edited by Roberto Illiano, Turnhout, Brepols, 2016 (Speculum Musicae, 29), pp. xvi+451, 32 color ill., ISBN 978-2-503-57024-2.
The relationship between music and figurative arts during the twentieth century is encoded in the links that exist between various composers and artists (such as Arnold Schönberg and Wassily Kandinsky, Igor Stravinsky and Pablo Picasso, Pierre Bolulez and Paul Klee, etc.). The present volume, which brings together 23 essays by musicologists of different nationalities, aims to explore this multifaceted world and will focus on artistic movements and political-sociological phenomena, including musical iconography associated with totalitarian regimes of the twentieth century.
Moreover some articles examine Public Art & Pop Art movements in the 1950/60, the relationships between avant-garde artists, composers and repertoires. Finally, some studies are dedicated to the concurrences of musical and artistic aesthetics, and to the personal experiences of contemporary composers like Aldo Clementi, György Ligeti, Paweł Łukaszewski’s or Karleinz Stockhausen.
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edited by Mark Everist, Turnhout, Brepols, 2016 (Speculum Musicae, 28), pp. xxiv+498, ISBN 978-2-503-56842-3.
Giacomo Meyerbeer stands as one of the great paradoxes in music history. Widely regarded as the single most important opera composer in the middle third of the nineteenth century, the composer was recognised and revered all over the world. But by the middle of the twentieth century, his fortunes had completely reversed: he works were rarely performed, if at all, and much of the aesthetic of the genres in which he wrote had been called into question. Until relatively recently, his works were a by-word for the worst of nineteenth-century excess. More recent and measured views on Meyerbeer, his works and the milieu in which he was active, have gone a long way to both reconstruct the world at the epicentre of which he stood, and the reasons for his late- nineteenth and twentieth-century decline. While some of these are connected to changing operatic tastes and resources, others are more uncomfortable to confront in the light of mid twentieth-century history. Reconstruction of the operatic world of the nineteenth century shows just how different it was to contemporary musical culture. The essays in Meyerbeer and Grand opéra reflect on the composer and his work 150 years after his death. They address fundamental questions about the composer and his relationship to his librettists, performers, and commentators, as well as the broader theatrical culture in which he worked. Contributors to the volume also reflect on the ways in which Meyerbeer’s works were received both during his lifetime and beyond.
Contributors: Evan Baker, Marco Beghelli, Francesco Bertini, Maria Birbili, Guillaume Bordry, Maria Nice Costantino, Mark Everist, John Gabriel, Melanie von Goldbeck-Stier, Diana R. Hallman, Yaël Hêche, Helena Kopchick Spencer, Jürgen Maehder, Laura Möckli, Matthias Nikolaidis, Claire Paolacci, Milan Pospíšil, Renato Ricco, Paolo Russo, Stephanie Schroedter, Mia Tootill, Jennifer C. H. J. Wilson.
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edited by Christian Speck, Turnhout, Brepols, 2016 (Speculum Musicae, 27), pp. XXX+388, ISBN 978-2-503-56800-3.
The String Quartet: From the Private to the Public Sphere approaches the history and growing prestige of the string quartet from the time of its emergence, in circa 1750, until the middle of the nineteenth century. The volume explores the historical, historiographical and biographical facets of the genre’s increasing dominance and ultimate supremacy. Various geographical regions of string-quartet production are encompassed, including Austria, Spain, Italy and Great Britain. Specific issues raised by individual contributions include the concepts of ‘late style’; notions of sophistication, comprehensibility and popularity; repertoires and the dissemination of manuscript parts and editions; theoretical writing on the string quartet and concert programming. Several contributions include analytical studies of string quartets by ‘classical’ composers, such as Haydn, Mozart, Beethoven and Schubert; others approach equivalent works by less canonical composers, including Luigi Boccherini, Gregorio Ballabene, Samuel Wesley and Feliks Janiewicz. The contributing authors are: Cliff Eisen, Michaela Freemanová, Lolita Fūrmane, Christiane Heine, Stephen Husarik, Anne M. Hyland, Stephanie Klauk, Rainer Kleinertz, Walter Kurt Kreyszig, Warwick Lister, Simon McVeigh, Balázs Mikusi, Nancy November, Christian Speck and Rohan H. Stewart-MacDonald.
edited by Massimiliano Sala, Turnhout, Brepols, 2014 (Speculum Musicae, 26), pp. XII+414, ISBN 978-2-503-55326-9.
