scispace - formally typeset
Search or ask a question
JournalISSN: 1479-4098

Nineteenth-century music review 

Cambridge University Press
About: Nineteenth-century music review is an academic journal published by Cambridge University Press. The journal publishes majorly in the area(s): Musical & Piano. It has an ISSN identifier of 1479-4098. Over the lifetime, 581 publications have been published receiving 525 citations. The journal is also known as: 19th-century music review.
Topics: Musical, Piano, Opera, Symphony, Art


Papers
More filters
Journal ArticleDOI
TL;DR: The 1890s was a moment at which the booming Italian opera and journalism industries converged, particularly in the large northern cities, to produce an explosion of periodicals devoted to opera, encompassing a range of critical methods as mentioned in this paper.
Abstract: Much ink was spilled on the subject of music in fin-de-siecle Italy. With the rapid expansion of the bourgeoisie during the last decades of the nineteenth century, opera-going in Italy was at its apogee, and as opera attendance surged so too did the demand for gossip about singers, titbits about the lives of composers and reviews of the latest works. This was a moment at which the booming Italian opera and journalism industries converged, particularly in the large northern cities, to produce an explosion of periodicals devoted to opera, encompassing a range of critical methods. The 1890s, however, also saw the development in Italy of a new branch of criticism devoted to more ‘serious’ types of music, penned by writers explicitly hostile to opera's domination of Italian musical life, who looked to the north as their cultural spiritual home.

37 citations

Journal ArticleDOI
Robert Samuels1
TL;DR: Mahler's development of symphonic form with a development of narrative form within his works, by linking three phases of Mahler's orchestral output with his literary interests, is discussed in this paper.
Abstract: The close relationship between music and other art forms is a well-established feature of fin-de-siecle Vienna. Interdisciplinary study since the 1970s, of the relationship between literature and music, reflects among other things a recovery of nineteenth-century concerns. This article equates Mahler's development of symphonic form with a development of narrative form within his works, by linking three phases of his symphonic output with his literary interests. The first phase links the early symphonies with the early nineteenth-century author Jean Paul. His novel Titan provides the subtitle of Mahler's First Symphony, and correspondences can be discerned between the character of Albano, the hero of the novel, and Mahler at this stage of his career (1888). The opening of the Finale of the symphony shows narratological similarity to the opening of the final volume of the novel. The second phase links the middle-period instrumental symphonies with Dostoevsky, who became Mahler's greatest literary and moral hero. The Fifth, Sixth and Seventh Symphonies exhibit narrative structures different from those of the earlier symphonies; rather than ending with indivdualistic triumph, after the manner of Jean Paul, they pose the Dostoevskian question of whether some sort of redemption of their material is possible. The third phase links the late works with Mahler's contemporaries Robert Musil and Marcel Proust. In this context, the ending of Mahler's Ninth Symphony can be seen as a adaptation of musical narrativity analogous to the Modernist extension of the lengthy novels of these two authors.

29 citations

Journal ArticleDOI
TL;DR: A Liedertafel concert at which the former Governor His Excellency Sir Henry Loch and Lady Loch were present was reported in the Illustrated Australian News and Musical Times of 1889 as follows:In the course of some remarks Lord Loch made the statement that the advancement of musical culture in Melbourne is to be attributed to the influence of Germans as mentioned in this paper.
Abstract: A Liedertafel concert at which the former Governor His Excellency Sir Henry Loch and Lady Loch were present was reported in the Illustrated Australian News and Musical Times of 1889 as follows:In the course of some remarks Lord Loch made the statement that the advancement of musical culture in Melbourne is to be attributed to the influence of Germans. Now although the community includes some excellent musicians of that nationality, the opinion expressed by our late governor is by no means in accordance with facts. It is only just that honour should be given where it is due and the untiring efforts of the English musicians in the colony in educating public taste ought to be thoroughly recognised.

25 citations

Journal ArticleDOI
TL;DR: In this article, the authors begin with a single song that came to tell an historical tale of the nineteenth century (Fig. 1, p. 3) and use it as a basis for their essay.
Abstract: I begin this essay epigrammatically with song, with a single song that came to tell an historical tale of the nineteenth century (Fig. 1, p. 3). We know this single song in many versions, though it is perhaps the second version that most musicians and scholars of the nineteenth century, more accustomed to playing or hearing the keyboard music of Johannes Brahms than singing Child ballads, know best (Ex. 1). In the Brahms setting, the first of his op. 10 Balladen for solo piano, it may perhaps no longer be a song at all, for its narrative has been stripped of words.

12 citations

Journal ArticleDOI
Mary Hunter1
TL;DR: In this article, the authors focus on a single measure in the slow movement of Beethoven's op. 59 no. 2 and argue that in various ways it raises and thus exemplifies the issues of the distribution of power, of musical initiative or the "genius of performance", and ultimately of differing subjectivities in the early nineteenth-century notion of the quartet.
Abstract: It has long been recognized that journalistic discourse about the string quartet in early nineteenth-century sources stressed its elevation and seriousness in comparison to other genres, and that the string quartets of Haydn, Mozart and Beethoven were described as ‘classical’ very early in the century. Less well known is that the idea of performance is embedded in this discourse – particularly around the question of the group dynamics of ensemble performance. The tendency to blur the roles of the parts and the roles of the players are evidence of this, as is the discussion of the relation between first-violin-centricity and the ideal of free and equal contribution by all four parts/players in ‘true’ or ‘classical’ works. This ideal, I argue, is distinct from the longstanding metaphor of ‘conversation’ to describe the relations of the parts. The first part of this article explores these broad topics. The second part of the article focuses on a single measure in the slow movement of Beethoven's op. 59 no. 2 and argues that in various ways it raises and thus exemplifies the issues of the distribution of power, of musical initiative or the ‘genius of performance’, and ultimately of differing subjectivities in the early nineteenth-century notion of the quartet.

8 citations

Performance
Metrics
No. of papers from the Journal in previous years
YearPapers
202327
202263
202154
202038
201920
20188