Upload
vuongnhu
View
217
Download
2
Embed Size (px)
Citation preview
Music of the Romantic Era Schedule & Assignments
Blake Howe
Louisiana State University
This graduate music history survey uses the following textbook: Richard Taruskin, The Oxford History of Western Music [OHWM], Vol. 3, The Nineteenth Century (Oxford and New York: Oxford University Press, 2005).
Blake Howe / Music of the Romantic Era – Schedule & Assignments / 2
Beethoven Listening:
• Ludwig van Beethoven, Symphony No. 3 in E-‐‑flat Major, Op. 55 [Eroica] (1804) • First movement, Allegro con brio
• Ludwig van Beethoven, Symphony No. 9 in D Minor, Op. 125 (1824): • First movement, Allegro ma non troppo, un poco maestoso • Fourth movement, Presto
Reading:
• [source reading] Friedrich Schiller, Über naive und sentimentalische Dichtung (1795), as excerpted from William F. Wertz, Jr., trans., On Naïve and Sentimental Poetry, The Schiller Institute.
• [source reading] Christian Friedrich Michaelis, “Einige Bemerkungen über das Erhabene der Musik” (“Some Remarks on the Sublime in Music,” 1805), excerpted and translated in Music and Aesthetics in the Eighteenth and Early-‐‑Nineteenth Centuries, ed. Peter le Huray and James Day, abridged edition (Cambridge: Cambridge University Press, 1988), 202–03.
• [source reading] miscellaneous responses to Beethoven’s Symphony No. 9 (1824), excerpted in Weiss and Taruskin, Music in the Western World: A History in Documents, 2nd ed., ed. Piero Weiss and Richard Taruskin (Belmont, CA: Schirmer Cengage Learning, 2008), 282–84.
• [textbook] Taruskin, OHWM (vol. 2), 641–89. • [optional historical/analytical study] Maynard Solomon, “Beyond Classicism”
and “Some Romantic Images” in Late Beethoven: Music, Thought, Imagination (Berkeley, Los Angeles, London: University of California Press, 2004), 27–70.
Blake Howe / Music of the Romantic Era – Schedule & Assignments / 3
Beethoven in C Minor Listening:
• Ludwig van Beethoven, Symphony No. 5 in C Minor (1804–08) • Ludwig van Beethoven, Piano Sonata No. 32 in C Minor, Op. 111 (1821–22)
Reading:
• [source reading] Ludwig van Beethoven, Letter to Carl and Johann Beethoven (6 October 1802) [“Heiligenstadt Testament”], translated in Music in the Western World: A History in Documents, 2nd ed., ed. Piero Weiss and Richard Taruskin (Belmont, CA: Schirmer Cengage Learning, 2008), 277–79.
• [source reading] Johann Friedrich Reichardt, Vertraute Briefe geschrieben auf einer Reise nach Wien… (1810), excerpted and translated as “Personal Letters Written on a Trip to Vienna,” in Oliver Strunk, ed., Source Readings in Music History, revised edition, ed. Leo Treitler (New York and London: W. W. Norton, 1998), 1029–41 (Letters #13, 14, 17, and 37).
• [source reading] E. T. A. Hoffmann, “Beethovens Instrumental-‐‑Musik” (1813), translated as “Beethoven’s Instrumental Music,” in Oliver Strunk, ed., Source Readings in Music History, revised edition, ed. Leo Treitler (New York and London: W. W. Norton, 1998), 1193–98.
• [textbook] Taruskin, OHWM (vol. 2), 691–739. • [optional historical/analytical study] Joseph Kerman, “Beethoven’s Minority,”
in Write All These Down: Essays on Music (Berkeley, Los Angeles, and London: University of California Press, 1998), 217–37.
Blake Howe / Music of the Romantic Era – Schedule & Assignments / 4
Rossini Listening:
• Gioachino Rossini, L’Italiana in Algeri (1813): • Overture • Act I, Finale – Scene 10 (“Viva, viva il flagel delle donne”), Scene 11 (“Oh!
Che muso, che figura!”), Scene 12 (“Vo’ star con mia nopote”), and Scene 13 (“Pria di dividerci da voi”)
• Gioachino Rossini, Tancredi (1813): • Act I, Scene 5 (“Oh patria!” [parlante], “Tu che accendi questo core”
[cantabile], and “Di tanti palpiti” [cabaletta]) Reading:
• [source reading] Stendhal, Vie de Rossini (1824), translated by Richard N. Coe as Life of Rossini (Seattle: University of Washington Press, 1972), 54–57 and 123–24.
• [source reading] Giuseppe Mazzini, Filosofia della musica (1836), translated as Philosophy of Music in Oliver Strunk, ed., Source Readings in Music History, revised edition, ed. Leo Treitler (New York and London: W. W. Norton, 1998), 1085–94.
• [textbook] Taruskin, OHWM (vol. 3), 3–36. • [optional historical/analytical study] Philip Gossett, “Gioachino Rossini and the
Conventions of Composition,” Acta musicologica 42 (1970): 48–58.
Blake Howe / Music of the Romantic Era – Schedule & Assignments / 5
Bel Canto Mania Listening:
• Vincenzo Bellini, Norma (1831): • Act I, Scene 4 (“Sedizio se voce” [parlante], “Casta diva” [cantabile], “Fine
al rito” [tempo di mezzo], and “Ah! bello a me ritorno” [cabaletta]) • Gaetano Donizetti, Lucia di Lammermoor (1835):
• Act III, Scene 2 (“Eccola!...Il dolce suono” [parlante], “Splendor le sacre faci” [cantabile], “S’avanza Enrico” [tempo di mezzo], and “Spargi d’amaro pianto” [cabaletta])
Reading:
• [source reading] Stendahl, Vie de Rossini (1824), translated by Richard N. Coe as Life of Rossini (Seattle: University of Washington Press, 1972), 361–76 (Chapter 35, “Madame Pasta”).
• [source reading] Edmond Michotte, Souvenirs: Une soirée chez Rossini à Beau-‐‑Séjours (ca. 1890, describing a meeting in 1858), translated in Edmond Michotte, Richard Wagner’s Visit to Rossini (Paris, 1860) and An Evening at Rossini’s in Beau-‐‑Sejour (Passy), 1858, trans. Herbert Weinstock (Chicago and London: University of Chicago Press, 1968), 102–20.
• [textbook] Taruskin, OHWM (vol. 3), 36–59. • [optional historical/analytical study] Mary Ann Smart, “The Silencing of Lucia,”
Cambridge Opera Journal 4 (1992): 119–41. • [optional historical/analytical study] Susan Rutherford, “‘La cantante delle
passioni’: Giuditta Pasta and the Idea of Operatic Performance,” Cambridge Opera Journal 19 (2007): 107–38.
