Bøger om Romantikken

Der katalanische Maler Marià Fortuny i Marsal (1838-1874) und der aus Paris stammende Henri Regnault (1843-1871) sind wichtige Vertreter einer orientalistisch geprägten Kunst. Die transregionale Studie vergleicht zentrale Werke der Maler, analysiert die Rezeption Marokkos in der Kunst Spaniens und Frankreichs und eröffnet somit ein facettenreiches und differenziertes Bild europäischer Orientalismen in der Malerei der zweiten Hälfte des 19. Jahrhunderts. Künstlernetzwerke und wechselseitige Austauschprozesse zwischen französischen und spanischen Marokkomalern stehen im Zentrum der Betrachtung ebenso wie die in der Forschung bisher vernachlässigten Orientalismen Spaniens, das aufgrund seines kulturellen Erbes von al-Andalus im 19. Jahrhundert oftmals zum ,Orient' gezählt wurde. Rezeption Marokkos durch europäische Künstler in der Vorprotektoratszeit Erstmalige Betrachtung der bisher vernachlässigten Orientalismen Spaniens im 19. Jahrhundert

Richard Strauss in Context offers a distinctive approach to the study of a composer in that it places the emphasis on contextualizing topics rather than on biography and artistic output. One might say that it inverts the relationship between composer and context. Rather than studies of Strauss's librettists that discuss the texts themselves and his musical settings, for instance, this book offers essays on the writers themselves: their biographical circumstances, styles, landmark works, and broader positions in literary history. Likewise, Strauss's contributions to the concert hall are positioned within the broader development of the orchestra and trends in programmatic music. In short, readers will benefit from an elaboration of material that is either absent from or treated only briefly in existing publications. Through this supplemental and broader contextual approach, this book serves as a valuable and unique resource for students, scholars, and a general readership.

The sublime - that elusive encounter with overwhelming height, power or limits - has been associated with music from the early-modern rise of interest in the Longinian sublime to its saturation of European culture in the later nineteenth century and beyond. This volume offers a historically situated study of the relationship between music, sound and the sublime. Together, the authors distinguish between the different aesthetics of production, representation and effect, while understanding these as often mutually reinforcing approaches. They demonstrate music's strength in playing out the sublime as transfer, transport and transmission of power, allied to the persistent theme of destruction, deaths and endings. The volume opens up two avenues for further research suggested by the adjective 'sonorous': a wider spectrum of sounds heard as sublime, and (especially for those outside musicology) a more multifaceted idea of music as a cultural practice that shares boundaries with other sounding phenomena.

Opera Outside the Box: Notions of Opera in Nineteenth-Century Britain addresses operatic "experiences" outside the opera houses of Britain during the nineteenth century.

"How the idea of monstrosity, as "other" in critical research, was central to nineteenth-century scientific understandings of "natural" or "normal" biology"--

While interpretation of musical scores is amongst the most frequent of musical activities, it is also, strangely, one of the least researched. This collection of essays seeks to remedy this deficit by illuminating ways in which today's curious musician - interested in probing beyond the dictates of a faintly understood score - can engage more deeply and thoughtfully with the act of interpretation. Skilful musical interpretation draws on a vast range of knowledges. The chapters of this collection accordingly address a similarly broad set of issues, including notation, rhetoric, theory, historiography, performers past and present, instrument builders, concert presenters, reception history, and more.Written by leading experts from a variety of musical subdisciplines, these essays are designed to be accessible and practically relevant for musical performance. Many of the chapters utilize case studies and, as such, will be useful for university and conservatory level students as well as music scholars.The chapters in this book were originally published as a special issue of the Journal of Musicological Research.

Examines visual representations of and by persons defined as Creole, the term applied to white, Black, and mixed-race persons born in French colonies during the nineteenth century.

A must-have for any conductor, conducting student and orchestral librarian.How does a conductor know whether the score they use is what the composer wrote? How do orchestral players know that their parts are reliable and reflect the latest scholarship? As Jonathan Del Mar reminds us in this ground-breaking book, editions of the orchestral repertoire are beset by textual problems: simple misprints, mistakes in the score or player's part, or hopelessly outdated scores at odds with current scholarship. Driven by a fundamental respect for what the composer actually wrote, Jonathan Del Mar addresses these problems through textual reports on over 100 orchestral masterpieces of classical music. Each report is introduced with essential guidance and succinct commentary on the first performance and publication of the work. Critical editions are compared with commonly used editions, and in those cases where no Urtext Edition exists, this much-needed reference work functions as a replacement for an Urtext Edition. Orchestral Masterpieces under the Microscope will be an indispensable reference tool for all who care about performances honouring the correct text that composers have left us. It serves as an essential survival guide for conductors and musicians to make informed choices, and it offers much-needed clarity on the latest scholarship for musicologists and music librarians alike

A compilation of important biographical writings on William Blake, a painter, printmaker, poet, and mystical thinker who became one of the leading figures of Romanticism.

An Imagined Shore is the second volume of the illustrations of Robert Anning Bell. Bell was an English architect and art professor, who taught at the Royal College of Art, exhibited his work at the Royal Academy, and worked on mosaics for the Palace of Westminster. A decade before all of these accomplishments, Bell illustrated the 1902 collection of the poems of Percy Bysshe Shelley. The illustrations are executed in classic Art Nouveau style, the graceful figures done in flowing, liquid lines. The high-quality illustrations in this coloring book have been digitally cleaned and de-yellowed, and printed on one side of each 8.5" x 11" (21.59 x 27.94 cm) page for a pleasurable coloring experience.

The music reviews of Robert Schumann and Richard Wagner are central documents of 19th-century German musical culture. This book takes a closer look at the way these texts were written and explores the significant contributions Schumann and Wagner made to the discourse of musical appraisal. To that effect, the author raises fundamental questions that have thus far remained unaddressed: What textual features characterize the critical writings? How do Schumann and Wagner understand their roles as critics of music? And in what way do they reach out to the reader? Rather than understanding these critical writings exclusively as a gateway to the compositions and musical aesthetics of Schumann and Wagner, this book analyzes the texts through the lens of pragmatics, narratology and discourse analysis. Using this interdisciplinary perspective, the author proposes to understand Schumann and Wagner within the broader medial and discursive context of German 'Kritik'. He challenges the dominant narrative that brands Schumann and Wagner as elitist Romantic critics, demonstrating instead that they actively encourage their readers to form their own judgements. This volume is an indispensable resource for scholars of German literature, periodicals and music alike.

This book traces the ways Berlin has been narrated across three centuries by some 100 authors. It presents a composite landscape not only of the German capital, but of shifting subtexts in American society.

Die Klavierrhapsodien Liszts stehen in derselben Tradition wie seine Transkriptionen von Opern- oder Liedthemen, nur dienen hier volkstümliche Tänze und Lieder als Ausgangsmaterial. Die 1851 erschienene Nr. 2 der Ungarischen Rhapsodien bezeichnete Liszt als "echten Magyar" und "brillantes Pendant" zu seinem eigenen Konzert-Paradestück Grand Galop chromatique. Tatsächlich wurde das auf starken dynamischen und harmonischen Kontrasten beruhende Werk rasch populär und gehört bis heute zu seinen beliebtesten Klavierwerken überhaupt.Das lange unzugängliche Autograph der Komposition ist jetzt wieder einsehbar - Anlass genug, die Henle-Urtextausgabe einer gewissenhaften Revision zu unterziehen.