Aberbach, Alan D.
RICHARD WAGNER'S RELIGIOUS IDEAS
A Spiritual Journey
Chapter headings include: Early Spiritual Dimensions; Reflection of Mind and Soul (The Flying Dutchman, Tannhäur, Lohengrin); "Jesus of Nazareth"; Encounters with the Esoteric (Hafiz and The Ring of the Nibelung; Schopenhauer and Tristan and Isolde; The Influence of Meister Eckhart); To Parsifal; Beyond Parsifal.
快乐王子读后感"Professor Aberbach, in this book, takes on the challenge left by Richard Wagner over 100 years ago and ems to become his kindred spirit. Every thoughtful reader will now have an enhanced appreciation and understanding of what emanates from the stage during a performance of his music dramas. They will have discovered that extra dimension which will place them within the mind and soul of not only the characters but also of Richard Wagner himlf." - from the Foreword by Kenneth P. Regier, QC, President of the Vancouver Wagner Society
“. . . broadly discursive and writes more vividly, cites philosophical inspirations from the Persian Sufi wri
ter Hafiz to Meister Eckhart and Schopenhauer. . . . also relies on primary sources. . . . welcome additions to the Wagner literature.”
0-7734-8783-2 $99.95/£59.95 312pp. 1996
Also available in softcover as:
RICHARD WAGNER'S SPIRITUAL PILGRIMAGE
0-7734-8348-9 $29.95/£14.95 312pp. 1996
$29.95 individual softcover price for single copies, plus shipping and handling.
Bookstores/individuals buying in bulk get same discount schedule as poetry books:
5 or more = 40%
less than 5 = 20% discount
Beaumarchais, Pierre-Augustin Caron de
THE BARBER OF SEVILLE or THE FUTILE PRECAUTION
A New English Translation
Translated by Gilbert Pestureau, Ann Wakefield, and Gavin Witt
Working from four different versions of Beaumarchais' text, this new translation reprents the entire script as Beaumarchais published it in 1775, with a few important variants. It includes an introduction, a brief biography, and the historical background tting the Beaumarchais text in context. This version of The Barber of Seville was first performed on March 8, 1996 at Court Theatre at the University of Chicago.
"The translation made for us by Pestereau, Wakefield and Witt . . . . brings a forgotten classic vibrantly to life. The combined experti of the translators works well together: complete familiarity with French and with English idiom, a comfortable acquaintance with theatre and its peculiar idiom. The translation is intelligently theatrical. It approaches this remarkable play in terms of its place on stage, its theatre history, its cultural imperatives. . . . The nuance of language, the approach to double entendre - all is superbly brought off. I recommend this translation with all the enthusiasm I can muster." - David Bevington
". . . existing translations are out of sync with the American idiom, making them difficult to teach to un
dergraduates. For the reasons, the delightfully contemporary translation in question responds to the need for more appropriate translations of often-taught plays to choo from. It is also important to note that this translation does not err in the other extreme, i.e. by being so interested in pleasing a contemporary audience that it is looly translated, and conquently uless for anyone wishing to convey the genius of the Beaumarchais original. . . The collaborators . . . bring a rich variety of experti to the translation. . . combined with the fact that the translation has been tried and proved successful by one of Chicago's most respected
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theaters, will rve to assure tho wishing to u it for purpos of theatrical production, or classroom study, of its authority and viability. . . . I would not hesitate to assign this translation to students, nor to recommend it to colleagues looking for the best translation of Beaumarchais' Barber of Seville." - Anne Callahan
[Studies in History and Interpretation of Music No. 56]
0-7734-8548-1 $69.95/£39.95 160pp. 1997
Berrong, Richard M., editor and translator
THE POLITICS OF OPERA IN TURN-OF-THE-CENTURY ITALY
As Seen Through the Letters Alfredo Catalani
Catalani's letters contain a fascinating eyewitness account of the process of creating opera in turn-of-the-century Italy. They show what he and his contemporaries, among them Puccini, Mascagni, Leoncavallo, and Giordano, went through to obtain a libretto, arrange a premiere, and encourage subquent productions of a new score. And, since there is no English-language biography of Catalani, this volume also provides readers not verd in Italian an opportunity to learn about the compor of La Wally and Loreley.