Blake Howe / Music of the Romantic Era – Schedule & Assignments / 6
Romantic Interiority and the Musical Trance Listening:
• John Field, Nocturne No. 4 in A Major (1817) • Franz Schubert, Impromptu in E-‐‑flat Major, Op. 90, No. 2 [D. 899] (1827) • Franz Schubert, Moment musical in A-‐‑flat Major, Op. 94, No. 6 [D. 780] (ca. 1823-‐‑–
28) Reading:
• [source reading] Franz Liszt, Preface to John Field, 18 Nocturnes (1859), excerpted and translated in Piero Weiss and Richard Taruskin, eds., Music in the Western World: A History in Documents, 2nd ed. (Belmont, CA: Schirmer Cengage Learning, 2008), 311–13.
• [source reading] Wilhelm Wackenroder, “Das merkwürdige musikalische Leben des Tonkünstlers Joseph Berglinger” (1797), translated as “The Remarkable Musical Life of the Musician Joseph Berglinger” in Oliver Strunk, ed., Source Readings in Music History, revised edition, ed. Leo Treitler (New York and London: W. W. Norton, 1998), 1061-‐‑–72.
• [textbook] Taruskin, OHWM (vol. 3), 61–94. • [optional historical/analytical study] Nicholas Temperley, “John Field and the
First Nocturne,” Music & Letters 56 (1975): 335–40. • [optional historical/analytical study] Edward T. Cone, “Schubert’s Promissory
Note: An Exercise in Musical Hermeneutics,” in Schubert: Critical and Analytical Studies, ed. Walter Frisch (Lincoln and Nebraska: University of Nebraska Press), 13–30.
Blake Howe / Music of the Romantic Era – Schedule & Assignments / 7
Schubert and Subjectivity Listening:
• Franz Schubert, String Quintet in C Major [D. 956] (1828): • First movement, Allegro ma non troppo
• Franz Schubert, Piano Sonata in B-‐‑flat Major [D. 960] (1828): • First movement, Molto moderato
Reading:
• [source reading] Franz Schubert, notebook entries from 25 March 1824 to 29 March 1824, as translated in Otto Erich Deutsch, ed., Schubert: A Documentary Biography, trans. Eric Blom (London: J. M. Dent & Sons, 1946), 336–37.
• [source reading] Eduard von Bauernfeld, Josef Kenner, and Josef von Spaun, reminiscences of Schubert collected by biographer Ferdinand Luib (1857–58), as translated in Otto Erich Deutsch, ed., Schubert: Memoirs by His Friends, trans. Rosamond Ley and John Nowell (New York: Macmillan, 1958), 45–46, 81–82, and 125–44. [Note: You may also read an abridgement of Spaun’s reminiscence, as found in Piero Weiss and Richard Taruskin, eds., Music in the Western World: A History in Documents, 2nd ed. (Belmont, CA: Schirmer Cengage Learning, 2008), 287–89.]
• [source reading] Adolf Bernhard Marx, Die Lehre von der musikalischen Komposition, vol. 3 (1845), translated as The Theory of Musical Composition in Oliver Strunk, ed., Source Readings in Music History, revised edition, ed. Leo Treitler (New York and London: W. W. Norton, 1998), 1223–31.
• [textbook] Taruskin, OHWM (vol. 3), 94–118. • [optional historical/analytical study] Maynard Solomon, “Franz Schubert and the
Peacocks of Benvenuto Cellini,” 19th-‐‑Century Music 12 (1989): 193–206. • [optional historical/analytical study] Richard L. Cohn, “As Wonderful as Star
Clusters: Instruments for Gazing at Tonality in Schubert,” 19th-‐‑Century Music 22 (1999): 213–32.
Blake Howe / Music of the Romantic Era – Schedule & Assignments / 8
Volkstümlichkeit and Beyond Listening:
• Ludwig van Beethoven, An die ferne Geliebte, Op. 98 (1816) • Franz Schubert, “Nähe des Geliebten,” Op. 5, No. 2 [D. 162] (1815) • Franz Schubert, “Heidenröslein,” Op. 3, No. 3 [D. 257] (1815)
Reading:
• [source reading] Johann Abraham Peter Schulz, Preface to Lieder im Volkston, 2nd ed. (Songs in the Tone of the People, 1785), translated by David Gramit in Cultivating Music: The Aspirations, Interests, and Limits of German Musical Culture, 1770–1848 (Berkeley, Los Angeles, and London: University of California Press, 2002), 66–67.
• [source reading] Johann Gottfried Herder, Volkslieder, vol. 2 (Folksongs, 1778–79), excerpted and translated in Piero Weiss and Richard Taruskin, eds., Music in the Western World: A History in Documents, 2nd ed. (Belmont, CA: Schirmer Cengage Learning, 2008), 311–13.
• [source reading] Johann Wolfgang von Goethe, miscellaneous writings on music and song (1801–23), excerpted from Lorraine Byrne Bodley, Schubert’s Goethe Settings (Hampshire and Burlington: Ashgate, 2003), 3–24.
• [textbook] Taruskin, OHWM (vol. 3), 119–58. • [optional historical/analytical study] Joseph Kerman, “An die ferne Geliebte,” in
Write All These Down: Essays on Music (Berkeley and Los Angeles: University of California Press, 1994), 173–206.
• [optional historical/analytical study] Walter Frisch, “Schubert’s Nähe des Geliebten (D. 162): Transformation of the Volkston,” in Schubert: Critical and Analytical Studies, ed. Walter Frisch (Lincoln and Nebraska: University of Nebraska Press), 175–99.
Blake Howe / Music of the Romantic Era – Schedule & Assignments / 9
Mendelssohn’s Music of Nationhood Listening:
• Felix Mendelssohn, Symphony No. 5 in D Minor, Op. 107 [Reformation] (1830): • First movement, Andante–Allegro con fuoco • Fourth movement, Andante con moto–Allegro vivace
• Felix Mendelssohn, Paulus, Op. 36 (1834–36): • Overture, No. 1 (“Herr! Du bist der Gott”), and No. 2 (“Allein Gott in der
Hoh’ sei Ehr’”) • No. 35, Recitative (“Da das die Apostel hören”) and Chorus (“Aber unser
Gott ist im Himmel”) Reading:
• [source reading] Johann Christian Lobe, “Gespräche mit Mendelssohn,” §2 and §5 (1855), translated as “Conversations with Felix Mendelssohn” by Susan Gillespie in Mendelssohn and His World, ed. R. Larry Todd (Princeton: Princeton University Press, 1991), 191–94 and 199–203.
• [source reading] Felix Mendelssohn, Letter to Lea Salomon Mendelssohn [his mother] (19 July 1842), excerpted and translated in Piero Weiss and Richard Taruskin, eds., Music in the Western World: A History in Documents, 2nd ed. (Belmont, CA: Schirmer Cengage Learning, 2008), 315–17.
• [textbook] Taruskin, OHWM (vol. 3), 158–86. • [optional historical/analytical study] Glenn Stanley, “Bach’s Erbe: The Chorale in
the German Oratorio of the Early Nineteenth Century,” 19th-‐‑Century Music 11 (1987): 121–49.
