: Romantic Music: A History of Musical Style in Nineteenth-Century Europe . Leon Plantinga. ; Anthology of Romantic Music . Leon Plantinga.

1987 ◽  
Vol 11 (2) ◽  
pp. 194-196
Author(s):  
Carl Dahlhaus ◽  
Ernest Sanders
Keyword(s):  
Nineteenth Century ◽  
Musical Style ◽  
Romantic Music ◽  
History Of

The Social Worlds of Nineteenth-Century Chamber Music

2015 ◽  
Author(s):  
Marie Sumner Lott
Keyword(s):  
Nineteenth Century ◽  
Chamber Music ◽  
Social History ◽  
Music Performance ◽  
Musical Style ◽  
Niche Markets ◽  
Musical Works ◽  
Romantic Music ◽  
And Performance ◽  
Dynamic Relationships

This book examines the music available to musical consumers in the nineteenth century, and what that music tells us about their tastes, priorities, and activities. The book's social history of chamber music performance places the works of canonic composers such as Schubert, Brahms, and Dvořák in relation to lesser-known but influential peers. The book explores the dynamic relationships among the active agents involved in the creation of Romantic music and shows how each influenced the others' choices in a rich, collaborative environment. In addition to documenting the ways companies acquired and marketed sheet music, the book reveals how the publication and performance of chamber music differed from that of ephemeral piano and song genres or more monumental orchestral and operatic works. Several distinct niche markets existed within the audience for chamber music, and composers created new musical works for their use and enjoyment. The book revises prevailing views of middle-class influence on nineteenth-century musical style and presents new methods for interpreting the meanings of musical works for musicians both past and present.

‘Ein dürftiger Stoff’: Hermann and the Failure of German Liberation Opera (1815–1848)

2018 ◽  
Vol 16 (02) ◽  
pp. 249-272
Author(s):  
Kasper van Kooten
Keyword(s):  
Nineteenth Century ◽  
Current Literature ◽  
Coming Of Age ◽  
Musical Style ◽  
Early Nineteenth Century ◽  
National Symbols ◽  
National Opera ◽  
History Of ◽  
Historical Themes ◽  
German Opera

This article traces the development of national opera on political-historical themes in Germany between 1815 and 1848 and attempts to explain why this genre ultimately did not succeed. The focus will lie on the warrior hero Arminius/Hermann, one of the most potent national symbols of the nineteenth century, who was indeed brought to the German opera stage, but could never conquer it. The period between 1815 and 1848 not only forms a crucial phase in the coming of age of German opera against the background of a burgeoning national conscience, but also presents a lacuna in the current literature on Arminius as an opera character. Two early nineteenth-century Arminius opera projects will be discussed: musical realizations of August von Kotzebue’s 1813 libretto Hermann und Thusnelde and French composer Hippolyte Chélard’s 1835 opera Die Hermannschlacht, based on a libretto by Carl Weichselbaumer. Questions of authorship, patronage, musical style and reception will be addressed. This article presents a history of an operatic ‘misfit’ that fills a hiatus in the study of German nineteenth-century opera and will add to our understanding of the peculiar relation between opera and German national thought during the first half of the century.

A history of some fruit models in wax and other materials: scientific teaching aids and courtly table decorations

2003 ◽  
Vol 30 (2) ◽  
pp. 299-316 ◽  
Author(s):  
Hans-JüRgen Lechtreck
Keyword(s):  
Nineteenth Century ◽  
Fruit Trees ◽  
Visual Aids ◽  
Early Nineteenth Century ◽  
Teaching Aids ◽  
Scientific Teaching ◽  
Glass Marble ◽  
History Of ◽  
By Products ◽  
Wax Models

Two early nineteenth century texts treating the production and use of wax models of fruit reveal the history of these objects in the context of courtly decoration. Both sources emphasise the models' decorative qualities and their suitability for display, properties which were not simply by-products of the realism that the use of wax allowed. Thus, such models were not regarded merely as visual aids for educational purposes. The artists who created them sought to entice collectors of art and natural history objects, as well as teachers and scientists. Wax models of fruits are known to have been collected and displayed as early as the seventeenth century, although only one such collection is extant. Before the early nineteenth century models of fruits made from wax or other materials (glass, marble, faience) were considered worthy of display because contemporaries attached great importance to mastery of the cultivation and grafting of fruit trees. This skill could only be demonstrated by actually showing the fruits themselves. Therefore, wax models made before the early nineteenth century may also be regarded as attempts to preserve natural products beyond the point of decay.

