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Donald Mitchell's second book on the life and work of Gustav Mahler focuses principally on Mahler's first settings of Wunderhorn texts, volumes I and II of the Lieder und Gesaenge, his first song-cycle, the Lieder eines fahrendedn Gesellen, the later, orchestral settings of Wunderhorn poems. The central section of the book explores the extraordinary and often eccentric chronology of the First, Second and Third Symphonies' composition, an often minute exploration which reveals the interpenetration of song and symphony in this period of Mahler's art, emphasizes the significance for these works of imagery drawn from the Wunderhorn anthology, and calls attention to the ambiguous position ocupied by much of Mahler's music at this time, suspended as it was between the rival claims - and forms - of syphony and symphonic poem. The final section of the book not only looks at the Fourth Symphony as the final, perhaps most perfect, flowering of Mahler's Wunderhorn symphonies, but also investigates such fascinating topics as the relationship between Mahler and Berlioz, Mahler's addiction to the E flat clarinet, and the influence of Bach on Mahler's later masterpieces.
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Mahler Studies comprises ten innovative essays on topics spanning the range of Mahler research. Blaukopf's inquiry into critical influences on Mahler's student years provides background for Reilly's reassessment of sources for 'Opus 1', Das klagende Lied. McClatchie introduces Mahler's previously inaccessible correspondence with family members, while Feder presents insightful psychoanalytic perspectives on Mahler's relationships to his sister Justine and other women in his life before Alma. Mitchell and La Grange explore the complex issue of quotation and allusion in Mahler's oeuvre. The long-restricted Seventh Symphony sketchbook provides detailed glimpses of that Mahlerian 'world' emerging in its earliest stages, as documented by Hefling. Issues of tonal structure and coherence are addressed by Agawu and Williamson, while Franklin on Adorno's Mahler provides a clear explication of that author's dialectic engagement with the composer.
Announcements for the following year included in some vols.
Translation of: Gustav Mahler: Der fremde Vertraute.
The book examines the social processes which have shaped the development and organisation of various marketing practices and activities, and the markets associated with them. Drawing on the figurational-sociological approach associated with Norbert Elias the contributors explain how various markets and related marketing practices and activities are organised, enabled and constrained by the actions of people at different levels of social integration. Collectively, The Social Organisation of Marketing provides insights into topics such as the consumption and of wine in China, the advertising of Guinness, the management of on-line communities in Germany, the corporate social responsibility strategies of multinational energy corporations in Africa, the concept of talent management in contemporary organisations, the child consumer in Ireland, and the constraining and enabling influences of the American corporate organisational structure.
In the years approaching the centenary of Mahler's death, this book provides both summation of, and starting point for, an assessment and reassessment of the composer's output and creative activity. Authored by a collection of leading specialists in Mahler scholarship, its opening chapters place the composer in socio-political and cultural contexts, and discuss his work in light of developments in the aesthetics of musical meaning. Part II examines from a variety of analytical, interpretative and critical standpoints the complete range of his output, from early student works and unfinished fragments to the sketches and performing versions of the Tenth Symphony. Part III evaluates Mahler's role as interpreter of his own and other composers' works during his lifelong career as operatic and orchestral conductor. Part IV addresses Mahler's fluctuating reception history from scholarly, journalistic, creative, public and commercial perspectives, with special attention being paid to his compositional legacy.
When I want to read a book, I write one. So wrote the 19th century politician and novelist Benjamin Disraeli - Washington Irving said something very similar - and its a maxim which Ive adopted as my own. Almost all of the writing Ive done over many years has been based on wanting to read a book on a particular subject - a book which research told me didnt currently seem to exist. Carrying the Torch, like all my other books to date, was born out of the desire to read a good book on an interesting subject: finding nothing available that quite matched up to my expectations, I decided to write it myself. I wanted a good, general book about the phenomenon of unrequited love in the worlds art, how...