Pub Date : 2023-09-28DOI: 10.1017/s1479409823000356
Evangeline Athanasiou
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{"title":"Candace Bailey, Unbinding Gentility: Women Making Music in the Nineteenth-Century South (Urbana: University of Illinois Press, 2021). xviii + 292 pp. $30","authors":"Evangeline Athanasiou","doi":"10.1017/s1479409823000356","DOIUrl":"https://doi.org/10.1017/s1479409823000356","url":null,"abstract":"An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135344890","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-26DOI: 10.1017/s1479409823000344
Danielle L Herrington
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{"title":"Jessica Gabriel Peritz, The Lyric Myth of Voice: Civilizing Song in Enlightenment Italy (Oakland: University of California Press, 2022). xi + 282 pp. $65.00, £55.00","authors":"Danielle L Herrington","doi":"10.1017/s1479409823000344","DOIUrl":"https://doi.org/10.1017/s1479409823000344","url":null,"abstract":"An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134960942","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-15DOI: 10.1017/s1479409823000320
Emily Shyr
Schubert: Schwanengesang Ian Bostridge, ten, Lars Vogt, piano Pentatone 5186786, 2022 (1 CD: 69 minutes) €18 - Schubert: Winterreise Ian Bostridge, ten, Thomas Adès, piano Pentatone 5186764, 2019 (1 CD: 57 minutes) €18
舒伯特:Schwanengesang Ian Bostridge, ten, Lars Vogt，钢琴五声曲5186786,2022 (1 CD: 69分钟)€18 -舒伯特:Winterreise Ian Bostridge, ten, Thomas ad，钢琴五声曲5186764,2019 (1 CD: 57分钟)€18
{"title":"Schubert: Schwanengesang Ian Bostridge, <i>ten</i>, Lars Vogt, <i>piano</i> Pentatone 5186786, 2022 (1 CD: 69 minutes) €18 - Schubert: Winterreise Ian Bostridge, <i>ten</i>, Thomas Adès, <i>piano</i> Pentatone 5186764, 2019 (1 CD: 57 minutes) €18","authors":"Emily Shyr","doi":"10.1017/s1479409823000320","DOIUrl":"https://doi.org/10.1017/s1479409823000320","url":null,"abstract":"Schubert: Schwanengesang Ian Bostridge, ten, Lars Vogt, piano Pentatone 5186786, 2022 (1 CD: 69 minutes) €18 - Schubert: Winterreise Ian Bostridge, ten, Thomas Adès, piano Pentatone 5186764, 2019 (1 CD: 57 minutes) €18","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135435065","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-08DOI: 10.1017/s1479409823000307
Louise Bernard de Raymond
{"title":"Louis Spohr, String Quartets, Opp. 29 and 45, ed. Nancy November. Recent Researches in the Music of the Nineteenth and Early Twentieth Centuries, vol. 85. (Middleton, WI: A–R Editions, 2022). xvi + 423 pp. $500.00","authors":"Louise Bernard de Raymond","doi":"10.1017/s1479409823000307","DOIUrl":"https://doi.org/10.1017/s1479409823000307","url":null,"abstract":"","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42914658","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-06DOI: 10.1017/s1479409823000289
R. Marvin, Robert C. Ketterer
{"title":"Issue on Opera and Ancient Sources in the Nineteenth Century","authors":"R. Marvin, Robert C. Ketterer","doi":"10.1017/s1479409823000289","DOIUrl":"https://doi.org/10.1017/s1479409823000289","url":null,"abstract":"","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44901797","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-29DOI: 10.1017/s1479409823000253
Layla Butler
{"title":"Beate Kutschke and Katherine Butler, eds, The Heroic in Music (Woodbridge: The Boydell Press, 2022). xii + 290 pp. £70.00.","authors":"Layla Butler","doi":"10.1017/s1479409823000253","DOIUrl":"https://doi.org/10.1017/s1479409823000253","url":null,"abstract":"","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43751840","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-17DOI: 10.1017/s1479409823000216
R. Locke
The longstanding practice of building opera librettos on stories from classical antiquity (especially Greece and Rome, and, to a lesser extent, Egypt, Persia and Babylonia) waned in the early 1800s, as impresarios began to favour plots with more obvious current-day resonance (though sometimes set a few centuries in the past, to skirt objections from government censors and, in some lands, church authorities). Still, imaginative librettists and composers found ways of rejuvenating an ancient setting and producing an opera that spoke to the day's audiences instead of feeling stuffy or academic. One of the biggest successes in French serious opera of the 1850s was Félicien David's Herculanum, set to a text primarily by the renowned playwright and poet Joseph Méry. Widely hailed, not least by composer-critics Hector Berlioz and Ernest Reyer, the work freshened the ‘ancient Rome’ conventions by locating the action far to the south, near what is today Naples, and by including, as the main characters, two powerful aristocrats from the Euphrates valley, and two young adepts of the nascent Christian movement – and a fifth character, Satan himself, come to wreak havoc in the world. All of this would seem a stewpot of a librettist's wild imaginings were it not for the quality and impressive variety of David's music – and the opportunities that libretto and music together give to imaginative performers, as has been demonstrated in the work's three major revivals beginning in 2014 (in Belgium/France, Ireland and Hungary).
