Composers Across Cultures – serie

Elliott Carter (1908-2012) was the foremost composer of classical music in America during the second half of the 20th century. Over the course of a career that spanned seven decades, he consistently produced works that critics hailed as creatively daring, intellectually demanding, and emotionally complex. Distancing himself from the various "schools" and movements that grew and waned in popularity during the postwar era, Carter cultivated a deeply personal musical style that he developed and refined up until the very end of his life. This book springs from author David Schiff's life-long interest in Elliott Carter's music and his close personal connection with the composer which spanned over forty years. This critical overview of Carter's life and work explores aspects of the composer's life about which he was usually reticent--and occasionally misleading--such as his complicated relationships with Charles Ives, Aaron Copland, Nicolas Nabokov, and his own parents. Schiff's study of Carter's complete oeuvre--from his politically charged Depression-era ballets to the deeply personal and reflective late works--is based on extensive study of the composer's personal sketches and letters. Featuring an in-depth look at the legacy project of Carter's final decade, seven settings of American modernist poetry by E.E. Cummings, T.S. Eliot, Marianne Moore, Ezra Pound, Wallace Stevens and William Carlos Williams, this newest addition to the Master Musicians Series paints with a fine brush the story of America's foremost composer of the second half of the twentieth century.

In this third edition of the classic Verdi, renowned authority Julian Budden offers a comprehensive overview of Verdi the man and the artist, tracing his ascent from humble beginnings to the status of a cultural patriarch of the new Italy, whose cause he had done much to promote, and demonstrating the gradual enlargement over the years of his artistic vision. This concise study is an accessible, insightful, and engaging summation of Verdi scholarship, acquainting the non-specialist with the personal details Verdi's life, with the operatic world in which he worked, and with his political ideas, his intellectual vision, and his powerful means of communicating them through his music. In his survey of the music itself, Budden emphasizes the unique character of each work as well as the developing sophistication of Verdi's style. He covers all of the operas, the late religious works, the songs, and the string quartet. A glossary explains even the most obscure operatic terms current in Verdi's time.

In this fully updated edition of his long-indispensable study, Malcolm MacDonald takes advantage of 30 years of recent scholarship, new biographical information, and deeper understanding of Schoenberg's aims and significance to produce a superb guide to Schoenberg's life and work. MacDonald demonstrates the indissoluble links among Schoenberg's musical language (particularly the enigmatic and influential twelve-tone method), his personal character, and his creative ideas, as well as the deep connection between his genius as a teacher and as a revolutionary composer.Exploring newly considered influences on the composer's early life, MacDonald offers a fresh perspective on Schoenberg's creative process and the emotional content of his music. For example, as a previously unsuspected source of childhood trauma, the author points to the Vienna Ringtheater disaster of 1881, in which hundreds of people were burned to death, including Schoenberg's uncle and aunt-whose orphaned children were then adopted by Schoenberg's parents. MacDonald brings such experiences to bear on the music itself, examining virtually every work in the oeuvre to demonstrate its vitality and many-sidedness. A chronology of Schoenberg's life, a work-list, an updated bibliography, and a greatly expanded list of personal allusions and references round out the study, and enhance this new edition.

Richard Strauss is an outlier in the context of twentieth century music. Some consider him a composer of the late romantic period, while others declare him a traitor of modernity for his role in National Socialism. Despite the controversy surrounding him, Strauss's works--even beyond his most well-known operas Elektra and Rosenkavalier--are present in the repertories of concert halls worldwide and continue to enjoy large audiences. The details of the composer's life, however, remain shrouded in mystery and gossip. Laurenz Lütteken's Strauss presents a fresh approach to understanding this elusive composer's life and works. Dispensing with stereotypes and sensationalism, it reveals Strauss to be a sensitive intellectual and representative of modernity, with all light and shade of the turn of the twentieth century.

The composer Thomas Tallis (c. 1505 - November 1585) lived and worked through much of the turbulent Tudor period in England. Unlike many of his contemporaries, he did not just react to radical change: he thrived on it. He helped invent new musical styles to meet the demands of the English Reformation. He revived and reimagined older musical forms for a new era. Fewer than a hundred of his works have survived, but they are incredibly diverse, from miniature settings of psalms and hymns to a monumental forty-voice motet.In this new biography, author Kerry McCarthy traces Tallis's long career from his youthful appointment at Dover Priory to his years as a senior member of the Chapel Royal, revisiting the most important documents of his life and a wide variety of his musical works. The book also takes readers on a guided journey along the River Thames to the palaces, castles, and houses where Tallis made music for the four monarchs he served. It ends with reflections on Tallis's will, his epitaph (whose complete text McCarthy has recently rediscovered), and other postmortem remembrances that give us a glimpse of his significant place in the sixteenth-century musical world. Tallis will be treasured by performers, scholars, Tudor enthusiasts, and anyone interested in English Renaissance music.