• [optional historical/analytical study] Jeffrey S. Sposato, The Price of Assimilation: Felix Mendelssohn and the Nineteenth-‐‑Century Anti-‐‑Semitic Tradition (Oxford and New York: Oxford University Press, 2006), 78–113.
Blake Howe / Music of the Romantic Era – Schedule & Assignments / 10
Peasants and Politics in German and French Opera Listening:
• Carl Maria von Weber, Der Freischütz (1821): • Overture • Act II, Finale (“Milch des Mondes fiel auf’s Kraut…”)
• Daniel-‐‑François-‐‑Esprit Auber, La muette de Portici (1828): • Act V [complete]
• Giacomo Meyerbeer, Les Huguenots (1836): • Act II, Finale (“Oui, d’un heureux hymen préparé…”)
Reading:
• [source reading] Max Maria von Weber, Karl Maria von Weber: Ein Lebensbild (Carl Maria von Weber: A Biography, 1864–66), excerpted and translated in Piero Weiss, Opera: A History in Documents (Oxford and New York: Oxford University Press, 2002), 175–78.
• [source reading] Richard Wagner, “Erinnerungen an Auber” (“Reminsicences of Auber,” 1871), translated in Piero Weiss, Opera: A History in Documents (Oxford and New York: Oxford University Press, 2002), 179–81.
• [textbook] Taruskin, OHWM (vol. 3), 187–230. • [optional historical/analytical study] Stephen Meyer, Carl Maria von Weber and the
Search for a German Opera (Bloomington and Indianapolis: Indiana University Press, 2003), 76–115.
• [optional historical/analytical study] Jane Fulcher, The Nation’s Image: French Grand Opera as Politics and Politicized Art (Cambridge: Cambridge University Press, 1987), 11–46.
• [optional historical/analytical study] Mary Ann Smart, Mimomania: Music and Gesture in Nineteenth-‐‑Century Opera (Berkeley, Los Angeles, and New York: University of California Press, 2004), 32–68 (“Wagner’s Cancan, Fenella’s Leap”) or 101–31 (“‘Every word made flesh’: Les Huguenots and the Incarnation of the Invisible”).
Blake Howe / Music of the Romantic Era – Schedule & Assignments / 11
Glinka’s Synthesis Listening:
• Mikhail Ivanovich Glinka, Zhizn’ za tsarya (A Life for the Tsar, 1836): • Overture and Act I, Introduction – No. 1 (Chorus, “Rodina moya!
Russkaya zemlya”), No. 2 (Antonida’s cavatina, “Akh, ti, polye, polye ti moyo”), and No. 3 (Susanin and Chorus, “Chto gadat’ o svad’bye”)
• Act II, No. 7 (Mazurka and Finale, “Otkuda?”) • Epilogue (Vanya'ʹs lament, “Akh ne mne bednomu”; and choral
finale, “Slav’sya, slav’sya tï, nash Ruskiy Tsar’!”) • Mikhail Ivanovich Glinka, Ruslan i Lyudmila (Ruslan and Ludmila, 1837–42):
• Overture Reading:
• [source reading] Mikhail Ivanovich Glinka, Memoirs, trans. Richard B. Mudge (Norman: University of Oklahoma Press, 1963), 55–90.
• [source reading] Vladimir Fyodorovich Odoyevsky, Letter to Sever’naya pchela (7 December 1786), translated in Russians on Russian Music, 1830–1880: An Anthology, ed. and trans. Stuart Campbell (Cambridge: Cambridge University Press, 1994), 1–3.
• [textbook] Taruskin, OHWM (vol. 3), 230–50. • [optional historical/analytical study] Rutger Helmers, “‘It just reeks of
Italianism’: Traces of Italian Opera in A Life for the Tsar,” Music & Letters 91 (2010): 376–405.
• [optional historical/analytical study] Marina Frolova-‐‑Walker, Russian Music and Nationalism: From Glinka to Stalin (New Haven and London: Yale University Press, 2007), 74–139 (“Glinka’s Three Attempts at Russianness”).
• [optional historical/analytical study] Mary S. Woodside, “Leitmotiv in Russia: Glinka’s Use of the Whole-‐‑Tone Scale,” 19th-‐‑Century Music 14 (1990): 67–74.
Blake Howe / Music of the Romantic Era – Schedule & Assignments / 12
Virtuosity and the Romantic Concerto Listening: on Romantic virtuosity:
• Niccolò Paganini, Caprices, Op. 1 (1805–20): No. 24 in A Minor • Franz Liszt, Études d’exécution transcendante d’après Paganini [S. 140] (1838–40):
No. 6 in A Minor on the Romantic concerto:
• Ludwig van Beethoven, Piano Concerto No. 5 in E-‐‑flat Major, Op. 73 [Emperor] (1809–11)
• Felix Mendelssohn, Violin Concerto in E Minor, Op. 64 (1838–45) Reading:
• [source reading] Leigh Hunt, reports for The Tatler on Paganini (23 June 1831 and 25 June 1831), excerpted in Piero Weiss and Richard Taruskin, eds., Music in the Western World: A History in Documents, 2nd ed. (Belmont, CA: Schirmer Cengage Learning, 2008), 290–93.
• [source reading] “Franz Liszt in Wien” (“Franz Liszt in Vienna,” 1838), excerpted and translated in Piero Weiss and Richard Taruskin, eds., Music in the Western World: A History in Documents, 2nd ed. (Belmont, CA: Schirmer Cengage Learning, 2008), 308–10.
• [source reading] Johann Wolfgang von Goethe, “Die Metamorphose der Pflanzen” [poem] (1798), translated as “The Metamorphosis of Plants” in Goethe: Scientific Studies, trans. and ed. Douglas Miller (New York: Suhrkamp, 1988).
• [textbook] Taruskin, OHWM (vol. 3), 251–88. • [optional historical/analytical study] Dana Gooley, “The Battle against
Instrumental Virtuosity in the Early Nineteenth Century,” in Franz Liszt and His World, ed. Christopher H. Gibbs and Dana Gooley (Princeton and Oxford: Princeton University Press, 2006), 75–111.
• [optional historical/analytical study] John Neubauer, “Organicism and Music Theory,” in New Paths: Aspects of Music Theory and Aesthetics in the Age of Romanticism (Leuven: Leuven University Press, 2009), 11–33.
Blake Howe / Music of the Romantic Era – Schedule & Assignments / 13
Schumann: Miniatures, Fragments, and Ruins Listening:
• Fanny Hensel, Vier Lieder, Op. 8 (pub. 1850): • No. 3, “Lied (Lenau)”
• Robert Schumann, Phantasiestücke, Op. 12 (1837): • No. 3, “Warum?”
• Robert Schumann, Fantasie in C Major, Op. 17 (1836–39): • First movement, Durchaus fantastisch und leidenschaftlich vorzutragen–Im
Legenden-‐‑Ton • Robert Schumann, Dichterliebe, Op. 48 (1840):
• No. 12, “Am leuchtenden Sommermorgen” Reading:
• [source reading] Friedrich Schlegel and August Wilhelm Schlegel, selected fragments from Athenäum (1798–1800), translated in Friedrich Schlegel’s “Lucinde” and the Fragments, trans. Peter Firchow (Minneapolis: University of Minnesota Press, 1971), 164–65, 167, 170, 175–76, 184, and 189.
