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A new way of understanding Beethoven's genius, rooted in personal experience: Wallace tells the story of Beethoven's hearing loss, and what it meant for him as a composer-and to do so, he draws on his own experience as a music scholar watching as his wife lost her hearing.
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Complex, self-deprecating and private, John's character and achievements are examined with detail garnered from information both published and in archival collections... Læs mere
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A study of the ways in which topics of English history were central to conceptions of English identity, musical and otherwise, during the Victorian and Edwardian periods
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WINNER: 2019 Marjorie Weston Emerson Award from the Mozart Society of AmericaA bold, restorative vision of Mozart's works, and Western art music generally, as manifestations of an idealism rooted in the sociable nature of humans.
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This Companion offers insights into Debussy's character, his environment and his music, especially the roles of nature and eroticism in his music. His works are... Læs mere
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With new information on four generations of women musicians, this book expands and alters the narratives that scholars and musicians have told about music in... Læs mere
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An original study of the history of the symphony in Vienna during Beethoven's lifetime, this 2006 book explores the context in which the composer worked. It will be of... Læs mere
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Michael Musgrave presents a new focus on Schumann as a practical working musician, building a career and interacting with the professional world. The study emphasizes the value of... Læs mere
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An examination of one of the crucial periods of musical history, viewed against the social and political background of the time.
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Graham Griffiths places Stravinsky's reinvention in the early 1920s, as both neoclassical composer and concert-pianist, at the centre of a fundamental reconsideration of the composer's entire output - viewed from the unprecedented perspective of his relationship with the piano.
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Graham Griffiths places Stravinsky's reinvention in the early 1920s, as both neoclassical composer and concert-pianist, at the centre of a fundamental reconsideration of the composer's entire output - viewed from the unprecedented perspective of his relationship with the piano.