{"title":"Félicien David's Grand Opera Herculanum (1859): Rome, Early Christianity, Multiple Exoticisms, Great Tunes – and Satan","authors":"R. Locke","doi":"10.1017/s1479409823000216","DOIUrl":"https://doi.org/10.1017/s1479409823000216","url":null,"abstract":"The longstanding practice of building opera librettos on stories from classical antiquity (especially Greece and Rome, and, to a lesser extent, Egypt, Persia and Babylonia) waned in the early 1800s, as impresarios began to favour plots with more obvious current-day resonance (though sometimes set a few centuries in the past, to skirt objections from government censors and, in some lands, church authorities). Still, imaginative librettists and composers found ways of rejuvenating an ancient setting and producing an opera that spoke to the day's audiences instead of feeling stuffy or academic. One of the biggest successes in French serious opera of the 1850s was Félicien David's Herculanum, set to a text primarily by the renowned playwright and poet Joseph Méry. Widely hailed, not least by composer-critics Hector Berlioz and Ernest Reyer, the work freshened the ‘ancient Rome’ conventions by locating the action far to the south, near what is today Naples, and by including, as the main characters, two powerful aristocrats from the Euphrates valley, and two young adepts of the nascent Christian movement – and a fifth character, Satan himself, come to wreak havoc in the world. All of this would seem a stewpot of a librettist's wild imaginings were it not for the quality and impressive variety of David's music – and the opportunities that libretto and music together give to imaginative performers, as has been demonstrated in the work's three major revivals beginning in 2014 (in Belgium/France, Ireland and Hungary).","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46830811","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-14DOI: 10.1017/s1479409823000228
Luísa Cymbron, Joana Peliz
Discussing music in Portugal in the nineteenth century, and the digital resources that the country makes available for musicological research on this historical period, requires, first of all, a clarification about the chronological boundaries that limit this temporal unit. One can naturally understand that the periodization to be adopted should be the most obvious, that is, the one that determines the dates 1801 and 1900 as the beginning and end of the century in question. But it is worth asking whether it would not be more appropriate to define a periodization based on the events that unequivocally determined the panorama of music in Portugal in that century.
{"title":"Digital Sources for Nineteenth Century Music in Portugal: ‘A Long Way to Run’","authors":"Luísa Cymbron, Joana Peliz","doi":"10.1017/s1479409823000228","DOIUrl":"https://doi.org/10.1017/s1479409823000228","url":null,"abstract":"Discussing music in Portugal in the nineteenth century, and the digital resources that the country makes available for musicological research on this historical period, requires, first of all, a clarification about the chronological boundaries that limit this temporal unit. One can naturally understand that the periodization to be adopted should be the most obvious, that is, the one that determines the dates 1801 and 1900 as the beginning and end of the century in question. But it is worth asking whether it would not be more appropriate to define a periodization based on the events that unequivocally determined the panorama of music in Portugal in that century.","PeriodicalId":41351,"journal":{"name":"Nineteenth-Century Music Review","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43709592","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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