• [source reading] Robert Schumann, selected aphorisms from Meister Raro’s, Florestan’s und Eusebius’s Denk-‐‑ und Dicht-‐‑Büchlein (ca. 1833), excerpted from Robert Schumann, On Music and Musicians, ed. Konrad Wolff, trans. Paul Rosenfeld (New York: Pantheon Books, 1946), 38–51.
• [source reading] Robert Schumann, “Introductory” (1854) and “Florestan’s Shrove Tuesday Address Delivered after a Performance of Beethoven’s Last Symphony” (1835) from Davidsbündlerblätter in Oliver Strunk, ed., Source Readings in Music History, revised edition, ed. Leo Treitler (New York and London: W. W. Norton, 1998), 1142–43 and 1146–48.
• [textbook] Taruskin, OHWM (vol. 3), 289–318. • [optional historical/analytical study] Edward Lippmann, “Theory and Practice in
Schumann’s Aesthetics,” Journal of the American Musicological Society 17 (1964): 310–45.
• [optional historical/analytical study] John Daverio, “Schumann’s ‘Im Legendenton’ and Friedrich Schlegel’s Arabeske,” 19th-‐‑Century Music 11 (1987): 150–63.
• [optional historical/analytical study] Berthold Hoeckner, Programming the Absolute: Nineteenth-‐‑Century German Music and the Hermeneutics of the Moment (Princeton: Princeton University Press, 2002), 51–114 (“Schumann’s Distance”).
Blake Howe / Music of the Romantic Era – Schedule & Assignments / 14
Berlioz and the Enigmas of Musical Representation Listening:
• Ludwig van Beethoven, Symphony No. 6 in F Major, Op. 68 (1808): • Second movement, Andanto molto mosso (Szene am Bach)
• Felix Mendelssohn, Ein Sommernachtstraum (Overture in E Major), Op. 21 (1826) • Hector Berlioz, Symphonie fantastique: Épisode de la vie d’un Artiste…en cinq parties,
Op. 14 (1830): • Fifth movement, Songe d’une Nuit du Sabbat: Larghetto–Allegro
• Hector Berlioz, Harold en Italie: Symphonie en quatre parties avec un alto principal, Op. 16 (1834):
• Fourth movement, Orgie de brigands: Allegro freneti Reading:
• [source reading] Hector Berlioz, De l’Imitation musicale (1837), translated as “On Imitation in Music” by Jacques Barzun (modified by Edward T. Cone), in Cone, Berlioz: Fantastic Symphony (New York and London: W. W. Norton, 1971), 36–46.
• [source reading] Felix Mendelssohn, Letter to Lea Salomon Mendelssohn [his mother] (15 March 1831), excerpted in Edward T. Cone, Berlioz: Fantastic Symphony (New York and London: W. W. Norton, 1971), 281–82.
• [source reading] Felix Mendelssohn, Letter Marc-‐‑André Souchay (12 October 1842), excerpted and translated in Oliver Strunk, ed., Source Readings in Music History, revised edition, ed. Leo Treitler (New York and London: W. W. Norton, 1998), 1201.
• [textbook] Taruskin, OHWM (vol. 3), 318–41. • [optional historical/analytical study] Francesca Brittan, “Berlioz and the
Pathological Fantastic: Melancholy, Monomania, and Romantic Autobiography,” 19th-‐‑Century Music 29 (2006): 211–39.
• [optional historical/analytical study] Mark Evan Bonds, After Beethoven: Imperatives of Originality in the Symphony (Cambridge, MA, and London: Harvard University Press, 1996), 28–72 (“Sinfonia anti-‐‑eroica: Berlioz’s Harold en Italie”).
Blake Howe / Music of the Romantic Era – Schedule & Assignments / 15
Chopin: Nationalism and Pathology at the Keyboard Listening:
• Frédéric Chopin, Preludes, Op. 28 (1838–39) • No. 1 in C Major • No. 2 in A Minor • No. 4 in E Minor
• Frédéric Chopin, Mazurka in A Minor, Op. 17, No. 4 (1833) • Frédéric Chopin, Ballade No. 1 in G Minor, Op. 23 (1835–36)
Reading:
• [source reading] Robert Schumann, “An Opus Two” (1831) from Davidsbündlerblätter in Oliver Strunk, ed., Source Readings in Music History, revised edition, ed. Leo Treitler (New York and London: W. W. Norton, 1998), 1144–45.
• [source reading] François-‐‑Joseph Fétis, “Concert de M. Chopin de Varsovic” (1832), translated as “The Concert of Monsieur Chopin from Warsaw” in Oliver Strunk, ed., Source Readings in Music History, revised edition, ed. Leo Treitler (New York and London: W. W. Norton, 1998), 1123–25.
• [source reading] Robert Schumann, “Phantasieen, Capricen etc. für Pianoforte” [review of miscellaneous works, including Chopin’s Op. 28] (1839), excerpted and translated in Thomas Higgins, Frédéric Chopin: Preludes, Opus 28 (New York: W. W. Norton, 1973), 91.
• [source reading] George Sand, Histoire de ma vie (Story of My Life, 1855), excerpted and translated in Thomas Higgins, Frédéric Chopin: Preludes, Opus 28 (New York: W. W. Norton, 1973), 94-‐‑95.
• [textbook] Taruskin, OHWM (vol. 3), 343–76. • [optional historical/analytical study] Karol Berger, “Chopin’s Ballade, Op. 23, and
the Revolution of the Intellectuals,” in Chopin Studies 2, ed. John Rink and Jim Samson (Cambridge: Cambridge University Press, 1994), 72–83.
• [optional historical/analytical study] Jeffrey Kallberg, Chopin at the Boundaries: Sex, History, and Musical Genre (Cambridge, MA, and London: Harvard University Press, 1996), 135–58 (“Small ‘Forms’: In Defense of the Prelude”).
Blake Howe / Music of the Romantic Era – Schedule & Assignments / 16
Some Musical Others: Exoticism and Orientalism Listening:
• Louis Moreau Gottschalk, Bamboula: Danse des négres, Op. 2 (1844–46) • Georges Bizet, Carmen (1875):
• Act I, No. 5 (Habanera: “L’amour est un oiseau rebelle”) • Camille Saint-‐‑Saëns, Samson et Dalila (1877):
• Act III, Scene 2 (Bacchanale) • Alexander Borodin, Prince Igor (1869–90)
• Act II, No. 17 (Polovtsian Dances, “Uletay na krï’yakh vetra”) Reading:
• [source reading] Louis Moreau Gottschalk, Notes of a Pianist: The Chronicles of a New Orleans Music Legend, ed. Jeanne Behrend (Princeton and Oxford: Princeton University Press, 2006), 34–36 and 44–50.
