How the musical culture surrounding chamber music influenced artists and works
CoverTitleCopyrightContentsList of Figures and TablesList of Musical ExamplesAcknowledgmentsIntroduction. String Chamber Music and Its Audiences in the Nineteenth Century1. Publishing Chamber Music: Archival Evidence for Chamber Music Production and Consumption2. "Domesticating" the Foreign in Arrangements of Operas, Folk Songs, and Other Works for Chamber Ensembles3. Music for Men of Leisure: An Examination of the Domestic String Style4. Redefining the "Progressive" Style in Responses to Beethoven's Late Quartets5. Creating "Progressive" Communities through Programmatic Chamber Music6. Audience and Style in Brahms's String Chamber Music7. The Diversity of Dvorak's String Quartet AudiencesAppendix 1 J. Strunz, string quartet transcription of no. 18, "Priere" (Prayer), from Meyerbeer's Robert le DiableAppendix 2 C. W. Henning, string quartet transcription of no. 8, "Leise, leise, fromme Weise" (Gently, gently, pious words), from Weber's Der Freischu tzAppendix 3 M. Kassmayer, string quartet arrangement of "Mein Herz ist im Hochland" (My heart is in the Highlands) from Deutsche Lieder, op. 14, no. 4NotesBibliographyIndex
Marie Sumner Lott is an associate professor of music history and literature at Georgia State University and a winner of a 2013 ASCAP-Deems Taylor award.
"By focusing on the milieu of middle-class amateurs rather than the
professional world of the concert hall that has occupied most
scholars, Lott provides a fresh perspective on the production and
consumption of chamber music in nineteenth-century Europe. The
Social Worlds of Nineteenth-Century Chamber Music is an exemplary
contextual study that enhances our appreciation of not only canonic
masterworks but also lesser-known pieces written for this thriving
market."--Walter Frisch, author of Music in the Nineteenth
Century
"Marie Sumner Lott's monograph, The Social Worlds of
Nineteenth-Century Chamber Music: Composers, Consumers,
Communities, takes us on a rewarding journey into chamber music's
often hidden social worlds, adopting an approach accessible to a
broad readership." --Victorian Studies
"This book is an extremely significant achievement. It is likely to
attract the interest of a broader readership and is strongly
recommended, both as a resource for students and more seasoned
scholars. It is all too rare that one encounters a book that
engages one's avid interest throughout: this was one of those
books."--Ad Parnassum
"Recommended."--Choice
"By considering nineteenth-century chamber music as a practice that
involved not only composition but also production, marketing, and
both amateur and professional performance, Marie Sumner Lott
provides a fascinating and valuable new perspective on both
familiar and unfamiliar music. Anyone with a serious interest in
chamber music for strings--or indeed nineteenth-century European
musical practice--will enjoy and learn from The Social Worlds of
Nineteenth-Century Chamber Music."--David Gramit, author of
Cultivating Music: The Aspirations, Interests, and Limits of German
Musical Culture, 1770-1848
"Sumner Lott's book is well organized and easy to read, and it
contains many fresh insights into nineteenth-century string chamber
music."--Christina Bashford, author of The Pursuit of High Culture:
John Ella and Chamber Music in Victorian London
"An imaginative excursion into the practical world of chamber music
in the nineteenth century. Marie Sumner Lott exposes us to new
repertories, which will interest string players. For musicologists
and historians she proposes alternative historiographies that take
composers' awareness of different audiences and expanded ideas
about progressivism into account."--Mary Hunter, author of The
Culture of Opera Buffa in Mozart's Vienna: A Poetics of
Entertainment
 |
Ask a Question About this Product More... |
|
