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With a unique relationship to Bach's works and their liturgical function, Craig Smith engages the cantatas as living works of art, exploring how they work musically, emotionally, and theologically. Integrating spiritual, psychological, and compositional analysis, these vivid essays reveal Bach's power to communicate complex messages of faith, doubt, and the human condition. In the Foreword, eminent composer and close friend of Smith, John Harbison, writes: "Craig's writing embraces, at times dissolves, never ignores, the distance - esoteric, temporal, linguistic, cultural - that the Bach cantatas carry. The paternalistic theology, the presentness of sin, the Devil, the rough proximity of Death is never evaded or finessed. That which should remain difficult is acknowledged. That which immediately attracts is gratefully received. What is constantly suggested is that this may be the finest music that the finest composer wrote, and that it is never too late to catch up to it.".
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• List of Figures Preface Chronology of the Life of Anton Stadler
• Chapter 1. Stadler's Antecedents and Early Years
• Chapter 2. Stadler's Early Career: 1773-1780
• Chapter 3. Mozart and Stadler Meet
• Chapter 4. Stadler's Middle Career: 1781-1791
• Chapter 5. Stadler's Concert Tour of Northern Europe: 1791-1796
• Chapter 6. Stadler and Beethoven
• Chapter 7. Stadler's Late Career and Later Life: 1796-1812
• Chapter 8. Historical References to the Basset Clarinet in the Eighteenth and Nineteenth Centuries
• Chapter 9. Mozart Clarinet Concerto Sources: the Basset Horn Fragment and an Article in 1802 in the Allgemeine Musikalische Zeitung
• Chapter 10. Anton Stadler's Musick Plan, 10 July 1800: Introduction and Translation Appendix I: The Stadler Brothers' Mention in Receipts and Disbursements: Semi-Annual Account Books, Haus-, Hof- und Staatsarchiv Appendix II: Published Clarinet Compositions by Stadler Selected Bibliography Pamela Poulin, The Author Index.
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In the Footsteps of Mozart's Clarinetist: Anton Stadler (1753-1812) is the first in-depth study of the achievements of Viennese clarinetist Anton Stadler in English, including his five-year tour of Europe taking him as far away as St. Petersburg, and, of paramount importance, his friendship with W. A. Mozart, resulting in Mozart's monumental works for clarinet, the Clarinet Concerto, K. 622 and Quintet, K. 581, written for Stadler's unique Bass Klarinet (today called "basset clarinet"), having a extended lower chromatic range to written small c by the most widely published author and speaker on Stadler, clarinetist and musicologist, Pamela L. Poulin, Ph.D.
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Listening to Bach and Handel is a work of traditional music criticism. It asks why these two German composers, born less than one month and 125 kilometers apart -- cultural twins -- could compose so differently from each other as well as their colleagues and yet both achieve universal acclaim the greatest exponents of the Baroque. Finding even partial answers to this question naturally deepens readers' knowledge and appreciation of their art, and thereby amplifies the experience of listening to it. I wrote the book especially for those who love the music of Bach and Handel of course, but because their work underlies in so many ways all the music that came after them, I wrote it for all lovers of music in the Western tradition. --Joseph P. Swain, from the Preface JOSEPH P. SWAIN is Associate Professor of Music, Colgate University.
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The composer Franz Schubert (1797-1828) was not bereft of early advocates, from Schumann, Liszt, and Mahler to Sir George Grove. Brahms famously heralded Schubert as "the true successor to Beethoven." Nevertheless, it was not until the end of the twentieth century that Schubert's major instrumental works finally and fully emerged from Beethoven's shadow. Critics and scholars began to reinterpret Schubert's departures from Beethoven's formal and stylistic characteristics, and to see these departures not as flaws but as strengths and hallmarks of a new paradigm. Schubert's alternate constructions of "masculine subjectivities, " first described by Schumann in 1838, parallel a developing appreciation for lyricism, melody, and song-traits historically regarded as feminine. Consequently, Schubert's approach is increasingly viewed as innovative and divergent rather than defective and deviant. Schubert's Reputation from His Time to Ours tells the story of how and why this has happened.
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• The minuets (for winds, piano, and string quartet)
• The ecossaises
• The early German dances and Ländler
• Published waltzes, Ländler, and German dances I : for the Carnival seasons of 1822 to 1825
• Published waltzes, Ländler, and German dances II : for the Carnival seasons of 1826 to 1828
• The polonaises and dances for piano duet : Schubert and the Esterhazy family at Zseliz
• The dances published after Schubert's death : Diabelli and op. 127 (D. 146) ; The dances edited by Brahms ; The remaining dance publications.