• [source reading] Victor Hugo, “La captive,” from Les orientales (Orientalia, 1829), translated as “The Captive” in Hugo, Selected Poetry in French and English, trans. Steven Monte (New York: Routledge, 2002), 4–9.
• [source reading] Semyon Nikolayevich Kruglikov, excerpts from a review of the first two symphonic assemblies of the Russian Musical Society (1889), translated in Stuart Campbell, Russians on Russian Music, 1880–1917: An Anthology (Cambridge: Cambridge University Press, 2003), 97–124.
• [source reading] miscellaneous reviews of the premiere of Bizet’s Carmen, excerpted and translated in Mina Curtiss, Bizet and His World (Westport, CT: Greenwood Press, 1977).
• [textbook] Taruskin, OHWM (vol. 3), 377–410. • [optional historical/analytical study] Susan McClary, Georges Bizet: “Carmen”
(Cambridge: Cambridge University Press, 1992), 29–43 (“Images of Race, Class, and Gender in Nineteenth-‐‑Century French Culture”) and 111–29 (“The Reception of Carmen”).
• [optional historical/analytical study] Ralph P. Locke, “Cutthroats and Casbah Dancers, Muezzins and Timeless Sands: Musical Images of the Middle East,” 19th-‐‑Century Music 22 (1998): 20–53.
Blake Howe / Music of the Romantic Era – Schedule & Assignments / 17
Lisztian Transformations Listening:
• Ludwig van Beethoven, String Quartet No. 16 in F Major, Op. 135 (1826): • Fourth movement, Der schwer gefaßte Entschluß: Grave, ma non troppo
tratto (Muss es sein?)–Allegro (Es muss sein!) • Franz Liszt, Les préludes [S. 97] (1849–55) • Franz Liszt, Piano Sonata in B Minor [S. 178] (1854)
Reading:
• [source reading] Eduard Hanslick, Vom musikalisch-‐‑Schönen (On the Musically Beautiful, 1854), excerpted and translated in Oliver Strunk, ed., Source Readings in Music History, revised edition, ed. Leo Treitler (New York and London: W. W. Norton, 1998), 1202–11.
• [source reading] Robert Schumann, Felix Mendelssohn, Franz Liszt, Franz Brendel, and Johannes Brahms, remarks concerning (or leading up to) the Zukunftsmusik controversy (1835–59), excerpted and translated in Piero Weiss and Richard Taruskin, eds., Music in the Western World: A History in Documents, 2nd ed. (Belmont, CA: Schirmer Cengage Learning, 2008), 324–29.
• [textbook] Taruskin, OHWM (vol. 3), 411–42. • [optional source reading] Franz Liszt and Carolyne von Sayn-‐‑Wittgenstein,
“Berlioz und seine Haroldsymphonie,” excerpted and translated as “Berlioz and His ‘Harold’ Symphony,” in Oliver Strunk, ed., Source Readings in Music History, revised edition, ed. Leo Treitler (New York and London: W. W. Norton, 1998), 1158–74.
• [optional historical/analytical study] Andrew Bonner, “Liszt’s Les préludes and Les quatre élémens: A Reinvestigation,” 19th-‐‑Century Music 10 (1986): 95–107.
• [optional historical/analytical study] Alan Walker, Reflections on Liszt (Ithaca: Cornell University Press, 2005), 128–49.
Blake Howe / Music of the Romantic Era – Schedule & Assignments / 18
Slavs as Subjects and Citizens Listening:
• Bedřich Smetana, Má vlast (1872–79) • No. 2, Vltava [T. 111] (1874)
• Miliy Balakirev, Rus’ [Overture on Russian Themes, No. 2] (1863–64, rev. 1884) Reading:
• [source reading] Václav Juda Novotný, reminiscence on Smetana’s first trip to Liszt in Weimar (1857), excerpted and translated in František Bartoš, ed., Bedřich Smetana: Letters and Reminiscences, trans. Daphne Rusbridge (Prague: Artia, 1955), 45–47.
• [source reading] Bedřich Smetana, Letter to Franz Liszt (24 October 1858), excerpted and translated in František Bartoš, ed., Bedřich Smetana: Letters and Reminiscences, trans. Daphne Rusbridge (Prague: Artia, 1955), 47-‐‑–51.
• [source reading] Vladimir Stasov, “Nasha muzïka za posledniye 25 let” (“Our Music during the Last Twenty-‐‑Five Years,” 1883), translated in Stasov, Selected Essays on Music, trans. Florence Jonas (New York and Washington: Frederick A. Praeger, 1968), 66–75.
• [textbook] Taruskin, OHWM (vol. 3), 443–78. • [optional historical/analytical study] Michael Beckerman, “In Search of
Czechness in Music,” 19th-‐‑Century Music 10 (1986): 61–73. • [optional historical/analytical study] Marina Frolova-‐‑Walker, Russian Music and
Nationalism: From Glinka to Stalin (New Haven and London: Yale University Press, 2007), 29–42 and 140–225.
Blake Howe / Music of the Romantic Era – Schedule & Assignments / 19
Deeds of Music Made Visible: Wagner and the Ring Listening:
• Richard Wagner, Götterdämmerung (1874), from Der Ring des Nibelungen (1853–74):
• Prologue [complete] • Act I, Scene 1 [complete]
Reading:
• [source reading] Richard Wagner, “Eine Mittheilung an meiner Freunde” (“A Communication to My Friends,” 1851), excerpted and translated in Piero Weiss, Opera: A History in Documents (Oxford and New York: Oxford University Press, 2002), 196–201.
• [source reading] Richard Wagner, Das Kunstwerk der Zukunft (The Artwork of the Future, 1849), excerpted and translated in Piero Weiss, Opera: A History in Documents (Oxford and New York: Oxford University Press, 2002), 201–211.
• [textbook] Taruskin, OHWM (vol. 3), 479–520. • [optional historical/analytical study] Thomas S. Grey, Wagner’s Musical Prose:
Texts and Contexts (Cambridge: Cambridge University Press, 1995), 305–74 (“Motives and Motivations: Leitmotif and ‘Symphonic’ Drama”).
• [optional historical/analytical study] Carolyn Abbate, “Opera as Symphony, a Wagnerian Myth,” in Analyzing Opera: Verdi and Wagner, ed. Carolyn Abbate and Roger Parker (Berkeley, Los Angeles, and London: University of California Press, 1989), 92–124.
Blake Howe / Music of the Romantic Era – Schedule & Assignments / 20
Chromatic Lovedeaths Listening:
• Richard Wagner, Tristan und Isolde (1857–59): • Prelude • Act II, Scene 2 (“Isolde! Geliebte!” until entrance of Marke) • Act III, Scene 3 (from Isoldes Liebestod, “Mild und leise wie er lachelt…”)
• Hugo Wolf, “Bedeckt mich mit Blumen,” from the Spanisches Liederbuch (1891) Reading:
• [source reading] program notes to Tristan und Isolde (1860 and 1863), translated in “The Complete Program Notes of Richard Wagner,” trans. Thomas S. Grey, in Richard Wagner and His World, ed. Thomas S. Grey (Princeton and Oxford: Princeton University Press, 2009), 505–07.
