Nineteenth-Century Music Review最新文献_第8页

Clara Schumann, Drei Romanzen für Violine und Klavier, Three Romances for Violin and Piano, Op. 22, ed. Jacqueline Ross (Basel: Bärenreiter-Verlag, 2021), ix + 27 pp. € 19.95. 克拉拉·舒曼，《小提琴与钢琴三首浪漫曲》，作品22，杰奎琳·罗斯主编（巴塞尔：Bärenreiter Verlag，2021），ix ch27页，19.95欧元。

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2022-09-27 DOI: 10.1017/s1479409822000301

J. Davies

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Music-Making as Witness in the Mexican–American War: Testimony, Embodiment and Trauma 美墨战争中的音乐创作见证:见证、体现与创伤

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2022-09-26 DOI: 10.1017/S1479409822000246

Elizabeth Morgan

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Digital Sources for Nineteenth Century Music in Spain: The Digitization Project of the National Library in Context 19世纪西班牙音乐的数字资源:背景下国家图书馆的数字化项目

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2022-09-26 DOI: 10.1017/S1479409822000155

Teresa Cascudo García-Villaraco, Gorka Rubiales Zabarte

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Russell Stinson, Bach's Legacy: The Music as Heard by Later Masters (New York: Oxford University Press, 2020). 177 pp. £22.99 罗素·斯廷森，巴赫的遗产:音乐作为听到后来的大师(纽约:牛津大学出版社，2020年)。177页，22.99英镑

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2022-09-16 DOI: 10.1017/s1479409822000362

J. Garratt

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Lysistrata in Kleindeutschland: The German-American Reception of Schubert's Die Verschworenen (D. 787) 克莱因德施兰的利西斯特拉塔：德美接受舒伯特的《死亡》（D.787）

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2022-09-08 DOI: 10.1017/s1479409822000283

Evan A. MacCarthy

{"title":"Lysistrata in Kleindeutschland: The German-American Reception of Schubert's Die Verschworenen (D. 787)","authors":"Evan A. MacCarthy","doi":"10.1017/s1479409822000283","DOIUrl":"https://doi.org/10.1017/s1479409822000283","url":null,"abstract":"Franz Schubert's final attempt at a Singspiel was Die Verschworenen (The Conspirators, D. 787), a loose adaptation of three comedies by Aristophanes: Lysistrata, Ecclesiazusae (Assemblywomen) and Thesmophoriazusae (Women at the Thesmophoria). Composed in 1823, but not premiered until 1861 (in Vienna), the work was successfully revived for its United States premiere 18 months later, in Hoboken, New Jersey, for a thriving German-American cultural community at the time of the American Civil War. The historical conditions of early performances in Hoboken and the Kleindeutschland neighbourhood of Manhattan, and the reasons for the work's programming by its conductor, Friedrich Adolf Sorge, a prominent German-American political and labour leader who wanted the arts to ‘shake up the people’, are addressed. Schubert's Singspiel had several layers of meaning for its audiences of mostly German immigrants living in the New York City area: as an adaptation of Aristophanes’s Lysistrata, set in the Crusades, it was a comic plea for peace both in the early years of the Civil War and amid the violent political strife on the path toward German unification. Its use of parts of Aristophanes’s Ecclesiazusae suggested relevance to labour disputes that Sorge had been involved in since the 1850s and would eventually lead himself after establishing the New York Section of the International Workingmen's Association. In this context, Schubert's work becomes both Germanic and Hellenic, medieval and modern, thereby becoming an assurance of Old-World culture for its varied German-American audiences.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43963429","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Charles Youmans, ed. Mahler in Context (Cambridge: Cambridge University Press, 2021). 344 pp. £84.99. 查尔斯·尤曼斯主编《马勒在语境中》（剑桥：剑桥大学出版社，2021）。344页，84.99英镑。

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2022-09-06 DOI: 10.1017/S1479409822000313