Adam Zalužanský’s “De sexu plantarum” (1592): an early pioneering chapter on plant sexuality

2013 ◽  
Vol 40 (2) ◽  
pp. 244-256 ◽  
Author(s):  
Holger Funk
Keyword(s):  
Nineteenth Century ◽  
English Translation ◽  
History Of Botany ◽  
Main Work ◽  
Botanical History ◽  
History Of ◽  
The University ◽  
First Time

In the history of botany, Adam Zalužanský (d. 1613), a Bohemian physician, apothecary, botanist and professor at the University of Prague, is a little-known personality. Linnaeus's first biographers, for example, only knew Zalužanský from hearsay and suspected he was a native of Poland. This ignorance still pervades botanical history. Zalužanský is mentioned only peripherally or not at all. As late as the nineteenth century, a researcher would be unaware that Zalužanský’s main work Methodi herbariae libri tres actually existed in two editions from two different publishers (1592, Prague; 1604, Frankfurt). This paper introduces the life and work of Zalužanský. Special attention is paid to the chapter “De sexu plantarum” of Zalužanský’s Methodus, in which, more than one hundred years before the well-known De sexu plantarum epistola of R. J. Camerarius, the sexuality of plants is suggested. Additionally, for the first time, an English translation of Zalužanský’s chapter on plant sexuality is provided.

Correspondence between Adolphe Brongniart and Robert Schomburgk: trading natural history collections for honours

2002 ◽  
Vol 29 (3) ◽  
pp. 333-336
Author(s):  
PIOTR DASZKIEWICZ ◽  
MICHEL JEGU
Keyword(s):  
Nineteenth Century ◽  
Natural History ◽  
Dominican Republic ◽  
Southeast Asia ◽  
Herbarium Specimens ◽  
British Guiana ◽  
Natural History Collections ◽  
History Of ◽  
Source Of Information ◽  
German Naturalist

ABSTRACT: This paper discusses some correspondence between Robert Schomburgk (1804–1865) and Adolphe Brongniart (1801–1876). Four letters survive, containing information about the history of Schomburgk's collection of fishes and plants from British Guiana, and his herbarium specimens from Dominican Republic and southeast Asia. A study of these letters has enabled us to confirm that Schomburgk supplied the collection of fishes from Guiana now in the Laboratoire d'Ichtyologie, Muséum National d'Histoire Naturelle, Paris. The letters of the German naturalist are an interesting source of information concerning the practice of sale and exchange of natural history collections in the nineteenth century in return for honours.

A History of Musical Style . Richard L. Crocker .

1968 ◽  
Vol 21 (1) ◽  
pp. 103-105
Author(s):  
Henry Leland Clarke
Keyword(s):  
Musical Style ◽  
History Of

The Modernities of H. Lawrence Freeman

2019 ◽  
Vol 72 (3) ◽  
pp. 719-779
Author(s):  
David Gutkin
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
Reception History ◽  
Black Press ◽  
Late Nineteenth Century ◽  
Starting Point ◽  
History Of ◽  
Late Nineteenth ◽  
White Press ◽  
Grand Opera

H. Lawrence Freeman's “Negro Jazz Grand Opera,” Voodoo, was premiered in 1928 in Manhattan's Broadway district. Its reception bespoke competing, racially charged values that underpinned the idea of the “modern” in the 1920s. The white press critiqued the opera for its allegedly anxiety-ridden indebtedness to nineteenth-century European conventions, while the black press hailed it as the pathbreaking work of a “pioneer composer.” Taking the reception history of Voodoo as a starting point, this article shows how Freeman's lifelong project, the creation of what he would call “Negro Grand Opera,” mediated between disparate and sometimes apparently irreconcilable figurations of the modern that spanned the late nineteenth century through the interwar years: Wagnerism, uplift ideology, primitivism, and popular music (including, but not limited to, jazz). I focus on Freeman's inheritance of a worldview that could be called progressivist, evolutionist, or, to borrow a term from Wilson Moses, civilizationist. I then trace the complex relationship between this mode of imagining modernity and subsequent versions of modernism that Freeman engaged with during the first decades of the twentieth century. Through readings of Freeman's aesthetic manifestos and his stylistically syncretic musical corpus I show how ideas about race inflected the process by which the qualitatively modern slips out of joint with temporal modernity. The most substantial musical analysis examines leitmotivic transformations that play out across Freeman's jazz opera American Romance (1924–29): lions become subways; Mississippi becomes New York; and jazz, like modernity itself, keeps metamorphosing. A concluding section considers a broader set of questions concerning the historiography of modernism and modernity.

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