". . . to be commended for both its introductory notes, which provide a context for and summary of Catalani's life, and for the liveliness of the translation. His numerous and detailed notes betray a deep familiarity with the state of opera and operatic singers in Italy at the turn of the century and are a most welcome addition. This text will be a uful addition to any university or college library and will be enjoyed by an reader interested in opera." - Joph T. Malloy
"From my perspective as a musicologist, I can attest to the value of Mr. Berrong's translation. Anyone who is pursuing rearch in the area of late 19th century Italian opera will find the letters a u
ful account, even a ca study, of life in this milieu. It is important that this information is available in English to scholars." - Lydia Hamessley
[Studies in History and Interpretation of Music No. 38]
0-7734-9230-5 $69.95/£39.95 160pp. 1992
Blair, Donald
决心的英文GREAT OPERA SINGERS OF THE TWENTIETH CENTURY, 1927-1990
Contains biographical sketches of fifty great opera singers of the twentieth century, with photographs of each singer in a famous role. Oversize.
0-7734-9850-8 $69.95/£39.95 138pp. 1991
van Boer, Bertil
DRAMATIC COHESION IN THE MUSIC OF JOSEPH MARTIN KRAUS
From Sacred Music to Symphonic Form
Joph Martin Kraus (1756-1792), Kappellmeister to Gustavus III of Sweden, developed a unique style which embodied the application of Sturm und Drang principles to his works. The author eks to prove how this style infiltrated many of Kraus's other musical endeavors, creating pieces that were favorably compared to Mozart's and were far ahead of their time in technique. [Studies in History and Interpretation of Music No. 15]
0-88946-440-5 $109.95/£69.95 450pp. 1990
曹刿论战注释van Boer, Bertil H., Jr., ed.
GUSTAV III AND THE SWEDISH STAGE
Opera, Theatre, and Other Foibles
Contains some of the latest contributions to Gustavian studies, both interdisciplinary and intuitive in approach. The first ction contains articles surrounding the modern premiere of Joph Martin Kraus's "Turkish" opera Soliman II in 1989. The articles show different perspectives as en from each of the participants and gives unusual and penetrating insight into the artistic problems inherent in the revival of the 200-year-old work. The cond ction is more generalized and
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more scholarly -- contributions from the rearch of musicologists, dance historians, literary historians. The third ction is devoted to a brief aesthetical perspective of Gern Schönfelder on cognitive intuition, which delineates the perceptive qualities of music. Contributors include Jacqueline Martin, Martin Tegen, Barbro Stribolt, Lennart Hedwall, Gunnar Larsson, and Newell Jenkins.
"This book is a significant achievement of musical scholarship that will prove to be of especial interest to musicologists in the English-speaking world. . . . one of the best collections of essays and articles concerning the life and works of the compor Joph Martin Kraus. . . . it illuminates an area of 18th-century music that has been unjustifiably neglected for much too long a time." --William E. Grim
[Studies in History and Interpretation of Music No. 40]
0-7734-9314-X $89.95/£49.95 292pp. 1993
Boettcher, Bonna J.
A STUDY OF STRAVINSKY'S "SONATE POUR PIANO" (1924) AND "SERENADE IN LA"
A Performer's Analysis and Comparison
A critical examination of two piano works by Igor Stravinsky from a performer's point of view, pointing our reflections of eighteenth-century forms and styles, while indicating some of the transformation brought about by the compor's musical personality. Develops special insights that supplement views of theorists and historians.