• [source reading] Friedrich Nietzsche, Der Fall Wagner (The Case of Wagner, 1888), excerpted and translated in Piero Weiss, Opera: A History in Documents (Oxford and New York: Oxford University Press, 2002), 223–30.
• [textbook] Taruskin, OHWM (vol. 3), 520–62. • [optional historical/analytical study] Carolyn Abbate, “Wagner, ‘On
Modulation,’ and Tristan,” Cambridge Opera Journal 1 (1989): 33–58. • [optional historical/analytical study] Raymond Knapp, “‘Selbst dann bin ich die
Welt’: On the Subjective–Musical Basis of Wagner’s Gesamtkunstwelt,” 19th-‐‑Century Music 29 (2005): 142–60.
• [optional historical/analytical study] Laurence Dreyfus, Wagner and the Erotic Impulse (Cambridge, MA: Harvard University Press, 2010), 40–72 and 99–112 (and music examples, pp. 234–41).
Blake Howe / Music of the Romantic Era – Schedule & Assignments / 21
Artist, Politician, Farmer: Verdi and the Italian Tradition Listening:
• Giuseppe Verdi, Nabucco (1842): • Act III, Scene 2 (Chorus, “Va, pensiero”)
• Giuseppe Verdi, Rigoletto (1851): • Act III [complete]
Reading:
• [source reading] Arthur Pougin, Giuseppe Verdi: Vita aneddotica, with additions by “Folchetto” (1881), excerpted and translated in Piero Weiss, Opera: A History in Documents (Oxford and New York: Oxford University Press, 2002), 185–89.
• [source reading] Abramo Basevi, Studio sulle opera di Giuseppe Verdi (1859), excerpted and translated in Piero Weiss, Opera: A History in Documents (Oxford and New York: Oxford University Press, 2002), 189–96.
• [textbook] Taruskin, OHWM (vol. 3), 563–94. • [optional historical/analytical study] Roger Parker, Leonora’s Last Act: Essays in
Verdian Discourse (Princeton: Princeton University Press, 1997), 20–41 (“‘Va pensiero’ and the Insidious Mastery of Song”).
• [optional historical/analytical study] Piero Weiss, “Verdi and the Fusion of Genres,” Journal of the American Musicological Society 35 (1983): 138–56.
• [optional historical/analytical study] David R. B. Kimbell, Verdi in the Age of Italian Romanticism (Cambridge: Cambridge University Press, 1981), 3–61.
Blake Howe / Music of the Romantic Era – Schedule & Assignments / 22
Late Verdi, via Rossini and Wagner Listening:
• Giacomo Rossini, Otello, ossia Il moro di Venezia (1816) • Act III, Scenes 1 and 2 (Desdemona, Emilia, and the Gondolier)
• Giuseppe Verdi, Otello (1887) • Act IV [complete]
Reading:
• [source reading] Giuseppe Verdi, Letter to Antonio Somma (22 April 1853), translated in Verdi: The Man in His Letters, ed. Franz Werfel and Paul Stefan, trans. Edward Downes (New York: Vienna, 1973), 174–76.
• [source reading] documents (letters, production book) on the creation of Otello by Giuseppe Verdi, Arrigo Boito, Domenico Morelli, and Giulio Ricordi, excerpted and translated in Piero Weiss, Opera: A History in Documents (Oxford and New York: Oxford University Press, 2002), 230–43.
• [source reading] Ugo Pesci, “Le prove dell’ Otello” (1887), translated as “Rehearsals for Otello” in Marcello Conati, Interviews and Encounters with Verdi, trans. Richard Stokes (London: Victor Gollancz, 1984), 184–87.
• [textbook] Taruskin, OHWM (vol. 3), 594–615. • [optional historical/analytical study] Doug Coe, “The Original Production Book
for Otello: An Introduction,” 19th-‐‑Century Music 2 (1978): 148–58. • [optional historical/analytical study] Joseph Kerman, Opera as Drama, rev. ed.
(Berkeley and Los Angeles: University of California Press, 1988), 109–39 (“Verdi’s Otello: Traditional Opera and the Image of Shakespeare”).
• [optional historical/analytical study] James Hepokoski, Giuseppe Verdi: “Otello” (Cambridge: Cambridge University Press, 1987), 21–47 (“Creating the Libretto: Verdi and Boito in Collaboration”) and 48–76 (“The Composition of the Opera”).
Blake Howe / Music of the Romantic Era – Schedule & Assignments / 23
Realists Listening:
• Modest Musorgsky, Boris Godunov (1869, rev. 1872): • Part I, Scene 2 (Coronation Scene, “Da zdravstvuyet tsar’ Boris
Feodorovich!”) • Pietro Mascagni, Cavalleria rusticana (1890):
• Scenes 10–12 (Alfio, “A voi tutti salute!”) Reading:
• [source reading] Nikolai G. Chernyshevsky, Esteticheskiye otnosheniya iskusstva k deistvitel’nosti (1855), translated as The Aesthetic Relation of Art to Reality in translated in Chernyshevsky, Selected Philosophical Essays (Moscow: Foreign Languages Publishing House, 1953), 380–81.
• [source reading] Modest Musorgsky, statements on realism in miscellaneous letters and the autobiographical sketch, excerpted and translated in Piero Weiss and Richard Taruskin, eds., Music in the Western World: A History in Documents, 2nd ed. (Belmont, CA: Schirmer Cengage Learning, 2008), 336–38.
• [source reading] Giovanni Verga, Cavalleria rusticana (short story, 1880), translated by D. H. Lawrence as Rustic Chivalery, and reprinted in Piero Weiss, Opera: A History in Documents (Oxford and New York: Oxford University Press, 2002), 246–51.
• [textbook] Taruskin, OHWM (vol. 3), 617–74 (skim pp. 639–58). • [optional historical/analytical study] Richard Taruskin, “Realism as Preached
and Practiced: The Russian Opéra dialogue,” The Musical Quarterly 56 (1970): 431–54.
• [optional historical/analytical study] Andreas Giger, “Verismo: Origin, Corruption, and Redemption of an Operatic Term,” Journal of the American Musicological Society 60 (2007): 271–315.
Blake Howe / Music of the Romantic Era – Schedule & Assignments / 24
From the Shadows of Beethoven, the Return of the Symphony Listening:
• Robert Schumann, Symphony No. 4 in D Minor, Op. 120 (1841, rev. 1851): • First movement, Ziemlich langsam–Lebhaft
• Johannes Brahms, Piano Concerto No. 1 in D Minor, Op. 15 (1858) • First movement, Maestoso
• Johannes Brahms, Symphony No. 1 in C Minor, Op. 68 (1855–76) • First movement, Un poco sostenuto–Allegro–Meno allegro
Reading:
• [source reading] Robert Schumann, “Neue Bahnen” (“New Paths,” 1853) from Davidsbündlerblätter in Oliver Strunk, ed., Source Readings in Music History, revised edition, ed. Leo Treitler (New York and London: W. W. Norton, 1998), 1157–58.
