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The Artist as Reader
Based on the history of knowledge, the contributions to this volume elucidate various aspects of how, in the early modern period, artists’ education, knowledge, reading and libraries were related to the ways in which they presented themselves
New Serial Titles
A union list of serials commencing publication after Dec. 31, 1949.
Negotiating Conflict and Controversy in the Early Modern Book World
This volume offers fifteen chapters written by leading specialists which explore the range of ways in which the book industry negotiated conflicts and controversies in the early modern European world.
The Organs of J.S. Bach
The Organs of J. S. Bach is a comprehensive and fascinating guide to the organs encountered by Bach throughout Germany in his roles as organist, concert artist, examiner, teacher, and visitor. Newly revised and updated, the book's entries are listed alphabetically by geographical location, from Arnstadt to Zschortau, providing an easy-to-reference overview. Includes detailed organ-specific information: high-quality color photographs each instrument's history, its connection to Bach, and its disposition as Bach would have known it architectural histories of the churches housing the instruments identification of church organists Lynn Edwards Butler's graceful translation of Christoph Wolff and...
E. T. A. Hoffmann, Cosmopolitanism, and the Struggle for German Opera
In this first monograph on E. T. A. Hoffmann and opera, Francien Markx examines Hoffmann’s writings on opera and the challenges they pose to established narratives of aesthetic autonomy, the search for a national opera, and Hoffmann’s biography. Markx discusses Hoffmann’s lifelong fascination with opera against the backdrop of eighteenth-century theater reform, the creation of national identity, contemporary performance practices and musical and aesthetic discourses as voiced by C. M. von Weber, A. W. Schlegel, Heine, and Wagner, among others. The book reconsiders the traditional view that German opera followed a deterministic trajectory toward Wagner’s Gesamtkunstwerk and reveals a cosmopolitan spirit in Hoffmann’s operatic vision, most notably exemplified by his controversial advocacy for Spontini in Berlin.