0-7734-9806-0 [DDS] $59.95/£39.95 104pp. 1992
Bracey, John-Paul
A BIOGRAPHY OF FRENCH PIANIST MARCEL CIAMPI (1891-1980)
Music to Last a Lifetime
Marcel Ciampi held the longest tenure in the history of the Conrvatoire National Supérieur de Musique de Paris. In his long career he performed at least 60 solo recitals a year and collaborated with most of the musical legends of this century. This book chronicles his career and examines his in
fluence on the Menuhin family, and includes a letter from Yehudi Menuhin for the project, and interview excerpts of Hepzibah and Yaltah Menuhin. The book also includes letters from Georges Enesco, Pablo Casals, Alfred Cortot, Vlado Perlemuter, Yvonne Loriod, Lazare
Lévy, and many others. It chronicles the international careers of Ciampi's family. Includes many photographs. This book will appeal to music specialists, teachers, pianists, and anyone interested in another perspective on the music history of this century.
WHAT OTHER MUSICIANS SAY ABOUT MARCEL CIAMPI:
"What a rare joy to be able to make music with you" - Pablo Casals
"Marcel Ciampi was one of the most dedicated teachers a student will ever be fortunate enough to encounter" - sir Yehudi Menuhin
50度灰电影
"I was already a mature pianist when I met him but he had a great influence on my playing and musical thinking" - Vlado Perlemuter
PRAISE FOR A BIOGRAPHY OF FRENCH PIANIST MARCEL CIAMPI
". . . provides many details of recent French musical history which add flesh to the dry bones of the usual scholarly facts. It also establishes a connection between musicians we imagined had little between themlves or us, while weaving an enthralling web around singers and pianists, violinists and singers, compors and pianists, noen of whom, we realize, are very distant from our own lifetime. . . . together in this fascinating and detailed biography." - Le musicien
amateur/The Amateur Musician
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"All the esntials of Ciampi's biography em to be here, intersperd with generous quotations from reviews of his concerts and reminiscences from his friends, colleagues and students. This in itlf makes the book a rich source of information, of real value to musicians and historians alike. But Bracey also benefitted from the cooperation of Deny Rivière, Ciampi's long-time friend and teaching assistant, who allowed him access to the master's diaries, letters, programs, documents, and photographs. . . . In addition, Bracey includes . . . valuable pedagogical insights recalled by some of his students and colleagues. I was especially plead to read the words of Ciampi's (and Cortot's) esteemed assistant, Blanche Bascourret de Guéraldi. This is a highly recommended book f
or pianists, of cour -- but also for all rious musicians and music lovers." - Charles Timbrell, author of French Pianism
". . . Bracey paints a portrait of Marcel Ciampi as a virtuoso and renowned pedagogue who influence has affected the musical lives of many major pianists of today, and, through them, the pianists of tomorrow. Besides the musical emphasis, Bracey's work provides an interesting commentary on historical events and the Parisian cultural scene from the turn of the century until Ciampi's death in 1980. Many critical revues supplement this biographical homage, along with letters from colleagues and students, and anecdotes and stories about amusing situations with fellow artists." - Nancy Bricard, Professor and Chair, Department of Keyboard Studies, University of Southern California, Los Angeles
[Studies in History and Interpretation of Music No. 50]
0-7734-8794-8 $79.95 172pp. 1996
Cho, Gene J.
THEORIES AND PRACTICE OF HARMONIC ANALYSIS
This volume brings together the esntial information regarding the theories of harmonic analysis. It provides a list of concerns and propos procedural perspectives and recommendations for analysis and for harmonic analysis in particular. It is also a critical review and reasssment of Gottfried Weber's contribution to harmonic analysis and demonstrates proper application of Weber's analytic system. The text is augmented by over sixty musical examples.
0-7734-9917-2 EMText (paper) $19.95/£9.95 132pp. 1992
Cord, William O.