The volume aims to investigate the world of the piano in France, and the evolution of the instrument between the ancien régime and the Restoration. Particular attention will be devoted to the circulation of central European pianists at the turn of the nineteenth century, their influence on the development of piano culture and technique and the impact this had on French musical tastes. Nineteen contributions will explore the piano industry, aspects of performance practice and the bravura tradition, and will investigate certain lines of interaction between publishers, composers, institutions and concert venues between the French Revolution and the first Industrial Revolution. The ultimate aim will be to determine more comprehensively the role of piano culture within nineteenth-century Parisian musical life.
edited by Massimiliano Locanto, Turnhout, Brepols, 2014 (Speculum Musicae, 25), pp. XVIII + 494, ISBN 978-2-503-55325-2.
Bringing together twenty-four essays by scholars of different nationalities, this volume aims to shed new light on one of the most influential composers of the twentieth century. The chapters are organized in six sections (I. Roots and Routes; II. Music, Gestures, Bodies; III. From Stage to Screen; IV. Constructing the Musical Text:Theory, Analysis, Intertextuality; V. Critical Reception; VI. Restagings, Rereadings), in which Stravinsky and his music are analyzed from different disciplinary and methodological perspectives. Many essays approach the subject from an historical and cultural viewpoint, contextualizing Stravinsky’s work within the debate on Modernism. Others are concerned with textual and intertextual aspects, and still others investigate gestural and bodily dimensions, as well as the cognitive aspects of Stravinsky’s music. The concept of ‘musical gesture’, formulated in recent years with increasing precision, runs through the volume as the basis for new paths of interaction between music analysis, new trends in systematic musicology, and historical and cultural approaches.
With the Assistance of
edited by Fulvia Morabito, Turnhout, Brepols, 2014 (Speculum Musicae, 24), XVI+376, ISBN 978-2-503-55324-5.
In 2011 the musical world celebrated the 200th anniversary of the birth of Franz Liszt. Composer, itinerant piano virtuoso, organist and conductor, Liszt was one of the greatest protagonists in the vast and complex arena of nineteenth-century European music. The 17 contributions that make up the volume, by an array of international scholars, pay homage to the great Hungarian musician while producing insight into the musicians, repertoire, events and venues that inhabited contemporary musical life. The chapters are grouped according to four principal subjects: 1. Franz Liszt’s life and work: new evidence and perspectives; 2. Liszt’s influence on the European musical scene; 3. The musical journey of the xix-Century Europe; The ‘Sound’ of xix-Century Europe. The contributors to the volume are: Victoria Alemany, Nicolas Dufetel, Jean-Jacques Eigeldinger, Francisco José Fernández Vicedo, David Gasche, Florence Gétreau, David Hurwitz, Sabine Koch, Mark Kroll, Ana Maria Liberal, Sandra Myers, Anne Penesco, Rui Pereira, Leon Plantinga, Siegwart Reichwald, Laure Schnapper, Renata Suchowiejko, Jeroen van Gessel.
edited by Roberto Illiano and Michela Niccolai, Turnhout, Brepols, 2014 (Speculum Musicae, 23), XIV+441 pp., ISBN 978-2-503-55247-7
The nineteenth century witnessed the birth of the public figure of the orchestral conductor. Like composers and performers, orchestral conductors registered the transformed concept of the ‘musical work’. Whilst the Industrial Revolution generated new types of profession, the orchestral conductor’s career emerged, as an outcome of the greater consideration that was devoted to the act of ‘performance’. In the present volume nineteen scholars explore historical and sociological phenomena connected to the nineteenth-century system of performance and musical production in which the orchestral conductor worked. A number of chapters investigate the musical performances of famous orchestral conductors; conducting by renowned composers (including Berlioz, Bottesini, Charpentier, Liszt, Mendelssohn, Paganini and Rolla) and orchestral treatises for military bands. The authors featured are: Fabrizio Ammetto, Maria Teresa Arfini, Rémy Campos, Paola Cannas, Antonio Carlini, Claudia Colombati, Mariateresa Dellaborra, Gilles Demonet, Elisa Grossato, Emmanuel Hervé, Étienne Jardin, Walter Kurt Kreyszig, Naomi Matsumoto, Michela Niccolai, Fiona M. Palmer, Rudolf Rasch, Renato Ricco, Gesine Schröder, Ruben Vernazza.
