Over the past four decades, Richard Taruskin's publications have redefined the field of Russian-music study. This volume gathers thirty-six essays on composers ranging from Bortnyansky in the eighteenth century to Tarnopolsky in the twenty-first, as well as all of the famous names in between. Some of these pieces, like the ones on Chaikovsky's alleged suicide and on the interpretation of Shostakovich's legacy, have won fame in their own right as decisive contributions to some of the most significant debates in contemporary musicology. An extensive introduction lays out the main issues and a justification of Taruskin's approach, seen both in the light of his intellectual development and in that of the changing intellectual environment, which has been particularly marked by the end of the cold war in Europe

Now available in paperback, Mozart is a brilliant study of the great composer's life and creative genius, written by one of the most important social thinkers of our time. In Mozart, Elias provides insight into this case of tragic conflict between personal creativity and the tastes of a society which sought to control it.

"Drawn largely from keynote addresses presented at conferences all over the world, and informed by the experience of writing the Oxford History of Western Music, this book considers the perennial, insoluble yet unevadable problems that musical scholarship must address, among them: musical ontology, musical representation, the determination of musical meaning, the objectives of musical historiography, the ethics of musical performance and criticism, musical periodization, the question of aesthetic autonomy, the social impact of art and the need to control it, the proper source of that control, the relationship of art (and art scholarship) to its temporal and geographical environments, the desirability of historical performance practices, the value and purpose of musical analysis, the origin and value of musical traditions, the purposes and effects of the social dissemination of music. As suggested by the subtitle, the thrust is consistently anti-essentialist. Meaning and value are at all times seen in relational terms, as aspects of social transaction"--

A colorful mixture of traditional English folk songs and ballads, as well as the history of many of the songs. Many English folk songs are quite familiar in America. Hundreds of them came along with the earliest settlers in the 17th century; others with the Redocoats in the 18th century; still others with the sailors and fisherman of the 19th century; and finally the doughboys and G.I.'s of two world wars have brought over the 20th century's contribution. The book includes melody line, lyrics, historical information, andguitar chords.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Among the first of Gerald Abraham's many books were studies of Tolstoy and Dostoevsky, and his knowledge of Russian literature and culture has provided the key to his extensive research into the history of Slavonic music. Studies in Russian Music brings together critical essays on the most important of Rimsky-Korsakov's operas, and others such as Borodin's Prince Igor , Dargomizhsky's Stone Guest , and also includes chapters on Glinka, Mussorgsky, Balakirev and Tchaikovsky, copiously illustrated by music examples. In his Preface the author 'Although this is a book of separate essays, it is, I hope, given a certain unity by the fact that each chapter deals with some product or aspect of the 'classical' period of Russian the music of Glinka and, more particularly, that written in the half-century following his death. I have almost ignored Mussorgsky and Tchaikovsky, preferring to concentrate on the less discussed members of the 'mighty handful,' above all on Rimsky-Korsakov who has hitherto been unaccountably neglected by non-Russian critics. But in these studies of some of Korsakov's operas I have concerned myself only with certain aspects of them ... in the attempt to investigate the working of the composer's musical mind.' Essential reading for all students and lovers of Russian music.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Excerpt from Hebrew Melody: Freely Transcribed for Violin and Piano From the Children's Suite (82361) Contents: Jumping with Tongue out - Sleep my Puppy - Birdies March of Toys - Mamma. Tell a Fairy Tale - The Top - The Cara van - Parade with Presents. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Have you ever wondered: How it feels to be eponymous? Why some German pigeons were painted blue in the First World War? What connects Rachmaninoff to Chief Sitting Bull? It is 1972. Bernard Robins is in London – American, innocent, uninformed and arrogant – to make his name and fortune as a pianist, composer and conductor. He lives at the Kensington Music Society, a haven for aspiring musicians, including afro-headed violinists, cellists in caftans and coloraturas from Colorado. During his time there, Bernard accidentally encounters his long lost great-uncle, Hermann Heinrich Zweck, a nonagenarian – a once eminent, now forgotten composer, who has known most of the great musical figures of the Twentieth Century and hated almost all of them. Zweck is engaged in a war against stupidity, laziness and cowardice with the entire world, and especially with Bernard and Charles Forsythe – a hapless English musicologist whose only crime, (grievous in Zweck's view) is to be both English and an academic. The romantic relationships the three principals have with strong women, ranging from promiscuity to endless love, change the lives of all concerned. Throughout the novel, Zweck engages in a battle of words with the author in a series of interruptions and monologues. Comically written by an author skilled in both writing and music, Zweck is an accessible and hilarious novel about fame, identity, music and dumplings.

"This collection views Russian music through the Greek triad of 'the Good, the True, and the Beautiful' to investigate how the idea of 'nation' embeds itself in the public discourse about music and other arts with results at times invigorating, at times corrupting. In our divided, post-Cold War, and now post-9/11 world, Russian music, formerly a quiet corner on the margins of musicology, has become a site of noisy contention. Richard Taruskin assesses the political and cultural stakes that attach to it in the era of Pussy Riot and renewed international tensions, before turning to individual cases from the nineteenth century to the present. Much of the volume is devoted to the resolutely cosmopolitan but inveterately Russian Igor Stravinsky, one of the major forces in the music of the twentieth century and subject of particular interest to composers and music theorists all over the world. Taruskin here revisits him for the first time since the 1990s, when everything changed for Russia and its cultural products. Other essays are devoted to the cultural and social policies of the Soviet Union and their effect on the music produced there as those policies swung away from Communist internationalism to traditional Russian nationalism; to the musicians of the Russian postrevolutionary diaspora; and to the tension between the compelling artistic quality of works such as Stravinsky's Sacre du Printemps or Prokofieff's Zdravitsa and the antihumanistic or totalitarian messages they convey. Russian Music at Home and Abroad addresses these concerns in a personal and critical way, characteristically demonstrating Taruskin's authority and ability to bring living history out of the shadows." -- Provided by publisher.

This volume brings together 144 examples of lyric poetry, notable in quality and representative of their times. Besides an introduction to the nature of the lyric, there are commentaries at the head of each poem, textual and explanatory footnotes, a general bibliography, and a comprehensive glossary keyed to the text.

First published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.