Peter Bloom’s research since his doctoral dissertation on François-Joseph Fétis has focused on the life and work of Hector Berlioz. He is the editor of volumes 7 and 24 of the New Berlioz Edition and of four collections of articles on Berlioz and his era: Music in Paris in the Eighteen-Thirties (1987), Berlioz Studies (1992), The Cambridge Companion to Berlioz (2000), and Berlioz Past, Present, Future (2003); he is also coeditor of the Dictionnaire Berlioz (2003). His Life of Berlioz was published by Cambridge University Press in 1998. Currently at work on a new critical edition of the Mémoires d’Hector Berlioz, Bloom is the Grace Jarcho Ross Professor of Humanities at Smith College, where he has been teaching since 1970.
Leon Botstein is president and Leon Levy Professor in the Arts and Humanities at Bard College. He is the author of Judentum und Modernität (1991) and Jefferson’s Children: Education and the Promise of American Culture (1997). He is the editor of The Compleat Brahms (1999) and The Musical Quarterly, as well as coeditor, with Werner Hanak, of Vienna: Jews and the City of Music, 1870–1938 (2004). The music director of the American and the Jerusalem symphony orchestras, he has recorded works by, among others, Szymanowski, Hartmann, Bruch, Toch, Dohnányi, Bruckner, Chausson, Richard Strauss, Mendelssohn, Popov, Shostakovich, and Liszt for Telarc, CRI, Koch, Arabesque, and New World Records.
José Antonio Bowen is dean of the School of Fine Arts and a professor of music at Miami University. He has degrees in chemistry, music, and humanities, and a joint Ph.D. in musicology and humanities from Stanford. He has written over 100 scholarly articles, is the editor of the Cambridge Companion to Conducting and is currently working on the Smithsonian Anthology of Jazz. As a jazz performer, he has appeared in Europe, Israel and the United States with Stan Getz, Dizzy Gillespie, Bobby McFerrin, Dave Brubeck, Hubert Laws, Liberace, and many others. He has written a symphony (nominated for the Pulitzer Prize), a film score, and music for Jerry Garcia, and appears on numerous recordings. He received a NEH fellowship, is a fellow of the Royal Society of Arts (FRSA) in England, and is on the National Preservations Recording Board for the Library of Congress.
Anna Harwell Celenza holds the Caestecker Chair in Music at Georgetown University. She is the author of The Early Works of Niels W. Gade: In Search of the Poetic (2001); Hans Christian Andersen and Music: The Nightingale Revealed (2005); and several articles on Liszt, the most recent of which have appeared in 19th-Century Music and The Cambridge Companion to Liszt. In addition to her scholarly work, she has authored a series of award-winning children’s books about music and is a regular writer for NPR’s “Performance Today.”
James Deaville is associate professor and director of graduate studies in the School of the Arts of McMaster University. He has lectured and published about Wagner, Mahler, Strauss, Reger, Liszt and his circle in Weimar, music criticism, music and gender, television and film music, and music and race. The editor of the Bayreuth memoirs of Wagner’s ballet master Richard Fricke (1997), his writings have appeared in the New Grove Dictionary of Music and Musicians, the New Grove Dictionary of Opera, the Norton/New Grove Dictionary of Women Composers, Studies in American Music, Notes, Hamburger Jahrbuch für Musikwissenschaft, Studien zur Wertungsforschung, the Cambridge Companion to Liszt, and the Cambridge Companion to the Lied, among others. He coedited Criticus musicus and is currently English-language editor of the Canadian University Music Review. He is writing the first scholarly study of the Allgemeiner deutscher Musikverein.
Christopher H. Gibbs is James H. Ottaway Jr. Professor of Music at Bard College, coartistic director of the Bard Music Festival, and associate editor of The Musical Quarterly. He edited The Cambridge Companion to Schubert (1997) and is the author of The Life of Schubert (2000), which has been translated into three languages. Since 2000 he has written the program notes for the Philadelphia Orchestra.
Susan H. Gillespie is vice president for Special Global Initiatives at Bard College, and Founding Director of Bard’s Institute for International Liberal Education. Her published translations include novels, non-fiction works, poems, and works on musicology and philosophy including numerous essays by German philosopher Theodor Wiesengrund Adorno.
Vincent Giroud is currently professor of history at Bard College, having previously taught at Johns Hopkins, Vassar, and Yale, where he also served as curator of modern books and manuscripts. Among his most recent publications are St Petersburg: A Portrait of a Great City and The World of Witold Gombrowicz, as well as a volume of essays on Isabelle de Charrière, coedited with Janet Whatley; he also contributed to the volume of Paul Morand’s novels published in the Bibliothèque de la Pléiade (2005). His current projects include A Short History of French Opera for Yale University Press and, in collaboration with Jean-Christophe Branger, a catalogue of the works of Jules Massenet.