A new biography of which paints the most well-rounded and factually accurate portrait of the composer to dateRalph Vaughan Williams ranks among the most versatile, influential, and enduringly popular British musicians of his era. Throughout his wide-ranging career-as composer, conductor, editor, scholar, folksong collector, teacher, author, administrator, and philanthropist-Vaughan Williams worked tirelessly to improve the standards and quality of British musical life. His dedicated work ethic and fastidious attention to musical detail helped him forge a compelling and original expressive idiom grounded in a profound understanding of musical history and tradition, popularized in concert staples like the Tallis Fantasia, The Lark Ascending, A London Symphony, the Songs of Travel, and the Serenade to Music. Drawing upon both recent scholarship and newly accessible scores and correspondence, author Eric Saylor interweaves in Vaughan Williams an exploration of the composer's life - including new insights about his early career, military service in the Great War, and relationships with the women he loved and married - with chapters surveying his enormous body of music, spanning hymn tunes to operas, keyboard etudes to solo concerti, wind band music for amateurs to perhaps the finest symphonic cycle of the twentieth century. The resulting portrait reveals Vaughan Williams's complex artistry and dynamic personality, a portrayal often at odds with the avuncular persona of "Uncle Ralph" familiar to the public. This contemporary reassessment of the composer's life and works provides a concise and engaging overview of both, positioning Vaughan Williams as an artist of rare skill, sensitivity, and human insight.

Alban Berg (1885-1935), a student of Arnold Schoenberg and one of the most prominent composers of the Second Viennese School, is counted among the pioneers of twelve-tone serialism. His circle included not only the musicians of the Wiener modern but also prominent literary and artistic figures from Vienna's brilliant fin-de-siècle. In his short lifetime he composed two ground-breaking operas, Wozzeck and Lulu, as well as chamber works, songs, and symphonic compositions. His final completed work, the deeply moving and elegiac Violin Concerto, is performed by leading soloists across the world.This new life-and-works study from authors Bryan R. Simms and Charlotte Erwin delivers a fresh perspective formed from comprehensive study of primary sources that reveal the forces that shaped Berg's personality, career, and artistic outlook. One such force was Berg's wife, Helene Nahowski Berg, and the book provides a unique assessment of her role in the composer's life and work, as well as her later quest to shape his artistic legacy in the forty-one years of her widowhood. The authors present insightful analysis of all of Berg's major works, bringing into play Berg's own analyses of the music, many of which have not been considered in existing scholarship. Berg is an accessible and all-encompassing resource for all readers who wish to learn about the life and music of this composer, one of the great figures in modern music.

Bach has remained a figure of continuous fascination and interest to scholars and readers since the original Master Musicians Bach volume's publication in 1983 - even since its revision in 2000, understanding of Bach and his music's historical and cultural context has shifted substantially. Reflecting new biographical information that has only emerged in recent decades, author David Schulenberg contributes to an ongoing scholarly conversation about Bach with clarity and concision.Bach traces the man's emergence as a startlingly original organist and composer, describing his creative evolution, professional career, and family life from contemporary societal and cultural perspectives in early modern Europe. His experiences as student, music director, and teacher are examined alongside the music he produced in each of these roles, including early compositions for keyboard instruments, the great organ and harpsichord works of later years, vocal music, and other famous instrumental works, including the Brandenburg Concertos. Schulenberg also illuminates how Bach incorporated his contemporary environment into his work: he responded to music by other composers, to his audiences and employment conditions, and to developments in poetry, theology, and even the sciences. The author focuses on Bach's evolution as a composer by ultimately recognizing "Bach's world" in the specific cities, courts, and environments within and for which he composed. Dispensing with biographical minutiae and more closely examining the interplay between his life and his music, Bach presents a unique, grounded, and refreshing new framing of a brilliant composer.