Of the several genres comprising Schubert's prodigious compositional output, the one that has attracted the least attention from scholars has been his approximately 500 dances. Of these, more than 200 were published during his lifetime, twice as many as his songs; and they were received enthusiastically by the public. Yet, strangely enough, there has been only one slim volume devoted to the subject and it is in German: Schubert und das Tanzvergnugen (Schubert and the Enjoyment of the Dance). A translation of the opening section of that book forms the Introduction to our volume where it is entitled "Dancing in Vienna in the Early 19th Century." Although the composer's dances have been enjoyed in the United States and England by pianists and their pupils for generations, the current book is the first in English about them. Furthermore, there are relatively few articles or commentaries of substance that treat them seriously. Our publication begins with chapters on the minuets, all of which were written for members of his family, and his ecosaisses, primarily intended for his friends. Later another section is devoted to the polonaises and his other four hand dances, works that Schubert composed mainly for his only serious students, the Countesses Marie and Caroline Esterhazy. But by far the largest portion of the volume is devoted to the quick, triple-meter compositions Schubert labelled German dances or landler, although his publishers most often gave them the title of Waltzes. The composer, however, used the term Walzer just once in his lifetime; and he did so in the course of a humorous poem to rhyme with the word Pfalzer, an inhabitant of the Rhine region of Germany, at the conclusion of a dance he in fact called a Deutscher (German dance). In the course of studying the dances a number of points insufficiently, or not at all, discussed in the Schubert literature has emerged. For one thing forty, approximately 8% of these relatively short compositions--most are only 16 or 24 measures in length--begin and end in different keys. This is and aspect of Schubert's remarkable harmonic imagination also visible in some 75 of his well over 600 songs. Another aspect of interest is that, despite their similarity in meter and tempo, there is a considerable difference in musical character between the dances Schubert called German dances and those he labelled landler. A third noteworthy feature of the composer's dances is the manner in which all of his later published dance sets, those which appeared from late 1825 to the end of his life in 1828 are organised tonally. They all begin and end in the same key. And, furthermore, they display close inner relationships as well. In contrast, of his earlier dance sets, those issued from 1821 to early 1825, a single group, the twelve waltzes of Op. 18 (D. 145), is rounded tonally in similar fashion. Finally, of the eminent composers influenced by Schubert, there are three who were particularly fascinated by his dances: Robert Schumann, Franz Liszt, and Johannes Brahms. Their frequently expressed warm admiration for the composer, and especially their deep concern for his dances, are treated in the closing section of this volume, the Epilogue.
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Now available in English, this is an essential, intellectually engaging but concise discussion of the complex and multi-faceted tasks in the traditional scholarly editing of music. Examining the relationships of music and language, tradition and understanding, work and text, Feder describes the fundamentals of music philology and its tasks.
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Schubert is known to everyone as the composer of many of the worlds finest songs, but he also excelled as a composer of abundant instrumental music during his short life. The Symphony in C major, D944, is his last and, in the opinion of many, his greatest work for orchestra. This short book surveys the symphonys historical background in the context of Schuberts orchestral works from his earliest years as a composer as well as its performance history, and offers a detailed formal and tonal analysis of each of its four movements. Music students, professional scholars, and ordinary listeners alike will find this book a valuable guide to one of the most beloved symphonies of all time. Mark DeVoto, professor emeritus of Music at Tufts University, has published extensively on the music of Alban Berg and Claude Debussy (Debussy and the Veil of Tonality: Essays On His Music, Pendragon Press, 2004), and edited the revised 4th and 5th editions of Walter Pistons Harmony.
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• Naming the era
• The proposal : the first main theme
• The proposal : the second main theme
• Synergy of forces
• Defining the expressive ideal
• Vocal art and the expressive ideal
• Instrumental art and the expressive ideal
• Intensity and interrelationships in the arts
• Coda.

What shall we call the era in Western music history from 1750 to 1900? Listeners and scholars alike treasure the works of its great composers: Mozart, Beethoven, Chopin, Wagner, Tchaikovsky. A powerfully symbolic name, though - analogous to 'baroque' for the previous era -still eludes us. We refer constantly to two trends, classical and romantic, which have substantive meaning for various composers' orientations and for ways of performing the music. But these two terms - whether understood as indicating consecutive or overlapping trends - do not plainly suggest the two main events of the age: the Industrial Revolution, and the democratic political upheavals of 1776, 1789, and 1848. Also, they do not acknowledge an emerging sense of humanity or the excitement of a passionate audience seeking recognition and expression. "Laudon's Era after the Baroque" proposes a powerful symbol for the new era while at the same time keeping traditional terminology intact. It looks at the age in a primarily positive manner while still acknowledging its darker aspects. In particular, it evokes the sphere of the newly recognized system of 'fine arts' and therefore has resonances for the visual and literary arts in addition to its primary focus on music. "The Era After the Baroque" advances an expressive ideal that is traced in both vocal and instrumental music during that century and a half. It stresses that music was not an art unique and set apart but rather participated in the great dissemination of education and artistic opportunity that was then emerging in the context of an increasingly human-centered concept of freedom.
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