 1846. Two primary aspects that appear to have interested them both are Beethoven's use of counterpoint involving contrary motion and his gradual development of the \"Ode to Joy\" melody through the preceding movements. Combining a novel examination of the historical record with careful readings of the music, Reynolds adds further layers to this argument, speculating that Wagner and Schumann may not have come to these discoveries entirely independently of each other. The trail of influences that Reynolds explores extends back to the music of Bach and ahead toTristan and Isolde,as well as to Brahms's First Symphony.
eBook
Leningrad : siege and symphony
In 'Leningrad', Brian Moynahan sets the composition of Shostakovich's most famous work against the tragic canvas of the siege itself and the years of repression and terror that preceded it.
Symphony no. 9 Lucerne Festival Orchestra
The Mahler cycle of Claudio Abbado and the Lucerne Festival Orchestra has long since become legendary. Now they’re nearing the conclusion of their project as they take up the Ninth – the final symphony Mahler was able to complete. ‘If music was heard in the earthly paradise, it could not have sounded more glorious than the performance of Mahler’s Fourth Symphony led by Claudio Abbado,’ (Süddeutsche Zeitung, 2009).
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