| Contents |
Über Ausdruckscharakter und Programmusik : Ludwig van Beethovens opp. 13 und 18 im Kontext italienischer Kammermusik / Stephanie Klauk -- Joseph Joachim and musical solitude, or, the beginnings of the ciphers F-A-E and Gis-e-la / Katharina Uhde, R. Larry Todd -- The emergence of a subject complicit with chaos : between absolute form and metaphorical programme in part one of Mahler's Third Symphony / Rebecca Day -- Taking Liszt literally / Petra Weber -- Performing Chopin's second Ballade, op. 38 as gothic tale / Anatole Leikin -- Brahms's Intermezzi as (hidden) narrative cycles / Joan Grimalt -- Programme narration without an explicit prgramme : the opening movement of Sibelius's First Symphony / Lauri Suurpää -- Program music and Liszt's Unstern! / Micahel Saffle -- Tchaikovsky's programme music, with reference to the draft manuscripts of the Manfred Symphony and Hamlet / Tatiana Ermolaeva -- Compositional strategies in the programme music of Sygmunt Noskowski / Tomasz Kienik -- Contrasting influences of Richard Wagner and Johannes Brahms on Arnold Schoenberg's Verklärte Nacht / Laura Joella -- Il rio della notte di Valpurga nelle composizioni sinfoniche a programma dell'ottocento europeo / Roberto Scoccimarro -- From poiesis to aesthesis : imaging programmatic meaning in the illustrations of Liszt's original editions / Nicolas Dufetel -- You and I will be like the monk Dante meets in hell : literary references and autobiography in Ethyl Smyth's Sonata for violin and piano, op. 7 (1887) / Amy E. Zigler -- Thematic transformation and symphonic development as hermeneutic signifiers in Liszt's Festklänge and Hungaria / Rohan H. Stewart-MacDonald -- Von der Wiege bis zum Grabe di Franz Liszt come simbiosi artistica del percorso della vita / Mariateresa Storino -- MacDowell, Liszt, and the symphonic poem / John Graziano -- The nocturne, the Lied ohne Worte, and the development of the character piece in the nineteenth century / Angela Mace Christian -- An opera fantasia as literary ecphrasis : the case of Antonio Pasculli's Simpatici ricordi della traviata / Rachel Becker -- On the programmatic character of Janáček's suite compositions from the 1870s / Miloš Zapletal -- Writing program music's origin stories, 1854-1907 / Jonathan Kregor -- A drama without a scene : the nineteenth-century Spanish symphonic poem, from reception to creation / Ramón Sobrino -- La musique à prgramme dans les programmes de concert parisiens, 1884-1899 / Étienne Jardin -- Beyond Hanslick : Liszt's symphonic poems and program symphonies in Vienna, 1886-1904 / Dolores Pesce. |
| Abstract |
This volume explores the diverse ways in which programm music was historicized. The history of program music stretches back centuries, but only in the nineteenth century did it enter into widespread use. Indeed, seminal compositions by Ludwig van Beethoven and Frédéric Chopin to Arnold Schoenberg and Jean Sibelius have helped program music to secure a position within the artistic pantheon, albeit not without bringing a significant amount of controversy in tow. Yet despite its ubiquitous presence in the nineteenth century, scholarship has not adequately articulated the full extent of program music's range and impact. This volume explores the diverse ways in which program music was defined, historicized, practiced, disseminated, and judged. It considers how biography, tradition, and function informed the compositional approaches taken by Beethoven, Joseph Joachim, Ethel Smyth, and Zygmunt Noskowski, among others. .It draws on extra-musical elements, novels, poems, lithographs, and other forms of creative expression to determine the ontological profile of works by Chopin, Franz Liszt, Antonio Pasculli, Piotr Tchaikovsky, and Leoš Janáček. It situates compositions by Johannes Brahms, Gustav Mahler, Sibelius, and Schoenberg within the ongoing discourse around Hanslickian absolute and Lisztian program music. And it visits major European cities to highlight the critical streams of reception toward the end of the century. Throughout, it repeatedly engages with questions of generic identity (with special attention given to the symphonic poem), issues of narrativity and topicality, and considerations of form and structure. Jonathan Kregor is Professor of Musicology at the University of Cincinnati, College-Conservatory of Music. His research interests include aesthetics, Franz Liszt, musical reproduction, music and memory, virtuosity and gender, and art song. He is the author of "Liszt as Transcriber" (2010); "Program Music" (2015); editor of works by CPE Bach and Clara Schumann. |