In this completely rewritten and updated edition of his long-indispensable study, Malcolm MacDonald takes advantage of 30 years of recent scholarship, new biographical information, and deeper understanding of Schoenberg's aims and significance to produce a superb guide to Schoenberg's life and work. MacDonald demonstrates the indissoluble links among Schoenberg's musical language (particularly the enigmatic and influential twelve-tone method), his personal character, and his creative ideas, as well as the deep connection between his genius as a teacher and as a revolutionary composer.Exploring newly considered influences on the composer's early life, MacDonald offers a fresh perspective on Schoenberg's creative process and the emotional content of his music. For example, as a previously unsuspected source of childhood trauma, the author points to the Vienna Ringtheater disaster of 1881, in which hundreds of people were burned to death, including Schoenberg's uncle and aunt-whose orphaned children were then adopted by Schoenberg's parents. MacDonald brings such experiences to bear on the music itself, examining virtually every work in the oeuvre to demonstrate its vitality and many-sidedness. A chronology of Schoenberg's life, a work-list, an updated bibliography, and a greatly expanded list of personal allusions and references round out the study, and enhance this new edition.

Julian Budden, one of the world's foremost scholars of Italian opera and author of a monumental three-volume study of Verdi's works, now offers music lovers a major new biography of one of the giants of Italian opera, Giacomo Puccini.Blending astute musical analysis with a colorful account of Puccini's life, here is an illuminating look at some of the most popular operas in the repertoire, including Manon Lescaut, La Boheme, Tosca, Madama Butterfly, and Turandot. Budden provides an illuminating look at the process of putting an opera together, the cut-and-slash of nineteenth-century Italian opera--the struggle to find the right performers for the debut of La Boheme, Puccini's anxiety about completing Turandot (he in fact died of cancer before he did so), his animosity toward his rival Leoncavallo (whom he called Leonasino or "lion-ass"). Budden provides an informative analysis of the operas themselves, examining the music act by act. He highlights, among other things, the influence of Wagner on Puccini--alone among his Italian contemporaries, Puccini followed Wagner's example in bringing the motif into the forefront of his narrative, sometimes voicing the singer's unexpressed thoughts, sometimes sending out a signal to the audience of which the character is unaware. And Budden also paints an intriguing portrait of Puccini the man--talented but modest, a man who had friends from every walk of life: shopkeepers, priests, wealthy landowners, fellow artists. Affable, well mannered, gifted with a broad sense of fun, he rarely failed to charm all who met him. A new volume in the esteemed Master Musicians series, Puccini offers a masterful portrait of this beloved Italian composer.

Gioachino Rossini was one of the most influential, as well as one of the most industrious and emotionally complex of the great nineteenth-century composers. Between 1810 and 1829, he wrote 39 operas, a body of work, comic and serious, which transformed Italian opera and radically altered the course of opera in France. His retirement from operatic composition in 1829, at the age of 37, was widely assumed to be the act of a talented but lazy man. In reality, political events and a series of debilitating illnesses were the determining factors. After drafting the Stabat Mater in 1832, Rossini wrote no music of consequence for the best part of twenty-five years, before the clouds lifted and he began composing again in Paris in the late 1850s. During this glorious Indian summer of his career, he wrote 150 songs and solo piano pieces his 'Sins of Old Age' and his final masterpiece, the Petite Messe solennelle. The image of Rossini as a gifted but feckless amateur-the witty, high-spirited bon vivant who dashed off The Barber of Seville in a mere thirteen days-persisted down the years, until the centenary of his death in 1968 inaugurated a process of re-evaluation by scholars, performers, and writers. The original 1985 edition of Richard Osborne's pioneering and widely acclaimed Rossini redefined the life and provided detailed analyses of the complete Rossini oeuvre. Twenty years on, all Rossini's operas have been staged and recorded, a Critical Edition of his works is well advanced, and a scholarly edition of his correspondence, including 250 previously unknown letters from Rossini to his parents, is in progress. Drawing on these past two decades of scholarship and performance, this new edition of Rossini provides the most detailed portrait we have yet had of one of the worlds best-loved and most enigmatic composers.

Wolfgang Amadeus Mozart is one of the great icons of Western music. An amazing prodigy--he toured the capitals of Europe while still a child, astonishing royalty and professional musicians with his precocious skills--he wrote as an adult some of the finest music in the entire European tradition. Julian Rushton offers a concise and up-to-date biography of this musical genius, combining a well-researched life of the composer with an introduction to the works--symphonic, chamber, sacred, and theatrical--of one of the few musicians in history to have written undisputed masterpieces in every genre open to composers of his time. Rushton offers a vivid portrait of the composer, ranging from Mozart the Wunderkind--travelling with his family from Salzburg to Vienna, Paris, London, Rome, and Milan--to the mature author of such classic works as "The Marriage of Figaro", "Don Giovanni", and "The Magic Flute". During the past half-century, scholars have thoroughly explored Mozart's life and music, offering new interpretations of his compositions based on their historical context and providing a factual basis for confirming or, more often, debunking fanciful accounts of the man and his work. Rushton takes full advantage of these biographical and musical studies as well as the definitive New Mozart Edition to provide an accurate account of Mozart's life and, equally important, an insightful look at the music itself, complete with musical examples. An engaging biography for general readers that will also be an informative resource for scholars, this new addition to the prestigious Master Musicians series offers an authoritative portrait of one of the defining figures of European culture.