edited by Massimiliano Sala, Turnhout, Brepols, 2014 (Speculum Musicae, 22), pp. xii+472, ISBN 978-2-503-55246-0.
This volume investigates the relationships between music and propaganda in the twentieth-century. Music can be utilised to attribute and ascribe multivalent meanings. Due to its great evocative power it has often been directly exploited by regimes and governments. In what ways does music convey the messages of propaganda? Which are the political and economical implications behind musical propaganda? Much has been written about the relationship between music and propaganda during the two world wars, but the post-war dimensions of the topic also require investigation. The authors featured in this volume are: M. I. Cabrera García, P. Christiansen, P. F. de Castro, L. Duraković, F. J. Fernández Vicedo, M. Fornaro Bordolli, D. Gangale, G. Gan Quesada, L. J. Hansen, E. Levi, S. Majer-Bobetko, H. Marinho, L. Martin-Chevalier, M. B. Martínez del Fresno, V. Mikić, P. Ordóñez Eslava, J. J. Pastor Comín, B. Pérez Castillo, G. Pérez Zalduondo, V. Radoman, C. Schutte, L. R. Semmes, H. Šišková, A. Stimie, W. Studdert, A. Tuchowski, H. Vandervlist, B. Vega Pichaco, L. Velasco Pufleau.
edited by Gemma Pérez Zalduondo andy Germán Gan Quesada, Turnhout, Brepols, 2013 (Speculum Musicae, 21), pp. XII+488, ISBN: 978-2-503-54889-9.
The present monograph, which brings together 19 essays by musicologists of different nationalities, offers studies conducted within today’s most active research lines within the field of musicology, referring to the analysis of networks of relationships that musical activities and phenomena had developed with the Franco regime (1938-1975). These offer approaches to specific genres (chamber music, instrumental and theatrical music, flamenco, jazz, copla, light music, and cinematic music) and to diverse repertories and creative musical languages (nationalist, Neoclassical, and avant-garde) without neglecting the study of the creation, musical discourse, and its producers (composers, performers, and critics) within the domain of public and private institutional frameworks. Also, they investigate the musical policies that formed part of the regime and involved repertories, creators, and performers. In this latter regard, the chapters that study music in the context of international relations up to the end of the Second World War stand out, as do those that investigate the impact that historical events such as the Spanish Civil War — or others specifically musical in nature with special symbolic weight within Spain — exerted beyond the Spanish borders on foreign composers and their contexts as well as on Spanish composers in exile. This volume presents a critical synthesis of the historiographic reflection that to date has dealt with the relations of music with the Franco regime, together with an analysis of the theoretic-artistic and identity-defining speeches in force during early Francoism, with an evaluation of their precedents. The two chapters constitute the first section of the book, followed by another two that group studies on music into the propaganda at home and abroad, musical institutions and activity, and, finally, musical practices and the dissemination of the repertories.
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edited by Luca Lévi Sala, Turnhout, Brepols, 2013 (Speculum Musicae, 20), pp. XII+362, ISBN: 978-2-503-54884-5
Due to its plethora of concert halls, publishing houses and piano factories, Paris was one of the leading European capitals of nineteenth-century piano music, able to attract the greatest interpreters of the bravura tradition. The present book takes as its subject the significance and ouput of the two-composer-pianists mentioned in the title, approaching them from historical, analytical and aesthetical points of view. In so doing the book encompasses many aspects of the Parisian musical scene in which the two composers were involved or to which they were in some way connected. The authors featured are: Michele Calella, Céline Carenco, Andrew Davis, Mariacarla De Giorgi, Christoph Flamm, James Garrat, Inès Guittard, Andrew Haringer, Magdalena Oliferko, Anne Penesco, Cécile Reynaud, David Rowland, Michael Saffle, Laure Schnapper, Rohan H. Stewart-MacDonald, Renata Suchowiejko, Andrzej Tuchowski.