• [source reading] Eduard Hanslick, review of Brahms’s Symphony No. 1 (1876), excerpted and translated in Piero Weiss and Richard Taruskin, eds., Music in the Western World: A History in Documents, 2nd ed. (Belmont, CA: Schirmer Cengage Learning, 2008), 343–45.
• [source reading] reviews in New York World and Dwight’s Journal of Music of Brahms’s Symphony No. 1 (1877–78), excerpted in George S. Bozarth, ed., “‘A Modern of the Moderns’: Brahms’s First Symphony in New York and Boston,” in Walter Frisch and Kevin C. Karnes, eds., Brahms and His World, rev. ed. (Princeton and Oxford: Princeton University Press, 2009), 287–93.
• [textbook] Taruskin, OHWM (vol. 3), 675–729. • [optional historical/analytical study] Mark Evan Bonds, After Beethoven:
Imperatives of Originality in the Symphony (Cambridge, MA, and London: Harvard University Press, 1996), 109–137 (“Going to Extremes: Schumann’s Fourth Symphony”) and 138–174 (“The Ideology of Genre: Brahms’s First Symphony”).
• [optional historical/analytical study] J. Peter Burkholder, “Brahms and Twentieth-‐‑Century Classical Music,” 19th-‐‑Century Music 8 (1984): 75–83.
Blake Howe / Music of the Romantic Era – Schedule & Assignments / 25
Intricate Designs: Thematische Arbeit in Chamber Music Listening:
• Johannes Brahms, Piano Quintet in F Minor, Op. 34 (1864): • Fourth movement, Finale: Poco sostenuto–Allegro non troppo–Presto, non
troppo • Amy Beach, Piano Quintet in F-‐‑sharp Minor, Op. 67 (1907)
Reading:
• [source reading] George Henschel, diary entry of 27 February 1876, translated in Henschel, Personal Recollections of Johannes Brahms (Boston: Richard G. Badger, 1907), 22–23.
• [source reading] Gustav Jenner, Johannes Brahms als Mensch, Lehrer und Künstler (1905), translated as Johannes Brahms as Man, Teacher, and Artist by Susan Gillespie and Elisabeth Kaestner, with annotations by Leon Botstein and Kevin C. Karnes, in Brahms and His World, rev. ed. (Princeton and Oxford: Princeton University Press, 2009), 384–87.
• [source reading] descriptions of Amy Beach and her music room, excerpted in Jeanell Wise Brown, Amy Beach and Her Chamber Music: Biography, Documents, Style (Metuchen, NJ: Scarecrow Press, 1994), 29–32.
• [textbook] Taruskin, OHWM (vol. 3), 703–43. • [optional historical/analytical study] Arnold Schoenberg, “Brahms the
Progressive” (1947), reprinted in Style and Idea: Selected Writings of Arnold Schoenberg, ed. Leonard Stein, trans. Leo Black (Berkeley and Los Angeles: University of California Press, 1975), 398–441.
• [optional historical/analytical study] Walter Frisch, Brahms and the Principle of Developing Variation (Berkeley, Los Angeles, and London: University of California Press, 1984), 1–34.
Blake Howe / Music of the Romantic Era – Schedule & Assignments / 26
Cyclical Strategies Listening:
• Anton Bruckner, Symphony No. 7 in E Major (1881–83, rev. 1885) • Second movement, Adagio: Sehr feierlich und sehr langsam
• César Franck, Symphony in D Minor (1888) • First movement, Lento – Allegro ma non troppo
• Camille Saint-‐‑Saëns, Symphony No. 3 in C Minor [“Organ”] (1886) • Second movement, Allegro moderato
Reading:
• [source reading] Hugo Wolf, reviews of Anton Bruckner’s Symphony No. 1 (28 December 1884) and Symphony No. 7 (28 March 1886), translated in The Music Criticism of Hugo Wolf, ed. Henry Pleasants (New York and London: Holmes & Meier), 98–100.
• [source reading] Eduard Hanslick, review of Bruckner’s Symphony No. 8 in C Minor (1892), translated in Hanslick’s Music Criticisms, trans. and ed. Henry Pleasants (New York: Dover, 1950), 288–90.
• [source reading] Vincent D’Indy, Cours de composition musicale (1903–05), excerpted and translated in Andrew Thomson, Vincent D’Indy and His World (Oxford: Clarendon Press, 1996), 91–92.
• [source reading] Camille Saint-‐‑Saëns, programmatic notes on the Symphony No. 3 in C Minor [“Analytical and Historical Programme for His New Symphony in C Minor and Major,” 1885], ed. and trans. Joseph Bennett, in Camille Saint-‐‑Saëns and His World, ed. Jann Pasler (Princeton and Oxford: Princeton University Press, 2012), 167–71.
• [textbook] Taruskin, OHWM (vol. 3), 745–51 and 774–86. • [optional historical/analytical study] Andrew Thomson, Vincent D’Indy and His
World (Oxford: Clarendon Press, 1996), 77–95 (“Dogma and Symbolism”). • [optional historical/analytical study] Daniel Fallon, “Saint-‐‑Saëns and the Concours
de composition musicale in Bordeaux,” Journal of the American Musicological Society 31 (1978): 309–25.
• [optional historical/analytical study] Benjamin M. Korstvedt, “Between Formlessness and Formality: Aspects of Bruckner’s Approach to Symphonic Form,” in The Cambridge Companion to Bruckner, ed. John Williamson (Cambridge: Cambridge University Press, 2004), 170–89.
Blake Howe / Music of the Romantic Era – Schedule & Assignments / 27
Recovering the Past: New Worlds from Old Ones Listening:
• Antonín Dvořák, Symphony No. 9 in E Minor [“From the New World”] (1893) • Second movement, Largo • Third movement, Scherzo: Molto vivace – Poco sostenuto
• Amy Beach, Symphony in E Minor, Op. 32 [“Gaelic”] (1896) • Fourth movement, Allegro di molto
Reading:
• [source reading] James Creelman, “Real Value of Negro Melodies: Dr. Dvořák Finds in Them the Basis for an American School of Music…” (1893), excerpted in Judith Tick, ed., Music in the USA: A Documentary Companion (Oxford and New York: Oxford University Press, 2008), 308–12.
• [source reading] Amy Beach, response to Antonín Dvořák in the Boston Herald (28 May 1893), p. 23.
• [source reading] Amy Beach, analysis draft of her Symphony in E Minor [Gaelic], as transcribed in Walter S. Jenkins, The Remarkable Mrs. Beach, American Composer 173–76.
• [textbook] Taruskin, OHWM (vol. 3), 751–73. • [optional historical/analytical study] Michael Beckerman, “Dvořák’s ‘New
World’ Largo and The Song of Hiawatha,” 19th-‐‑Century Music 16 (1992–93): 35–48. • [optional historical/analytical study] Adrienne Fried Block, “Dvořák, Beach, and
American Music,” in A Celebration of American Music: Words and Music in Honor of H. Wiley Hitchcock, ed. Richard Crawford, R. Allen Lott, and Carol J. Oja (Ann Arbor: University of Michigan Press, 1990), 256–80.