Published in its first edition in 1983, Boyd's treatment of this canonical composer is essential reading for students, scholars, and everyone interested in Baroque music. In this third edition, biographical chapters alternate with commentary on the works, to demonstrate how the circumstances of Bach's life helped to shape the music he wrote at various periods. We follow Bach as he travels from Arnstadt and Muhlhausen to Weimar, Cöthen, and finally Leipzig, these journeys alternating with insightful discussions of the great composer's organ and orchestral compositions. As well as presenting a rounded picture of Bach, his music, and his posthumous reputation and influence, Malcolm Boyd considers the sometimes controversial topics of "parody" and arrangement, number symbolism, and the style and meaning of Bach's late works. Recent theories on the constitution of Bach's performing forces at Leipzig are also present. The text and the appendixes (which include a chronology, personalia, bibliography, and a complete catalogue of Bach's works) were thoroughly revised in this edition to take account of more recent research undertaken by Bach scholars, including the gold mine of new information uncovered in the former USSR.

Originally published as the centenary celebration volume in the Master Musicians series, Barry Cooper's Beethoven incorporates international research on many aspects of the composer's life and work and presents these in a truly integrated narrative. His chronological approach enables each work to be seen against the musical and biographical background from which it emerged. The resulting highly readable confluence of life and work is made possible - and indeed required - by the fact that composition was Beethoven's central preoccupation for most of his life, and Cooper presents a clear picture of his day-to-day compositional activity. This volume concentrates on Beethoven's artistic achievements both by examining the origins of his works and by expert commentary on some of their most striking and original features. It also reexamines virtually all the evidence - from fictitious anecdotes right down to the translations of individual German words - to avoid recycling old errors. Cooper makes impressive use of Beethoven's sketch books and conversation books in a well-formulated effort to settle controversial matters - particularly those surrounding Anton Schindler, close associate of the composer during the 1820s and infamous subject of current discussion in Beethoven studies. A unique edition of Beethoven's correspondence rounds out this presentation of one of history's greatest composers. Offering a wealth of fresh conclusions and intertwining life and work in illuminating ways, Beethoven is an essential reference for students, scholars, and everyone interested in classical music.

In this third edition of the classic Verdi, renowned authority Julian Budden offers a comprehensive overview of Verdi the man and the artist, tracing his ascent from humble beginnings to the status of a cultural patriarch of the new Italy, whose cause he had done much to promote, and demonstrating the gradual enlargement over the years of his artistic vision. This concise study is an accessible, insightful, and engaging summation of Verdi scholarship, acquainting the non-specialist with the personal details Verdi's life, with the operatic world in which he worked, and with his political ideas, his intellectual vision, and his powerful means of communicating them through his music. In his survey of the music itself, Budden emphasizes the unique character of each work as well as the developing sophistication of Verdi's style. He covers all of the operas, the late religious works, the songs, and the string quartet. A glossary explains even the most obscure operatic terms current in Verdi's time.

A giant in the pantheon of 19th century composers, Tchaikovsky continues to enthrall audiences today. From the Nutcracker--arguably the most popular ballet currently on the boards--Swan Lake, and Sleeping Beauty, to Eugene Onegin and Pique Dame, to the Symphony Pathetique and the always rousing, canon-blasting 1812 Overture--this prolific and beloved composer's works are perennial favorites. Now, John Wiley, a renowned Tchaikovsky scholar, provides a fresh biography aimed in classic Master Musicians style at the student and music lover. Wiley deftly draws on documents from imperial, Soviet, and post-Soviet era sources, providing a more balanced look at recent controversies surrounding the marriage, death, and sexuality of the composer. The author dovetails the biographical material with separate chapters that treat the music thoroughly and fully, work-by-work, with more substantial explorations of Tchaikovsky's most familiar compositions. These analyses present new, even iconoclastic perspectives on the music and the composer's intent and expression. Several informative appendices, in the Master Musicians format, include an exhaustive list of works and bibliography.

