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Musicians and Music-lovers, and Other Essays
A collection of essays on music and musicians by William Foster Apthorp, an influential music critic and writer in 19th century America. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
By the Way; Being a Collection of Short Essays on Music and Art in General, Taken From the Program-books of the Boston Symphony Orchestra
A collection of essays on music and art by William Foster Apthorp, a prominent music critic who wrote for the Boston Symphony Orchestra's program books in the late nineteenth and early twentieth centuries. The essays cover a range of topics, from classical composers to contemporary music. This book is an engaging and informative look at music and art from one of America's most respected critics. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Brahms and His World
Since its first publication in 1990, Brahms and His World has become a key text for listeners, performers, and scholars interested in the life, work, and times of one of the nineteenth century's most celebrated composers. In this substantially revised and enlarged edition, the editors remain close to the vision behind the original book while updating its contents to reflect new perspectives on Brahms that have developed over the past two decades. To this end, the original essays by leading experts are retained and revised, and supplemented by contributions from a new generation of Brahms scholars. Together, they consider such topics as Brahms's relationship with Clara and Robert Schumann, hi...
George Whitefield Chadwick
In many ways, this is the story of the birth of the American style in classical music. George Whitefield Chadwick (1854-1931) was one of the most significant and influential American composers at the turn of the twentieth century and a leading light of the Boston cultural scene. Bill F. Faucett offers a detailed exploration of Chadwick's life and art utilizing archival material only recently made available. These crucial primary sources, including letters, diaries, and memoirs, enable a deeper and more nuanced understanding of Chadwick's music and aesthetic perspective, and provide a clearer lens through which to view his life, career, and times. The book traces Chadwick's story from his earliest musical education to his surging career in Boston's nascent musical culture of the 1880s, to his fruitful middle years, and finally to his later life and towering legacy. In addition to bringing newfound appreciation of Chadwick's life, Faucett's book offers penetrating examinations of his major compositions and a vivid re-creation of Boston's rich and influential musical and cultural scene.
Hugo Wolf
A groundbreaking look at one of the great song composers of the late Romantic period In the virtual cottage industry of works on fin de siècle Vienna, Hugo Wolf (1860–1903) has been somewhat neglected, perhaps because he was the master of a small genre—the late Romantic lied—and never truly made his mark in the larger forms that command greater public attention. But in the realm of song, he is among the greatest inheritors of Schubert and Schumann, one who was both a traditionalist and a modernist. When the Viennese critic Eduard Hanslick disapprovingly dubbed Wolf “the Richard Wagner of the lied,” he was paying oblique homage to Wolf’s genius as a song composer in the most mode...
