| Contents |
Introduction. Scholarly inquiry in historical musicology: sources, methods, interpretations / Roberta Montemorra Marvin -- A collaboration between Cipriano de Rore and Baldissera Donato? / Jessie Ann Owens -- New perspectives on Bach's Great Eighteen Chorales / Russell Stinson -- Historical theology and hymnology as tools for interpreting Bach's church cantatas: the case of Ich elender Mensch, wer wird mich erlösen, BWV 48 / Stephen A. Crist -- Performance practice issues that affect meaning in two Bach instrumental works / Michael Marissen -- Mozart's Mitridate: going beyond the text / Ellen T. Harris -- Carl Philipp Emanuel Bach and the aesthetics of patricide / Richard Kramer -- Joseph Haydn's influence on the symphonies of Antonio Rosetti / Lawrence F. Bernstein -- Reason and imagination: Beethoven's aesthetic evolution / Maynard Solomon -- Schubert as formal architect: the Quartettsatz, D. 703 / Lewis Lockwood -- Sex, sexuality, and Schubert's piano music / Jeffrey Kallberg -- "La belle exécution": Johann Nepomuk Hummel's treatise and the art of playing the pianoforte / Mark Kroll -- "For you have been rebellious against the Lord": the Jewish image in Mendelssohn's Moses and Marx's Mose / Jeffrey S. Sposato -- Andrea Maffei's "ugly sin": the libretto for Verdi's I masnadieri / Roberta Montemorra Marvin -- Mozart's piano concertos and the romantic generation / Claudia Macdonald -- "Wo die Zitronen blühn": re-versions of Arie antiche / Margaret Murata -- Material culture and postmodern positivism: rethinking the "popular" in late-nineteenth-century French music / Jann Pasler -- Otto Gombosi's correspondence at the University of Chicago / Laurence Libin. |
| Abstract |
The seventeen contributors to this volume are all renowned specialists in their respective repertoires: the Renaissance and Baroque, Mozart, Beethoven, Mendelssohn, Verdi, Debussy, and much else. Their essays, all newly written for this book, use a wide array of source materials to probe issues pertaining to a cross section of musical works and musical life from the sixteenth through the twentieth centuries. How do we know what notes a composer intended in a given piece? How should those notes be played and sung? What is the nature of musical life in Bach's Leipzig, Schubert's Vienna? How is music related to literature and other arts and social currents in different times and places? What attitudes did musicians and music lovers have toward the music that they heard and made? We know all this from musical manuscripts and prints, opera libretti, composers' letters, reviews in newspapers and magazines, archival data, contemporary pedagogical writings, essays on aesthetics, and much else. Some of these categories of sources are the bedrock of music history and musicology. Others have begun to be examined only in recent years. Furthermore, musicologists, including biographers of famous composers, now explore these various kinds of sources in a variety of ways, some of them richly traditional and others exciting and novel. These seventeen essays, all newly written, use a wide array of source materials to probe issues pertaining to a cross section of musical works and musical life from the sixteenth through the twentieth centuries. |