edited by Massimiliano Sala, Turnhout, Brepols, 2012 (Speculum Musicae, 19), pp. XIV+338, ISBN: 978-2-503-54614-8
Via a collection of essays using different analytical perspectives, the aim of the present volume is to track a heterogeneous path through the world of the musical. The approaches of the twenty contributions, as the title implies, coalesce around two central objectives: the first objective is to deal with the topic chronicling the life of the American musical in its progression from its theatrical format to the cinema. With the birth of the sound film, the cinema could begin to compete with the theatre, and the film musical had therefore to confront both pre-existing forms (theatrical and cinematic) and its alter ego, the stage musical. But which line of continuity, if any, has been maintained in this process of transition from stage to screen? Hence the second central objective is to define otherness but also to trace the borrowings and influences passing between American and European musical cinema, including the different ways with which pre-existing forms of musical theatre were adapted for the screen in a lengthy and varied path of transfiguration; how this process of adaptation to the new medium developed on the two opposite sides of the Atlantic Ocean, in the period during which, with Show Boat (1927), Jerome Kern had given to Americans perhaps one of the most important musical comedy of all time, one of the first examples of what would become the musical comedy of the forties and fifties?
edited by Luca Lévi Sala, Turnhout, Brepols, 2012 (Speculum Musicae, 18), pp. XVI+460, ISBN: 978-2-503-54613-1
In the context of the social culture of Europe, the rise and fall of Wagnerism ushered in a structural change of artistic forms, a process which in some sense manages to lay bare the transformations of modern culture over two entire centuries. What is presented rather as a complex psycho-sociological theorization of the process involved in producing a work of art, in fact manifests itself as a reformulation of ideas in literature and theatre, in criticism and cinema, providing us with a vast and articulate sketch of an almost endless series of those influences which Wagner's oeuvre has been able to give rise to. The purpose of the present work is to expand, in this very direction, the thorough study of a system of convergences and dissonances, whether in the sphere of aesthetics, or in the context of that which remains of the oeuvre in the complex and as yet unfinished history of its reception. The editor's aim has been to examine the Wagnerian influence which is present in the process of politico-geographical transformation of Europe, Russia and the United States from the fin de siècle to the middle of the 20th century. Furthermore, on the same topic, he has striven to cover also the silent revolution which Wagnerism precipitated in literature and in the field of social sciences, its legacy and the inevitable transformations it brought about.
pp. xxxiv + 540, 2011, ISBN: 978-2-503-54340-6.
Gustave Charpentier is one of the most original fin de siècle composers. His musical output — in particular Le couronnement de la muse (1897) and Louise (1900) — has to be understood in the appropriate political and social context. Charpentier's dramaturgical view reflects his social project, the concrete realization of which was the foundation of the Chambre Syndicale des artistes musiciens de Paris (1901) and the Conservatoire populaire de Mimi Pinson (1902). Up until now, the success of Louise has eclipsed the output of a composer who wished to be in touch with the workers, without remaining isolated in a purely artistic dimension. Our analysis aims to reconstruct the origin and the evolution of both of Charpentier's masterpieces; and to do that we will make use of unpublished and original documents.
Focusing on music, our attention has been drawn by the visual element; this is the most significant - indeed the principal – stimulus for the composer's creativity. Charpentier was in fact among the first artists to adapt his works to the new communications media of radio and cinema, experimenting with a method of composing closely connected to them. The music of Gustave Charpentier reveals to us a world in which music and social history are inextricably associated; his music sheds light on the contradictions which enlivened fin de siècle France.
edited by Rudolf Rasch, pp. xii+392, 2011, ISBN: 978-2-503-54244-7.
