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George Frederick Bristow
As American classical music struggled for recognition in the mid-nineteenth century, George Frederick Bristow emerged as one of its most energetic champions and practitioners. Katherine K. Preston explores the life and works of a figure admired in his own time and credited today with producing the first American grand opera and composing important works that ranged from oratorios to symphonies to chamber music. Preston reveals Bristow's passion for creating and promoting music, his skills as a businessman and educator, the respect paid him by contemporaries and students, and his tireless work as both a composer and in-demand performer. As she examines Bristow against the backdrop of the music scene in New York City, Preston illuminates the little-known creative and performance culture that he helped define and create. Vivid and richly detailed, George Frederick Bristow enriches our perceptions of musical life in nineteenth-century America.
Symphony No. 4 in E Minor, Op. 50 ("Arcadian")
George Frederick Bristow (1825–98), considered by many of his contemporaries to be among the best American composers of the second half of the nineteenth century, was a pillar of the New York musical community. He wrote his Symphony no. 4 in E minor, op. 50 (“Arcadian”), in 1872–73 on a commission from the Philharmonic Society of Brooklyn. Unlike his earlier symphonies, which had been faulted by some contemporary critics as being too “Europeanist,” the Arcadian follows an overtly American extramusical program that depicts pioneers’ trek across the country. Early performances of the symphony met with widespread acclaim, but this work, like many compositions by other American composers, was shelved. This edition is the first publication of the Arcadian Symphony and joins a welcome body of new scholarship on Bristow just in time for the bicentennial of his birth in 2025 and the two hundred fiftieth birthday of the nation in 2026.
Symphony no. 2 in D Minor, op. 24 ("Jullien"}
URL: https://www.areditions.com/rr/rra/a072.html George Frederick Bristow (1825¿98), American composer, conductor, teacher, and performer, was a pillar of the New York musical community for the second half of the nineteenth century. His participation in an important mid-century battle-of-words (between William Henry Fry and the journalist Richard Storrs Willis and concerning a lack of support for American composers by the Philharmonic Society) has unfortunately overshadowed his accomplishments as a composer, which were significant. Bristow is remembered today primarily for his opera Rip van Winkle (1855) and oratorio Daniel (1866), but he was also a skillful and productive composer of orche...
Sexing the Groove
Sexing the Groove discusses these issues and many more, bringing together leading music and cultural theorists to explore the relationships between popular music, gender and sexuality. The contributors, who include Mavis Beayton, Stella Bruzzi, Sara Cohen, Sean Cubitt, Keith Negus and Will Straw, debate how popular music performers, subcultures, fans and texts construct and deconstruct `masculine' and `feminine' identities. Using a wide range of case studies, from Mick Jagger to Riot Grrrls, they demonstrate that there is nothing `natural', permanent or immovable about the regime of sexual difference which governs society and culture. Sexing the Groove also includes a comprehensive annotated bibliography for further reading and research into gender and popular music.
Opera on the Road
"Leads the reader on an operatic tour of pre-Civil War America in this cultural study of what was an almost ubiquitous art form. It covers orchestral and choral musicians as well as stars, impresarios, business methods, repertories, advertising techniques, itineraries, sizes of companies, and methods of travel." -- Publisher's description
Hegel and the Transformation of Philosophical Critique
This book presents a study of Hegel's hugely influential but notoriously difficult Phenomenology of Spirit.
Rip Van Winkle, and The Legend of Sleepy Hollow
A man who sleeps for twenty years in the Catskill Mountains wakes to a much-changed world.
Dvorák's Prophecy
A Kirkus Reviews Best Nonfiction Book of 2021 A provocative interpretation of why classical music in America "stayed white"—how it got to be that way and what can be done about it. In 1893 the composer Antonín Dvorák prophesied a “great and noble school” of American classical music based on the “negro melodies” he had excitedly discovered since arriving in the United States a year before. But while Black music would foster popular genres known the world over, it never gained a foothold in the concert hall. Black composers found few opportunities to have their works performed, and white composers mainly rejected Dvorák’s lead. Joseph Horowitz ranges throughout American cultural...
Laurel waltz
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