Dana Gooley is assistant professor of music at Brown University. He received his Ph.D. in musicology from Princeton University, and subsequently taught at Harvard University, Amherst College, and Case Western Reserve University. His book The Virtuoso Liszt (2004) examines Liszt’s performing career in relation to the social and cultural currents of the 1830s and ’40s.
Susan Hohl is completing her doctoral studies at the University of Chicago in comparative literature and music, and is writing a dissertation about Liszt as both reader and songwriter. She is also active as a singer, dramaturge, and acting coach.
Allan Keiler is professor of music at Brandeis University. He has a Ph.D. in linguistics from Harvard University, where he studied with Roman Jakobson. He did his graduate work in musicology and music theory at the Universities of Michigan and Chicago, and did a lay traineeship at the Boston Psychoanalytic Institute. His work in semiotics, the history of music theory, and Liszt has appeared in many journals and collections including Journal of Music Theory, 19th-Century Music, Music and Perception, Musical Quarterly, Perspectives in New Music, Studia Musicologica, Music Theory: Special Topics, and The Sign in Music and Literature. His biography Marian Anderson: A Singer’s Journey, was published by Scribner in 2000. He is working on a biography of Liszt.
Rainer Kleinertz is professor of musicology at Regensburg University. He studied music (viola and harpsichord) at the Hochschule für Musik Detmold, and musicology and German and Romance literature at Paderborn University. He was visiting professor at Salamanca University (1992–94), and visiting fellow at Oxford University (2000–01). His main areas of research are the music and writings of Franz Liszt and Richard Wagner, and Spanish music theater. Among other publications, he is coeditor of the Complete Writings of Franz Liszt (1989–) and author of Grundzüge des spanischen Musiktheaters im 18. Jahrhundert (2 vols, 2003).
Ralph P. Locke is professor of musicology at the Eastman School of Music (University of Rochester). He is the author of Music, Musicians, and the Saint-Simonians (1986) and co-editor (with Cyrilla Barr) of Cultivating Music in America: Women Patrons and Activists since 1860 (1997). He is senior editor of Eastman Studies in Music (a series from the University of Rochester Press). Five of his articles have received the ASCAP-Deems Taylor Award. He has recently published articles on Aaron Copland (two interviews from the early 1970s), Virgil Thomson, and Leonard Bernstein, and is currently working on a book about the role of the exotic in Western art music from the sixteenth century to the present. His writings have been published also in French, German, Italian, Spanish, Czech, and Japanese.
Ryan Minor is assistant professor of music at SUNY Stony Brook. He recently received his Ph.D. from the University of Chicago, and has published on Wagner and Brahms. He is currently working on a book exploring the music and politics of the chorus in nineteenth-century Germany.
Rena Charnin Mueller teaches in the Department of Music at New York University, Faculty of Arts and Science. A specialist in nineteenth-century music, her article on the Liszt/Wagner reception history in New York is forthcoming in Importing Culture: European Music and Musicians in New York City, 1840–1890 (University of Rochester Press); and her chapter on the Liszt Lieder appeared in the Cambridge Companion to the Lied (2004). She has published source-critical editions of Listz’s Les Préludes, the Trois Études de Concert, and the two Ballades. Her edition of the recently-discovered Liszt Walse was published by Thorpe Music, Boston. With Mária Eckhardt, she is the author of the Franz Liszt “List of Works” for the New Grove of Music and Musicians (2001), and together they are preparing a complete thematic catalog of Liszt’s music.
Benjamin Walton is lecturer in music at the University of Bristol. His work on French musical culture in the 1820s and ’30s has appeared in 19th-Century Music, the Cambridge Opera Journal, the Blackwell Companion to European Romanticism, and the Cambridge Companion to Rossini. He has recently completed a book on Rossini and 1820s Paris, which will be published by Cambridge University Press.
Susan Youens is J. W. Van Gorkom Professor at the University of Notre Dame, where she has taught since 1984. She is the author of numerous scholarly articles and eight books on nineteenth-century song, including Schubert’s Late Lieder: Beyond the Song Cycles and Hugo Wolf and his Mörike Songs (both from Cambridge University Press, 2000 and 2002). Her current project, Heinrich Heine and the Lied: The Early Years, is forthcoming from Cambridge University Press in late 2006.