Blake Howe / Music of the Romantic Era – Schedule & Assignments / 28
The Symphony as Self-‐‑Expression (or Not) Listening:
• Pyotr Ilyich Chaikovsky, Symphony No. 4 in F Minor, Op. 36 (1877–78) • First movement, Andante sostenuto
• Pyotr Ilyich Chaikovsky, Symphony No. 6 in B Minor, Op. 74 [Pathétique] (1893) • Third movement, Presto: Allegro molto vivace • Fourth movement, Finale: Adagio lamentoso – Andante
Reading:
• [source reading] Pyotr Ilyich Chaikovsky, Letter to Nadezhda Filaretovna von Meck (17 February 1878), excerpted and translated in Piero Weiss and Richard Taruskin, eds., Music in the Western World: A History in Documents, 2nd ed. (Belmont, CA: Schirmer Cengage Learning, 2008), 337–42.
• [source reading] G. A. Laroche and E. K. Rozenov, reviews of concerts featuring Chaikovsky’s Symphony No. 6 (1893–96), in Stuart Campbell, Russians on Russian Music, 1880–1917: An Anthology (Cambridge: Cambridge University Press, 2003), 38–41.
• [source reading] Eduard Hanslick, review of Chaikovsky’s Symphony No. 6 (1895), translated in Hanslick’s Music Criticisms, trans. and ed. Henry Pleasants (New York: Dover, 1950), 302–03.
• [textbook] Taruskin, OHWM (vol. 3), 786–801. • [optional source reading] “Tchaikovsky, Psychology, and Nationality: A View
from the Archives,” 19th-‐‑Century Music 35 (2011): 144–61. • [optional historical/analytical study] Richard Taruskin, Defining Russia Musically:
Historical and Hermeneutical Essays (Princeton and Oxford: Princeton University Press, 1997), 239–307 (“Chaikovsky the Human”).
Blake Howe / Music of the Romantic Era – Schedule & Assignments / 29
National Music, for International Audiences: Some Miniatures Listening:
• Johannes Brahms, Deutsche Volkslieder, vol. 1 (1893–94) • No. 6, “Da unten im Tale” [arranged from Zuccalmaglio'ʹs Deutsche
Volkslieder (1840)] • Antonín Dvořák, Slovanské tance, Op. 46 (1878)
• No. 1, in C Major (furiant) [piano duet and orchestral arrangement] • Enrique Granados, 12 Danzas españolas (1888–90)
• No. 6, “Rondalla aragonesa” • Edward MacDowell, Woodland Sketches, Op. 51 (1896)
• No. 5, “From an Indian Lodge” • Edvard Grieg, Slåtter, Op. 72 (1902–03)
• No. 4, “Haugelåt: Halling” Reading:
• [source reading] Edvard Grieg, Letter to Henry T. Finck (17 July 1900), translated in Edvard Grieg: Letters to Colleagues and Friends, ed. Finn Benestad, trans. William H. Halverson (Columbus: Peer Gynt Press, 2000), 225–39.
• [source reading] Paul L. Rosenfeld, “The American Composer” (1916), excerpted in Judith Tick, ed., Music in the USA: A Documentary Companion (Oxford and New York: Oxford University Press, 2008), 336–40.
• [source reading] Jean Sibelius, “Kansanmusiikin vaikutuksetsa taidemusiikkiin” (1896), translated in “Some Viewpoints Concerning Folk Music and Its Influence on the Musical Arts,” trans. Margareta Martin, in Jean Sibelius and His World, ed. Daniel M. Grimley (Princeton: Princeton University Press, 2011), 315–25.
• [textbook] Taruskin, OHWM (vol. 3), 801–24. • [optional historical/analytical study] Daniel M. Grimley, Grieg: Music, Landscape,
and Norwegian Identity (Woodbridge: Boydell, 2006), 147–91 (“Modernism and Norwegian Musical Style: The Politics of Identity in the Slåtter, Op. 72”).
• [optional historical/analytical study] Michael V. Pisani, Imagining Native America in Music (New Haven and London: Yale University Press, 2005), 182–210 (“The Nationalism Controversy: Quotation or Intonation?”).
Blake Howe / Music of the Romantic Era – Schedule & Assignments / 30
Transcendence Listening:
• Gustav Mahler, Lieder eines fahrenden Gesellen (1883–85, rev. 1891–96) • No. 2, “Ging heut’ morgen übers Feld”
• Gustav Mahler, Symphony No. 1 in D Major [“Titan”] (1889, rev. 1896–98) • First movement, Langsam, schleppend -‐‑– Immer sehr gemächlich
• Richard Strauss, Tod und Verklärung, Op. 24 (1889) • Alexander Ritter, programmatic poem to Tod und Verklärung (1889)
Reading:
• [source reading] Theodor Helm, review of the Mahler’s Symphony No. 1 (1900), excerpted in Mahler and His World, ed. Karen Painter (Princeton and Oxford: Princeton University Press, 2002), 290–94.
• [source reading] Gustav Mahler, Letter to Max Marschalk (26 March 1896), excerpted and translated in Piero Weiss and Richard Taruskin, eds., Music in the Western World: A History in Documents, 2nd ed. (Belmont, CA: Schirmer Cengage Learning, 2008), 351–52.
• [source reading] Jean Sibelius’s reminiscence of Mahler, recorded in Karl Ekman, Sibelius (1935), excerpted and translated in Henry-‐‑Louis de La Grange, Gustav Mahler, vol. 3, Vienna: Triumph and Disillusion, 1904–1907 (Oxford and New York: Oxford University Press, 1999), 753.
• [source reading] Rudolf Louis, Die deutsche Musik der Gegenwart (rev. 1912), excerpted and translated as “On the Tone Poems of Richard Strauss,” trans. Susan Gillespie, in Richard Strauss and His World, ed. Bryan Gilliam (Princeton: Princeton University Press, 1992), 305–10.
• [source reading] Eduard Hanslick, review of Richard Strauss, Tod und Verklärung (1893), translated in Hanslick’s Music Criticisms, trans. and ed. Henry Pleasants (New York: Dover, 1950), 293–95.
• [textbook] Taruskin, OHWM (vol. 4), 1–29. • [optional historical/analytical study] Raymond Knapp, Symphonic Metamorphoses:
Subjectivity and Alienation in Mahler’s Re-‐‑Cycled Songs (Middletown, CT: Wesleyan University Press, 2003), 1–12 (“Songs into Symphonies: Problems and Rationales”) and 151–93 (“Subjectivity and Selfhood: Lieder eines fahrenden Gesellen and the First Symphony”).
• [optional historical/analytical study] Charles D. Youmans, “The Development of Richard Strauss’s Worldview,” in The Richard Strauss Companion, ed. Mark-‐‑Daniel Schmid (Westport, CT: Praeger, 2003), 63–100.