From 1840-57, Heinrich Ernst was one of the most famous and significant European musicians, and performed on stage, often many times, with Berlioz, Mendelssohn, Chopin, Liszt, Wagner, Alkan, Clara Schumann, and Joachim.
From 1840-57, Heinrich Ernst was one of the most famous and significant European musicians, and performed on stage, often many times, with Berlioz, Mendelssohn, Chopin, Liszt, Wagner, Alkan, Clara Schumann, and Joachim.
When Olivier Messiaen (1908-1992) completed the vast opera Saint Fran,s d,Assise in 1983, he was mentally and physically exhausted, and believed that this monumental work would be his final compositional statement.
When Olivier Messiaen (1908-1992) completed the vast opera Saint Fran,s d,Assise in 1983, he was mentally and physically exhausted, and believed that this monumental work would be his final compositional statement.
Claudio Monteverdi is now recognized as the towering figure of a critical transitional moment of Western music history: relentless innovator in every genre within chamber, church and theatre music; self-proclaimed leader of a 'new dispensation' between words and their musical expression; perhaps even 'Creator of Modern Music'.
Claudio Monteverdi is now recognized as the towering figure of a critical transitional moment of Western music history: relentless innovator in every genre within chamber, church and theatre music; self-proclaimed leader of a 'new dispensation' between words and their musical expression; perhaps even 'Creator of Modern Music'.
Johann Joseph Fux's reputation as a theorist and the long-term influence of his theoretical and pedagogical work have ensured that his name is widely known in music circles in the West.
Johann Joseph Fux's reputation as a theorist and the long-term influence of his theoretical and pedagogical work have ensured that his name is widely known in music circles in the West.
The north-east of England in the eighteenth century was a region where many different kinds of musical activity thrived and where a wide range of documentation survives.
The north-east of England in the eighteenth century was a region where many different kinds of musical activity thrived and where a wide range of documentation survives.
The tercentenary of Marc-Antoine Charpentier's death in 2004 stimulated a surge of activity on the part of performers and scholars, confirming the modern assessment of Charpentier (1643-1704) as one of the most important and inventive composers of the French Baroque.
The tercentenary of Marc-Antoine Charpentier's death in 2004 stimulated a surge of activity on the part of performers and scholars, confirming the modern assessment of Charpentier (1643-1704) as one of the most important and inventive composers of the French Baroque.
Nicholas Lanier (1588-1666) was not only the first person to hold the office of Master of the Music to King Charles I, he was also a practising painter, a friend of Rubens, Van Dyck and many other artists of his time, and one of the very first great art collectors and connoisseurs.
Nicholas Lanier (1588-1666) was not only the first person to hold the office of Master of the Music to King Charles I, he was also a practising painter, a friend of Rubens, Van Dyck and many other artists of his time, and one of the very first great art collectors and connoisseurs.
This selection of essays represents a wide cross-section of the papers given at the Tenth International Conference on Nineteenth-Century Music held at the University of Bristol in 1998.
This selection of essays represents a wide cross-section of the papers given at the Tenth International Conference on Nineteenth-Century Music held at the University of Bristol in 1998.
The most important figure of seventeenth-century Neapolitan music, Francesco Provenzale (1624-1704) spent his long life in the service of a number of Neapolitan conservatories and churches, culminating in his appointment as maestro of the Tesoro di S.
The most important figure of seventeenth-century Neapolitan music, Francesco Provenzale (1624-1704) spent his long life in the service of a number of Neapolitan conservatories and churches, culminating in his appointment as maestro of the Tesoro di S.
Secular music of the fifteenth and sixteenth centuries encompasses an extraordinarily wide range of works and practices: courtly love songs, music for civic festivities, instrumental music, entertainments provided by minstrels, the unwritten traditions of solo singing, and much else.
Secular music of the fifteenth and sixteenth centuries encompasses an extraordinarily wide range of works and practices: courtly love songs, music for civic festivities, instrumental music, entertainments provided by minstrels, the unwritten traditions of solo singing, and much else.
This book charts the piano's accession from musical curiosity to cultural icon, examining the instrument itself in its various guises as well as the music written for it.
This book charts the piano's accession from musical curiosity to cultural icon, examining the instrument itself in its various guises as well as the music written for it.
By the mid-nineteenth century music publishing was no longer the provenance of shopkeepers, instrument makers or individual scholars, but a business enterprise undertaken by a new breed of Victorian entrepreneur.
By the mid-nineteenth century music publishing was no longer the provenance of shopkeepers, instrument makers or individual scholars, but a business enterprise undertaken by a new breed of Victorian entrepreneur.