THE TEUTONIC MYTHOLOGY OF RICHARD WAGNER'S THE RING OF THE NIBELUNG Winner of the `Adele Mellen Award for Distinguished Scholarship'
An exhaustive, three-volume prentation of the totality of mythological thought associated with Wagner's Ring. Certain to become a classic in its field. Volume One, Nine Dramatic Properties, includes extensive treatments of: the World Ash, the Rainbow Bridge, Donner's Golden Hammer, Valhalla, and the Ring. Volume Two, The Family of Gods, prents each god in rich detail and unprecedented breadth of coverage. Volume Three (Parts 1 and 2), The Natural and Supernatural Worlds, includes a supplement on the names prented in the first two volumes with specific examin
ation of every person, thing, or object given a proper name in the drama. Asmbles and explicates the many miscellaneous elements, difficult to categorize, that are vital to appreciation of the Ring.
[Studies in History and Interpretation of Music Nos. 16, 17, 18a/b]
Volume 1 0-88946-441-3 $89.95/£49.95 244pp.
Volume 2 0-88946-442-1 $89.95/£49.95 225pp.
Volume 3 (in two parts) 0-88946-443-X Vol.3a $99.95/£59.95 320pp./Vol.3b $99.95/£59.95 310pp. 1991
Coroniti, Joph
POETRY AS TEXT IN TWENTIETH CENTURY VOCAL MUSIC记忆的定义
From Stravinsky to Reich
This work explores the many aesthetic and theoretical issues that ari when poems are t to music. Is a tting a hybrid form, a support for the text, or simply a piece of music? All such
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inquiry is an effort to define, and then either integrate or resolve the tension that is the driving force of the musical tting. This explores the differing aesthetic theories and tests them against the practice of modern compors. Topics include: speech rhythms in music; Ezra Pound and music; Shakespeare's Sonnets; Recitations with music - Ginsberg, Ferlinghetti, Baraka; Stravinsky -- Shakespeare Songs, "In Memoriam Dylan Thomas," Symphony of Psalms; "The Tyger", ttings by Britten and Thomson; Emily Dickinson/Aaron Copland; more.
" . . . a well written and rearched volume. Notes, sources, and illustrations are ample throughout, and Coroniti us them effectively to support an intelligent and reasonable study of word-music relations. . . tho interested in the problems of tting poetry to music can find this to be a provocative, uful volume for its examination of relevant theory and direct application to certain works that are not generally considered elwhere." - Ars Lyrica
"Throughout, the book rais a raft of theoretical issues. . . . This is an opened-ended work, posing many questions but unwilling to fix answers in either a historical or a theoretical cement. Instead, it explores possibilities with as open a mind as a working contemporary compor can bring to ruminat
ion on the act of creation in which he is currently engaged. And for that alone it is a valuable contribution." - Louis E. Aule, Editor, Ars Lyrica
"His training and experti enable him to tackle the myriad elements which come into play in the study of song. Active as a compor and performer, he prents a thoughtful consideration of theory and two types of practice in his examination of music and texts. . . . His detailed knowledge of theorists and compors is complemented by his deft command of the musical and poetic elements required for the substantial study he has produced. . . . While his work is rich with ideas and examples, it also compels others interested in this field to wield an appropriate tool in continuing to prepare the ground for future sowing." - Ellen J. Burns
[Studies in History and Interpretation of Music No. 35]
0-7734-9774-9 $59.95/£39.95 112pp. 1992
von Cube, Felix-Eberhard
THE BOOK OF THE MUSICAL ARTWORK
An Interpretation of the Musical Theories of Heinrich Schenker
司仪主持词Translated, with an afterword by David Neumeyer, George Boyd, and Scott Harris
Offers material unique in the Schenker literature. Argues for the acoustical foundations of Schenker's theory of music, gives a conci tabulation of elements of his theory, and provides annotated analytic sketches.
