Peter Mercer-Taylor – författare

In the decades leading up to the Civil War, most Americans probably encountered European classical music primarily through hymn tunes. Hymnody was the most popular and commercially successful genre of the antebellum period in the United States, and the unquenchable thirst for new tunes to sing led to a phenomenon largely forgotten today: in their search for fresh material, editors lifted hundreds of tunes from the works of major classical composers to use as settings of psalms and hymns. The few that remain popular today — millions have sung "Joyful, Joyful We Adore Thee" to Beethoven and "Hark, The Herald Angels Sing" to Mendelssohn — are vestiges of one of the most distinctive trends in antebellum music-making.Gems of Exquisite Beauty is the first in-depth study of the historical rise and fall of this adaptation practice, its artistic achievements, and its place in nineteenth-century American musical life. It traces the contributions of pioneering figures like Arthur Clifton and the impact of bestsellers like the Handel and Haydn Society Collection, which helped turn Lowell Mason into America's most influential musician. By telling the tales of these hymns and those who brought them into the world, author Peter Mercer-Taylor reveals a central part of the history of how the American public first came to meet and creatively engage with Europe's rich musical practices.

In the decades leading up to the Civil War, most Americans probably encountered European classical music primarily through hymn tunes. Hymnody was the most popular and commercially successful genre of the antebellum period in the United States, and the unquenchable thirst for new tunes to sing led to a phenomenon largely forgotten today: in their search for fresh material, editors lifted hundreds of tunes from the works of major classical composers to use as settings of psalms and hymns. The few that remain popular today ? millions have sung "Joyful, Joyful We Adore Thee" to Beethoven and "Hark, The Herald Angels Sing" to Mendelssohn ? are vestiges of one of the most distinctive trends in antebellum music-making. Gems of Exquisite Beauty is the first in-depth study of the historical rise and fall of this adaptation practice, its artistic achievements, and its place in nineteenth-century American musical life. It traces the contributions of pioneering figures like Arthur Clifton and the impact of bestsellers like the Handel and Haydn Society Collection, which helped turn Lowell Mason into America''s most influential musician. By telling the tales of these hymns and those who brought them into the world, author Peter Mercer-Taylor reveals a central part of the history of how the American public first came to meet and creatively engage with Europe''s rich musical practices.

In the decades leading up to the Civil War, most Americans probably encountered European classical music primarily through hymn tunes. Hymnody was the most popular and commercially successful genre of the antebellum period in the United States, and the unquenchable thirst for new tunes to sing led to a phenomenon largely forgotten today: in their search for fresh material, editors lifted hundreds of tunes from the works of major classical composers to use as settings of psalms and hymns. The few that remain popular today ? millions have sung "Joyful, Joyful We Adore Thee" to Beethoven and "Hark, The Herald Angels Sing" to Mendelssohn ? are vestiges of one of the most distinctive trends in antebellum music-making. Gems of Exquisite Beauty is the first in-depth study of the historical rise and fall of this adaptation practice, its artistic achievements, and its place in nineteenth-century American musical life. It traces the contributions of pioneering figures like Arthur Clifton and the impact of bestsellers like the Handel and Haydn Society Collection, which helped turn Lowell Mason into America''s most influential musician. By telling the tales of these hymns and those who brought them into the world, author Peter Mercer-Taylor reveals a central part of the history of how the American public first came to meet and creatively engage with Europe''s rich musical practices.

The Companion to Mendelssohn, is written by leading scholars in the field. In fourteen chapters they explore the life, work, and reception of a composer-performer once thought uniquely untroubled in life and art alike, but who is now broadly understood as one of the nineteenth century's most deeply problematic musical figures. The first section of the volume considers issues of biography, with chapters dedicated to Mendelssohn's role in the emergence of Europe's modern musical institutions, to the persistent tensions of his German-Jewish identity, and to his close but enigmatic relationship with his gifted older sister, Fanny. The following nine essays survey Mendelssohn's expansive and multi-faceted musical output, marked as it was by successes in almost every contemporary musical genre outside of opera. The volume's two closing essays confront, in turn, the turbulent course of Mendelssohn's posthumous reception and some of the challenges his music continues to pose for modern performers.

Famous for a handful of compositions that continue to sparkle with originality, Mendelssohn, as conductor and scholar, was also one of the principal architects of the musical canon that has underpinned concert life to this day. Mendelssohn was one of music's greatest child prodigies. This book roots his early years firmly in the cultural and familial histories that shaped his childhood: the rise of his grandfather, Moses, from obscure poverty to international renown as a philosopher; his aunts' leading role in turn-of-the-century salon culture; his father's career as one of Berlin's most successful bankers. At the same time, this book confronts head-on the myth that Mendelssohn's was a happy, untroubled existence. The composer's last decade was marked by ceaseless psychological turmoil, torn between a staggering performance schedule and a yearning to dedicate his life exclusively to the wife and children he adored, and to the compositional drive that was too often neglected.

Famous for a handful of compositions that continue to sparkle with originality, Mendelssohn, as conductor and scholar, was also one of the principal architects of the musical canon that has underpinned concert life to this day. Mendelssohn was one of music's greatest child prodigies. This book roots his early years firmly in the cultural and familial histories that shaped his childhood: the rise of his grandfather, Moses, from obscure poverty to international renown as a philosopher; his aunts' leading role in turn-of-the-century salon culture; his father's career as one of Berlin's most successful bankers. At the same time, this book confronts head-on the myth that Mendelssohn's was a happy, untroubled existence. The composer's last decade was marked by ceaseless psychological turmoil, torn between a staggering performance schedule and a yearning to dedicate his life exclusively to the wife and children he adored, and to the compositional drive that was too often neglected.

The Companion to Mendelssohn, is written by leading scholars in the field. In fourteen chapters they explore the life, work, and reception of a composer-performer once thought uniquely untroubled in life and art alike, but who is now broadly understood as one of the nineteenth century's most deeply problematic musical figures. The first section of the volume considers issues of biography, with chapters dedicated to Mendelssohn's role in the emergence of Europe's modern musical institutions, to the persistent tensions of his German-Jewish identity, and to his close but enigmatic relationship with his gifted older sister, Fanny. The following nine essays survey Mendelssohn's expansive and multi-faceted musical output, marked as it was by successes in almost every contemporary musical genre outside of opera. The volume's two closing essays confront, in turn, the turbulent course of Mendelssohn's posthumous reception and some of the challenges his music continues to pose for modern performers.

The Companion to Mendelssohn, is written by leading scholars in the field. In fourteen chapters they explore the life, work, and reception of a composer-performer once thought uniquely untroubled in life and art alike, but who is now broadly understood as one of the nineteenth century''s most deeply problematic musical figures. The first section of the volume considers issues of biography, with chapters dedicated to Mendelssohn''s role in the emergence of Europe''s modern musical institutions, to the persistent tensions of his German-Jewish identity, and to his close but enigmatic relationship with his gifted older sister, Fanny. The following nine essays survey Mendelssohn''s expansive and multi-faceted musical output, marked as it was by successes in almost every contemporary musical genre outside of opera. The volume''s two closing essays confront, in turn, the turbulent course of Mendelssohn''s posthumous reception and some of the challenges his music continues to pose for modern performers.