[The Oxford History of Western Music 03] • Music in the Nineteenth Century by Taruskin, Richard -- Read -- Imperial Library of Trantor

Index

Cover Page Title Page Copyright Page Contents Introduction Preface Chapter 1 Real Worlds, and Better Ones

Deeds of music The dialectical antithesis The Code Rossini Imbroglio Heart Throbs “Realism” Bel canto Utopia

Chapter 2 The Music Trance

The I and the we Private music Altered consciousness Salon culture Schubert: A life in art Privatizing the public sphere Crossing the edge Only connect New cycles B-minor moods Constructions of identity

Chapter 3 Volkstümlichkeit

The lied is born The discovery of the folk Kultur Lyrics and narratives The lied grows up: Haydn, Mozart, Beethoven Schubert and romantic irony Representations of consciousness Romantic nationalism The liturgy of nationhood The oratorio reborn Mendelssohn and civic nationalism Nationalism takes a turn Epilogue: Two prodigies

Chapter 4 Nations, States, and Peoples

I. PEASANTS (GERMANY)

Mr. Natural Der Freischütz

II. HISTORY (FRANCE)

Opera and revolution Bourgeois kings Grandest of the grand Vagaries of reception

III. PEASANTS AND HISTORY (RUSSIA)

A newcomer to the tradition

Chapter 5 Virtuosos

Stimulus Response The concerto transformed A divided culture

Chapter 6 Critics

The public sphere What is a philistine? Literary music How music poses Anxiety and recoil Instrumental drama The limits of music Varieties of representation Discriminating romanticisms

Chapter 7 Self and Other

Genius and stranger National or universal? Or exotic? The pinnacle of salon music The Chopinesque miniature Nationalism as a medium Harmonic dissolution Playing “romantically” The Chopinesque sublime Sonata later on Nationalism as a message America joins in Art and democracy Stereotyping the other: “Orientalism” Sexàla russe The other in the self

Chapter 8 Midcentury

Historicism The new German school The symphony later on But what does it really mean? The new madrigalism Art and truth Art for art’s sake

Chapter 9 Slavs as Subjects and Citizens

Progressive vs. popular The nationalist compact Fluidity Folk and nation How the acorn took root National becomes nationalist The politics of interpretation

Chapter 10 Deeds of Music Made Visible (Class of 1813, I)

The problem Art and revolution The artwork of the future, modeled (as always) on the imagined past From theory into practice: The Ring Form and content The texture of tenseless time The sea of harmony Desire and how to channel it The ultimate experience How far can you stretch a dominant? When resolution comes. . . The problem revisited

Chapter 11 Artist, Politician, Farmer (Class of 1813, II)

Spooked The galley years The popular style Tragicomedy Opera as modern drama A job becomes a calling Compression and expansion Comedization

Chapter 12 Cutting Things Down to Size

Going too far Art and autocracy Stalemate and subversion Crisis Codes Lyric drama Satyr plays Operetta and its discontents Verismo Truth or sadism?

Chapter 13 The Return of the Symphony

The dry decades Museum culture New paths Three “Firsts” Struggle (with whom?) A choral (and a nationalistic) interlude Inventing tradition Victory through critique Reconciliation and backlash Brahminism Developing variation

Chapter 14 The Symphony Goes (Inter)National

Germany recedes Symphony as sacrament A Bohemian prescription for America An American response War brings it to France Symphonist as virtuoso The epic style Symphonies of Suffering National Monuments

Notes Art Credits Further Reading Index