". . . [the appendix] has been handsomely augmented . . . will be of value for what it tells us about the dismination and development of ideas on tonal theory in the first half of the twentieth century." _Indiana Theory Review
[Studies in History and Interpretation of Music No. 10]
0-88946-436-7 $99.95/£59.95 396pp. 1987
Demaray, Donald E.
THE INNOVATION OF JOHN NEWTON (1725-1807)芋圆制作方法
Synergism of Work and Music in 18th-Century Evangelism
Surveys the message, homiletical method, and the effect of Newton's preaching during the Olney and London periods, along with Newton as hymnwriter and the influence of his Olney hymns. Includes many previously unpublished photographs and new data.
"An impressive, admirably rearched account . . . will appeal particularly to minarians, preachers, and hymnologists." _Religious Studies Review
". . . carefully-documented study . . . makes extensive u of primary sources, particularly of
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Newton's own writings, to good effect. . . . categorized bibliography is an excellent resource . . . reveals insights of interest to tho in various roles of pastoral ministry." _Review and Expositor [Texts and Studies in Religion No. 36]
0-88946-824-9 $99.95/£59.95 392pp. 1988
Dennis, Christopher J.
ADORNO'S PHILOSOPHY OF MODERN MUSIC
Examines Adorno's principle theme: the historical demi of tonality as the basis for the valid practice of musical art. This theme proceeds from his dialectical view of reality, and from the conquences of the historical change that began with the ascendancy of the bourgeoisie. Respons to the circumstances by the principal compors of the period span a continuum from authenticity, in acknowledgment of the end of musical art, achieved in the objectifying constructions of Schoenberg's 12-tone principles; to inauthenticity, in the pretence of Stravinsky's works to maintain a traditional tonality which is really dead. The conquences of this history for contemporary music are prented as Adorno described them in publications subquent to Philosophy of Modern Music. Inconsistency is noted in Adorno's understanding of what tonality is, and where it actually applies: this casts doubt upon the notion of tonality from which its historical demi suppodly derives. Adorno's characterization of prent historical trends is read as negative, and an interpretation of this apparently esntialist position is offered.
[Studies in History and Interpretation of Music No. 58]
0-7734-8434-5 $69.95/£39.95 144pp. 1997
Diez, Klemens
CONSTANZE, FORMERLY WIDOW OF MOZART
Her Unwritten Memoir Bad on Historical Documents, with a Foreword by the Author Translated and annotated by Joph Malloy
Will do much to improve the reputation of Constanze Mozart, who has been vilified as having been an unworthy wife to one of the greatest musical genius of all time and has been blamed for his poverty and his less-than-glorious, premature death. Although a work of fiction and historical surmi, Diez' Constanze, Formerly Widow of Mozart stays clo enough to the spar biographical details of Constanze's life that the book has a tone of veracity and authenticity that is augmented by Malloy's footnotes and afterword.
"[a] superb translation . . . a book that music lovers and professional musicians alike will find thoroughly satisfying and eminently readable." _ William E. Grim
0-88946-579-7 [Studies in the History of Music 24] $89.95/£49.95 272pp. 1991
van Deun, Nancy, editor
行驶本THE HARP AND THE SOUL
Studies in Early Medieval Music and Its Role in the Intellectual Climate of the Early University
Essays dealing with music as it was understood, visualized, articulated, and interpreted in the Middle Ages. Argues that medieval discussions of music depended on a structural foundation which writers were certain that their readers possd, and this influenced the subject matter of music.
". . . covers a variety of topics including modes, notation, liturgical drama, quence, genre, the symbolism of musical instruments, and the theory of rhythm. The general subject matter of the papers is familiar, but van Deun has handled her topics with such exhaustive erudition and critical penetration as to make them more than usually illuminating and instructive. . . . reveals that the inner world of the medieval musician was much more complex and much stranger than we had thought." _Continuo
[Studies in History and Interpretation of Music No. 3]
0-88946-429-4 $109.95/£69.95 456pp. 1989
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