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Tchaikovsky
A giant in the pantheon of 19th century composers, Tchaikovsky continues to enthrall audiences today. From the Nutcracker--arguably the most popular ballet currently on the boards--Swan Lake, and Sleeping Beauty, to Eugene Onegin and Pique Dame, to the Symphony Pathetique and the always rousing, canon-blasting 1812 Overture--this prolific and beloved composer's works are perennial favorites. Now, John Wiley, a renowned Tchaikovsky scholar, provides a fresh biography aimed in classic Master Musicians style at the student and music lover. Wiley deftly draws on documents from imperial, Soviet, and post-Soviet era sources, providing a more balanced look at recent controversies surrounding the marriage, death, and sexuality of the composer. The author dovetails the biographical material with separate chapters that treat the music thoroughly and fully, work-by-work, with more substantial explorations of Tchaikovsky's most familiar compositions. These analyses present new, even iconoclastic perspectives on the music and the composer's intent and expression. Several informative appendices, in the Master Musicians format, include an exhaustive list of works and bibliography.
Bach Studies 2
This 1995 volume presents twelve essays by internationally distinguished Bach scholars, covering a broad range of issues in this field.
Eighteenth-Century Keyboard Music
First published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.
Jan Dismas Zelenka
Jan Dismas Zelenka, the brilliant but elusive contemporary of Bach, musically served the Catholic chapel of the dazzling Dresden court during the first half of the eighteenth century. Research has uncovered biographical information, and reveals the remarkable music of a major figure of the Baroque era.
Franz Liszt
Franz Liszt: A Research and Information Guide is an annotated bibliography concerning both the nature of primary sources related to the composer and the scope and significance of the secondary sources which deal with him, his compositions, and his influence as a composer and performer. The second edition includes research published since the publication of the first edition and provide electronic resources. Franz Liszt was born on 22 October 1811 at Raiding, today located in Austria’s Burgenland. He received his first piano lessons from his father, Adam Liszt, an employee of the celebrated Eszterházy family. Young Franz was quickly acclaimed a prodigy, and in 1820 a group of Hungarian magnates offered to underwrite his musical education. Shortly thereafter the Liszts moved to Vienna, where Franz studied piano and composition with Carl Czerny and Anton Salieri. Performances there earned Liszt local fame; even Beethoven expressed interest in him.
Nineteenth-Century Piano Music
First Published in 2004. 19th-Century Piano Music focuses on the core composers of the 19th-century repertoire, beginning with 2 chapters giving a general overview of the repertoire and keyboard technique of the era, and then individual chapters on Beethoven, Schubert, Weber, Mendelssohn, Chopin, Schumann, Brahms, Liszt, and the women composers of the era, particularly focusing on Fanny Hensel and Clara Schumann.
Russian Opera and the Symbolist Movement, Second Edition
Acclaimed for treading new ground in operatic studies of the period, Simon Morrison’s influential and now-classic text explores music and the occult during the Russian Symbolist movement. Including previously unavailable archival materials about Prokofiev and Tchaikovsky, this wholly revised edition is both up to date and revelatory. Topics range from decadence to pantheism, musical devilry to narcotic-infused evocations of heaven, the influence of Wagner, and the significance of contemporaneous Russian literature. Symbolism tested boundaries and reached for extremes so as to imagine art uniting people, facilitating communion with nature, and ultimately transcending reality. Within this framework, Morrison examines four lesser-known works by canonical composers—Pyotr Tchaikovsky, Nikolay Rimsky-Korsakov, Alexander Scriabin, and Sergey Prokofiev—and in this new edition also considers Alexandre Gretchaninoff’s Sister Beatrice and Alexander Kastalsky’s Klara Milich, while also making the case for reviving Vladimir Rebikov’s The Christmas Tree.
The Keyboard Music of J.S. Bach
The Keyboard Music of J.S. Bach provides an introduction to and comprehensive discussion of all the music for harpsichord and other stringed keyboard instruments by Johann Sebastian Bach (1685-1750). Often played today on the modern piano, these works are central not only to the Western concert repertory but to musical pedagogy and study throughout the world. Intended as both a practical guide and an interpretive study, the book consists of three introductory chapters on general matters of historical context, style, and performance practice, followed by fifteen chapters on the individual works, treated in roughly chronological order. The works discussed include all of Bach's individual keyboard compositions as well as those comprising his famous collections, such as the Well-Tempered Clavier, the English and French Suites, and the Art of Fugue.
Tchaikovsky's Pathétique and Russian Culture
Tchaikovskyʼs Sixth Symphony (1893), widely recognized as one of the worldʼs most deeply tragic compositions, is also known for the mystery surrounding its hidden programme and for Tchaikovskyʼs unexpected death nine days after its premiere. While the sensational speculations about the composerʼs possible planned suicide and the suggestion that the symphony was intended as his own requiem have long been discarded, the question of its programme remains.
Tchaikovsky: Symphony No. 6 (Pathétique)
Tchaikovsky's final symphony has fascinated generations of music lovers, amateur and specialist alike, since its first performance just over a century ago. Timothy L. Jackson explores sensitively and without prejudice the question of the Pathétique's program and its relation to Tchaikovsky's homosexuality and death. The book covers the work's conception, genesis, and reception, and presents an in-depth analysis of its remarkable formal structure. The reception chapter investigates the Pathétique's impact on Tchaikovsky's younger contemporaries, most notably Mahler and Rachmaninov, and on more recent Russian composers like Shostakovich and Schnittke. Also explored is the dark side of the symphony's political interpretation in the twentieth century, especially its transformation into a cultural icon of the Third Reich.