Nicholas Attfield

{"title":"Charles Youmans, ed. Mahler in Context (Cambridge: Cambridge University Press, 2021). 344 pp. £84.99.","authors":"Nicholas Attfield","doi":"10.1017/S1479409822000313","DOIUrl":"https://doi.org/10.1017/S1479409822000313","url":null,"abstract":"ent type of virtuosity and, to borrow Dunsby’s term, it is the symbiosis of the composer and performer that determines the exact virtuosity type. The essays of this book deepen our understanding of the concept of virtuosity and of different approaches. Some essays require previous knowledge of the source described to be fully comprehended. As a collection, the book re-evaluates virtuosity, specifically its given definitions and practices, through Liszt’s own understanding in connection to his contemporaries. However, the topic of audience reception is not addressed much, and it could have enhanced further the conception of virtuosity. The question to what extent something is virtuosic when the external difficulty is not so visual has been raised in a similar vein by few authors. Could this feature be called something different? Is there more than one virtuosity? Some chapters hint, indirectly and directly, that indeed there are different conceptions of the term. One must also consider, though, that virtuosity and its definition as having a specific level of difficulty was comprehended differently not only by composers and performers but also by the audience when a work was first heard, even though today’s audiences expect technical demanding works. There was a mutual collaboration between audiences, composers and performers for the conception and definition of virtuosity.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46619859","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Under Cover in Babylon: Rossini's Cyrus the Great for the Lenten Season 在巴比伦的掩护下:罗西尼为四旬斋创作的居鲁士大帝

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2022-09-06 DOI: 10.1017/s1479409822000295

R. Ketterer

{"title":"Under Cover in Babylon: Rossini's Cyrus the Great for the Lenten Season","authors":"R. Ketterer","doi":"10.1017/s1479409822000295","DOIUrl":"https://doi.org/10.1017/s1479409822000295","url":null,"abstract":"Rossini's Ciro in Babilonia, ossia, La caduta di Baldassare (Cyrus in Babylon, or, The Fall of Belshazzar) was performed during Lent in 1812 at Ferrara's Teatro Comunale. This study examines how the opera's librettist Francesco Aventi synthesized disparate sources that included the Greek historian Herodotus and the Biblical prophets, ancient and early modern prose treatises on the Persian king Cyrus the Great, and baroque operatic representations of imperial power; and how Rossini responded to those sources musically for the particular historical moment in March of 1812. The piece is of interest as the first serious opera for the librettist and the composer both. It displays innovative approaches to classicizing material familiar from the eighteenth-century, as exemplified in Metastasio's Ciro riconosciuto and Sarti's Giulio Sabino, and it presents the secular hero Cyrus as a Christological figure that suffers and then triumphs with divine help. Musically it anticipates developments in Rossini's own Mosè in Egitto and Semiramide. The title “Under cover in Babylon” refers first to Aventi's and Rossini's use of the standard operatic plot device of the disguised lover to motivate Cyrus's entry into the enemy city of Babylon. Second, by calling the piece an “oratorio” and including Biblical material, they disguised an opera as an entertainment appropriate for Lent. Finally, the piece carries possible but subtly expressed messages connected with Napoleonic Italy and the Ferrarese Jewish community.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48196365","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Data Scraping YouTube for the Study of Lieder Reception YouTube上的数据抓取研究谎言接收

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2022-08-24 DOI: 10.1017/S1479409822000143

Rachel E. Scott

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Notes on Article Contributors 文章投稿人注意事项

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2022-08-01 DOI: 10.1017/s1479409822000374

引用次数: 0

Antonín Dvořák, Biblické písně (Biblical Songs), op. 99, Urtext, edited by Eva Velická, foreword by David R. Beveridge (Kassel: Bärenreiter, 2021). BA 10425 (low voice). BA 10426 (high voice). xix + 38. Antonín Dvořák，《圣经之歌》，op.99，Urtext，Eva Velická编辑，David R.Beveridge前言（卡塞尔：Bärenreiter，2021）。BA 10425（低音）。BA 10426（高音）。xix到38。

IF 0.3 3区艺术学

Nineteenth-Century Music Review Pub Date : 2022-08-01 DOI: 10.1017/s1479409822000167

D. Manning

引用次数: 0