Marie Sumner Lott – författare

Music played an important role in the social life of nineteenth-century Europe, and music in the home provided a convenient way to entertain and communicate among friends and colleagues. String chamber music, in particular, fostered social interactions that helped build communities within communities. Marie Sumner Lott examines the music available to musical consumers in the nineteenth century, and what that music tells us about their tastes, priorities, and activities. Her social history of chamber music performance places the works of canonic composers such as Schubert, Brahms, and Dvoøák 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, Sumner Lott 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.Insightful and groundbreaking, The Social Worlds of Nineteenth-Century Chamber Music 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.

Music played an important role in the social life of nineteenth-century Europe, and music in the home provided a convenient way to entertain and communicate among friends and colleagues. String chamber music, in particular, fostered social interactions that helped build communities within communities.

Marie Sumner Lott examines the music available to musical consumers in the nineteenth century, and what that music tells us about their tastes, priorities, and activities. Her social history of chamber music performance places the works of canonic composers such as Schubert, Brahms, and Dvoøák 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, Sumner Lott 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.

Insightful and groundbreaking, The Social Worlds of Nineteenth-Century Chamber Music 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.

As well as being a virtuoso pianist, Louise Farrenc became the first woman to hold a permanent position as Professor at the Paris Conservatoire while continuing to compose symphonic and chamber music. This handbook introduces readers to Farrenc and her contemporaries with a focus on professional women musicians in nineteenth-century Paris. Farrenc's music was much admired by her contemporaries including Robert Schumann and Hector Berlioz. The acclaimed Nonet (1849) incorporated playful dialogue within the ensemble, virtuosic display, and an artful balance of newer and older compositional methods, garnering critical and artistic success and official recognition for the composer. Its performance history shows how musicians managed the logistics of professional life: forming and sustaining relationships, organizing concerts and tours, and promoting their work in the musical press. The book's nuanced analytical approach and historical insights will allow students, performers and listeners a fresh appreciation of Farrenc's work.

As well as being a virtuoso pianist, Louise Farrenc became the first woman to hold a permanent position as Professor at the Paris Conservatoire while continuing to compose symphonic and chamber music. This handbook introduces readers to Farrenc and her contemporaries with a focus on professional women musicians in nineteenth-century Paris. Farrenc's music was much admired by her contemporaries including Robert Schumann and Hector Berlioz. The acclaimed Nonet (1849) incorporated playful dialogue within the ensemble, virtuosic display, and an artful balance of newer and older compositional methods, garnering critical and artistic success and official recognition for the composer. Its performance history shows how musicians managed the logistics of professional life: forming and sustaining relationships, organizing concerts and tours, and promoting their work in the musical press. The book's nuanced analytical approach and historical insights will allow students, performers and listeners a fresh appreciation of Farrenc's work.