Introduction 1. The idea of cyclic form 2. Musical history and self-consciousness: the Octet, Op. 20 3. Returning home: the E major Piano Sonata, Op. 6 4. In search of lost time: the A minor Quartet, Op. 13 5. Overcoming the past: the E flat Quartet, Op. 12 6. Cyclicism in Mendelssohn's mature music.

Mendelssohn, Time and Memory: The Romantic Conception of Cyclic Form

Beethoven's Ninth Symphony whose ambiguity, although technically unremarkable, has farreaching implications for interpretations of the work, prompted by the music's ironic relationship to the text at that point. The moment, as brief as it is critical, comes at the beginning of the baritone recitative "O Freunde, nicht diese T6ne!," specifically on the last word of that phrase, "T6ne" (ex. 1). The soloist can choose to read the setting of this word in one of two ways: either he can reproduce the pitches literally, as notated; or he can add an unnotated but implied appoggiatura on the first syllable. The numerous available recordings of the Ninth include examples of both solutions.' Embellish-

Not "Which" Tones? The Crux of Beethoven's Ninth

Challenging received views of music in nineteenth-century German thought, culture and society, this 2010 book provides a radical reappraisal of its socio-political meanings and functions. Garratt argues that far from governing the nineteenth-century musical discourse and practice, the concept of artistic autonomy and the aesthetic categories bequeathed by Weimar classicism were persistently challenged by alternative models of music's social role. The book investigates these competing models and the social projects that gave rise to them. It interrogates nineteenth-century musical discourse, discussing a wide range of manifestos championing musical democratization or seeking to make music an engine for the transformation of society. In addition, it explores institutions and movements that attempted to realize these goals, and compositions - by Mendelssohn, Lortzing and Liszt as well as Wagner - in which the relation between aesthetic and social claims is programmatic.

Music, Culture and Social Reform in the Age of Wagner

In this study Thomas Peattie offers a new account of Mahler's symphonies by considering the composer's reinvention of the genre in light of his career as a conductor and more broadly in terms of his sustained engagement with the musical, theatrical, and aesthetic traditions of the Austrian fin de siecle. Drawing on the ideas of landscape, mobility, and theatricality, Peattie creates a richly interdisciplinary framework that reveals the uniqueness of Mahler's symphonic idiom and its radical attitude toward the presentation and ordering of musical events. The book goes on to identify a fundamental tension between the music's episodic nature and its often-noted narrative impulse and suggests that Mahler's symphonic dramaturgy can be understood as a form of abstract theatre.

Gustav Mahler's Symphonic Landscapes

1. Mahler's moment 2. Naive and sentimental: Britten and Mahler 3. Real and surreal: shocks, dreams and temporality in the music of Weill and Mahler 4. Tyranny and freedom: Henze and Mahler.

After Mahler: Britten, Weill, Henze and Romantic Redemption

Beethoven cast a looming shadow over the 19th century. For composers he was a model both to emulate and to overcome. "You have no idea how it feels", Brahms confided, "when one always hears such a giant marching behind one". Exploring the response of five composers - Berlioz, Mendelssohn, Schumann, Brahms and Mahler - to what each clearly saw as the challenge of Beethoven's symphonies, Evan Bonds enhances our understanding of the evolution of the symphony and Beethoven's legacy. Overt borrowings from Beethoven - for example, the lyrical theme in the Finale of Brahms' First Symphony, so like the "Ode to Joy" theme in Beethoven's Ninth - have often been the subject of criticism. Bonds now shows us how composers imitate or allude to a Beethoven theme of compositional strategy precisely in order to turn away from it, creating a new musical solution. Berlioz's "Harold en Italie", Mendelssohn's "Lobgesang", Schumann's Fourth Symphony, Brahms' First and Mahler's Fourth serve as illuminating examples. Discussion focuses on such core issues as Beethoven's innovations in formal design, the role of text and voice, fusion of diverse genres, cyclical coherence of movements, and the function of the symphonic finale. Bonds argues that the great symphonists of the 19th century cleared creative space for themselves by both confronting and deviating from the practices of their potentially overpowering precursor.

Mark Evan Bonds

Papers

After Beethoven: The Imperative of Originality in the Symphony