Improvisation is an important aspect of music, not only in jazz and other 'improvised music', but also of classical music. Pianists may add improvised interludes to their recitals and cadenzas to a concerto they perform. They may conclude their recitals by playing compositions composed on the spot, freely invented or on themes handed to them by the public. Violinists and other instrumentalists may do the same. Singers may add embellishments to their arias which are not notated in their scores, a practice widely spread in nineteenth-century opera. For the listener it may perhaps not make very much difference whether or not what he hears is improvised or composed, but for the performer it does, of course. In fact, the improviser shows that he is a real master of the art: he can do at once, without preparation, what others can do only with preparation. But there is also a genre of written compositions which is supposed to sound as improvisations, especially those entitled Improvisation, Fantasy, Impromptu, Prelude, and so forth.
Beyond Notes: Improvisation in Western Music of the Eighteenth and Nineteenth Centuries brings together twenty essays that do confirm the many sides of the concept of 'improvisation' and the wide range of approaches that can be taken to it. Because of the collective nature of this volume, the approaches do indeed vary greatly. Some contributions deal with improvisation from the conceptual point of view: what really is improvisation? Others deal with certain repertoires, or with specific examples. Some deal with improvised additions, others with improvisational aspects of written compositions. The contribution on the improvisations of the French organist Louis Vierne deals directly with recorded improvisations. The contribution on the flute-cadenza in Donizetti's Lucia di Lammermoor encompasses recorded material, but this was rather semi-improvisational, prepared certainly, but not necessarily notated and not necessarily performed identically every time. Contemporary descriptions of improvisations are found in contributions on Italian music theorists and musicians in general, and in those on composers such as Hummel, Paganini, Bériot, Clara Wieck Schumann, Czerny, Liszt and Henselt. Compositions in improvisatory style are discussed in several of these contributions and in one on nineteenth-century Hungarian or so-called 'Gypsy' music. Ad libitum ornamentation is discussed in relation to Tartini's violin sonatas and nineteenth-century operatic arias. Other contributions discuss the instability that is a property of nearly all music or the migration of motives and schemes from one composition to another, processes that pave the way for improvised additions. Several contributions provide theoretical reflections on improvisation.
edited by Lorenzo Frassà, x+394 pp., 2011, ISBN 978-2-503-52781-9.
This volume presents sixteen essays, ranging from the reception of the genre's foremost masterworks to the artistic productions of its protagonists, and finally to strictly aesthetic and musical issues. The book's central goal is to illustrate the foremost traits of this form of musical theatre (which is also an institution) and so to allow the reader (especially the general reader) to appreciate its richness and complexity of traditions, expressions and practices. They form a landscape that is extremely elusive, yet exceptionally lively and vibrant.
edited by Roberto Illiano and Massimiliano Sala, XIV+767 pp., 2009, ISBN 978-2-503-52779-6.
In this book, edited by Roberto Illiano and Massimiliano Sala, twenty-four scholars investigate the relationship between music and dictatorship in twentieth-century Europe and Latin America. The music is explored as a political phenomenon in fifteenth nations under totalitarian regimes: Argentina, Brazil, Chile, Cuba, France, Greece, Germany, Italy, Mexico, Poland, Portugal, Russia, Serbia, Spain, and Hungary. Historical and aesthetical articles face both individual people (for instance, Chavez, Ligeti, Massarani or Villa-Lobos) as well whole generations of composers operating under dictatorship (for example, in the communist regimes of Poland and Serbia; in France under Vichy; in Franco's Spain, Salazar's Portugal, or in Revolutionary Cuba).
edited by Michael Talbot, Turnhout, Brepols, 2008.
Turnhout, Brepols, 2008.
Turnhout, Brepols, 2006.
edited by Roberto Illiano, Turnhout, Brepols, 2004.
Turnhout, Brepols, 2003.
Turnhout, Brepols, 2001.
Turnhout, Brepols, 2000.
Turnhout, Brepols, 2000.
Turnhout, Brepols, 1998.
edited by Albert Dunning, 2 voll., Lucca, Libreria Musicale Italiana, 1995.
Turnhout, Brepols, 1997.
Turnhout, Brepols, 1997.
edited by Albert Dunning, 2 voll., Lucca, Libreria Musicale Italiana, 1995.