The Cambridge History of Nineteenth-Century Music

Half-title......Page 3
Series-title......Page 5
Title......Page 7
Copyright......Page 8
Contents......Page 9
Notes on contributors......Page 11
Editor’s preface......Page 15
PART ONE 1800 – 1850......Page 19
Compositional and contextual histories......Page 21
Then and now......Page 28
The structures of history......Page 35
Bibliography......Page 45
Music, rhetoric and representation......Page 47
Music and the sources of Romantic aesthetics......Page 48
Music in German Idealist philosophy: ‘feeling’ and ‘mediation’ (1)......Page 55
Music in German Romantic philosophy: ‘feeling’ and ‘mediation’ (2)......Page 63
Music, theology and the will......Page 66
Bibliography......Page 72
3 The profession of music......Page 73
The music profession before 1800......Page 74
Political and demographic developments......Page 75
The structure of concert life......Page 77
Institutional concerts......Page 78
Benefit concerts......Page 79
Opera......Page 80
Promenades and ‘cheap’ concerts......Page 81
The nature of professional life......Page 82
Composers......Page 83
Solo instrumentalists......Page 85
Singers......Page 87
Conductors......Page 89
Orchestral and chamber musicians......Page 90
Church musicians......Page 93
Instrument makers......Page 94
Publishers......Page 96
Music journalists......Page 98
Teachers and scholars......Page 100
Bibliography......Page 103
Introduction......Page 105
Imperial opera (1800–1814)......Page 110
Rossini fever (1814–1830)......Page 116
Cross-currents (1830–1850)......Page 122
Bibliography......Page 134
Beethoven vs. ‘Beethoven’......Page 136
Beethoven 1770–1802: pianist-composer......Page 141
Beethoven 1802–1827: composer......Page 150
Discussions of Beethoven’s style, 1810–1852......Page 160
Bibliography......Page 166
6 Music and the poetic......Page 169
Sacred vocal music......Page 171
Song......Page 173
German song; ballads; Schubert and Loewe......Page 174
Song cycles: Schubert and Schumann......Page 177
French song......Page 181
Poetic instrumental music......Page 183
Use of dance measures......Page 184
Piano cycles......Page 186
Instrumental narrative: ballade, symphony and overture......Page 188
Bibliography......Page 194
An imagined past......Page 196
Envisioning a present......Page 204
Bibliography......Page 229
The decline of traditional choral foundations......Page 231
Towards a new choral culture......Page 233
Social developments and their relation to choral practice......Page 237
Revolution, restoration and continuity......Page 239
The role of the composer and the special case of Mendelssohn......Page 244
The St Matthew Passion revival......Page 248
New conceptions of religion......Page 250
Bibliography......Page 253
Social background......Page 255
Musical taste......Page 257
Folk music......Page 259
Music in private......Page 266
The dissemination of music......Page 268
Dance......Page 269
A note on community music......Page 274
Bibliography......Page 276
On canons and spearheads......Page 277
Models of greatness......Page 286
The culture industry......Page 296
Bibliography......Page 301
PART TWO 1850 – 1900......Page 303
Progress: theories and discontents......Page 305
Liszt as forerunner of the avant-garde......Page 308
The French models of Liszt’s early writings......Page 311
Liszt, Idealism and reform......Page 314
Franz Brendel and progress......Page 318
Liszt’s Weimar aesthetic......Page 321
Symphony and symphonic poem: programmes and prefaces......Page 323
The ‘New German chool’: goals and divisions......Page 326
Liszt and Wagner: avant-garde and modernism......Page 328
Bibliography......Page 333
12 Music as ideal: the aesthetics of autonomy......Page 336
Autonomy, expression and the decline of Romanticism......Page 338
1848: revolution, disenchantment and the retreat into inwardness......Page 343
The aesthetics of feeling: chopenhauer and Nietzsche......Page 348
The aesthetics of form: Hanslick and Nietzsche......Page 351
Symbolism, l’art pour l’art, and the triumph of the aesthetics of autonomy......Page 355
Bibliography......Page 359
13 The structures of musical life......Page 361
The rhythms of urban musical life......Page 363
Repertory and canon......Page 365
Elitism and exclusion......Page 374
Gender and education......Page 377
Class, populism and democratisation......Page 380
Conclusion......Page 385
Bibliography......Page 386
Paris, 1850: Wagner and Meyerbeer......Page 389
Verdi’s ‘middle period’ (1849–1871)......Page 392
Comic opera: high and low......Page 398
Wagner and the ‘music drama’......Page 405
The grand opera legacy and the colonisation of the exotic......Page 411
Nationalism, realism and natural song: Russian opera and ‘the voice of the people’......Page 417
Drame lyrique and verismo: opera, literature and naturalism......Page 425
From Wagnerism to modernism......Page 434
Bibliography......Page 439
15 Beethoven reception: the symphonic tradition......Page 442
Dilemmas of symphonic practice at mid-century......Page 443
Poetic content: the challenge of Liszt......Page 448
Between absolute and programme music......Page 452
1. The purely abstract symphony......Page 453
2a. Dialogues with the musical tradition......Page 454
2b. ‘Nationalistic’symphonies......Page 457
2c. Tacit, implicit or suspected programmes throughout or for substantial sections......Page 461
3.Programme symphony/suite, symphonic poem and overture......Page 463
Structural deformation......Page 465
Two waves of composers......Page 472
Bibliography......Page 476
16 Words and music in Germany and France......Page 478
The German-speaking world: tradition, struggle, homage......Page 479
From romance and chanson to mélodie : French song and the French language......Page 503
Bibliography......Page 515
The historical challenge and a black and white response......Page 518
The core compositions......Page 522
Interlude: genre/genera......Page 528
Paths to the future: two case studies......Page 530
Bibliography......Page 537
18 Choral culture and the regeneration of the organ......Page 540
Restoring tradition in music and liturgical practice......Page 542
Composers and the religions of the later nineteenth century......Page 548
Liszt and the revolutionary restoration of religion......Page 549
Brahms and the personal definition of religion......Page 551
The professional church musician......Page 553
The organ and its rehabilitation......Page 555
Bibliography......Page 560
19 Music and social class......Page 562
Professionalisation and commercialisation......Page 564
New markets for cultural goods......Page 567
Music, morals and social order......Page 575
The rift between art and entertainment......Page 581
Bibliography......Page 583
Nationalisms......Page 586
Conquering the cities......Page 591
Forging the nations......Page 599
Music at the edge......Page 608
Bibliography......Page 617
21 Styles and languages around the turn of the century......Page 619
Bibliography......Page 638
Chronology......Page 639
Institutions......Page 677
Personalia......Page 707
Index......Page 765