Wolfgang Amadeus Mozart is one of the great icons of Western music. An amazing prodigy who toured the capitals of Europe as a child, astonishing royalty and professional musicians with his precocious skills, in his adulthood he wrote some of the finest music in the European tradition. Julian Rushton offers a concise and up-to-date biography of this musical genius, combining a well-researched life of the composer with an introduction to the works--symphonic, chamber, sacred, and theatrical--of one of the few who have composed undisputed masterpieces in every genre of his time. Rushton presents a vivid portrait, ranging from Mozart the Wunderkind--travelling with his family from Salzburg to Vienna, Paris, London, Rome, and Milan--to the mature composer of perennially fascinating operas such as "The Marriage of Figaro," "Don Giovanni," and "The Magic Flute." During the past half-century, scholars have thoroughly explored Mozart's life and music, offering new interpretations based on their historical context, and providing a factual basis for confirming or more often debunking, fanciful accounts of the man and his work. Rushton takes full advantage of these biographical and musical studies as well as the definitive New Mozart Edition to provide an accurate account of Mozart's life and, equally important, an insightful look at the music itself, complete with illustrative musical examples. An engaging biography for general readers that will also be an informative resource for scholars, this new addition to the prestigious Master Musicians series puts forward an authoritative interpretation of one of the defining figures of European culture. "Crisp, learned."--Alex Ross, The New Yorker"The finest short biography of Mozart that I know--incisive, insightful, and elegantly written. If I had to recommend one book that explained the man and his music, this would be it." --Cliff Eisen, Department of Music, King's College London"Always sensitive, judicious, and stimulating. It is too short--not too short for Mozart but for Rushton, who has certainly much more to say that would be of interest."--Charles Rosen, The New York Review of Books"A valuable addition to the ever-growing literature on Mozart." --Library Journal

The foremost composer under the reign of Elizabeth I and James I, William Byrd (c. 1540 - 1623) produced countless masses, motets, polyphonic songs, and works for keyboard and instrumental consort, all of which rank among the most unique and inspired works of the late Renaissance. His output was widely admired both at the time and now, and the influence he exerted on his contemporaries and on future generations of English composers was profound. Byrd was especially well-known for his motets, a musical form which he - a practicing Catholic in Anglican England and composer for the English Chapel Royal - especially favored, in spite of the threats of religious persecution he routinely faced. This biography takes a new look at Byrd's music - instrumental and vocal, sacred and secular - and the various documents of his long life. Exploring the musical world in which Byrd grew up, author Kerry McCarthy traces his influence on the English musicians of the early Baroque, many of whom were his students, and takes on the uncomfortable paradoxes of the composer's life as a devout and influential Catholic who spent much of his career in the service of the English Protestant establishment. McCarthy also pays special attention to Byrd's literary background and activities as an older contemporary of Shakespeare who enjoyed close ties to the Elizabethan and Jacobean literary world. A detailed, fresh, and readable account of a composer who was revered by his colleagues as "our Phoenix" and "a Father of Music", Byrd is essential reading for scholars, students, and performers of early music, as well as general readers interested in the musical world of Renaissance England.

Dowland celebrates the story of one of the most important composers to emerge from early modern England. This book contextualizes the geographical, political, religious, cultural, and musical aspects of the life of John Dowland (1563-1626). It provides a window into life as a musician in the Elizabethan-Jacobean era, illuminating the importance of social, courtly, and academic connections as it closely explores the composer's musical compositions. During his lifetime, Dowland was well-known for his prowess as a performing lutenist who established a reputation not only in England, but also in the German and Italian lands, Denmark, and beyond. His lute solos and duos survive in manuscripts collected across Europe. He also issued four books of lute song-ayres, including the most successful secular music anthology of the era, one collection of consort music, and a theoretical translation, all printed in London. In these publications, Dowland utilized innovative print formats and set new standards for contemporary genres. Collectively, Dowland's compositions and writings present the self-styled image of a man always seeking more. This book places these activities within a biographical timeline of ongoing artistic, commercial, and reputational pursuits. As a complete record, Dowland captures the entrepreneurial resourcefulness of the foremost musician of his day, a performing composer who understood expected conventions, seized opportunities, and created a musical legacy that still stands firm 400 years after his death.

Composer, pianist, teacher, and social-justice activist Margaret Bonds fought against racism, sexism, and economic injustice throughout her career, amassing a portfolio of social-justice compositions unrivalled in eloquence and originality which challenged longstanding barriers between Black and White, male and female, popular and classical. During her lifetime the political economy of music publishing consigned most of her music to manuscript dissemination, and since her death -- despite the enduring popularity of works such as He's Got the Whole World in His Hand and The Ballad of the Brown King -- her success in transcending the barriers she faced as an African American and a woman has been obscured by the forces of racism and sexism in concert life, which, together with White- and male-dominated music historiography, have viewed her life and work through the lens of specious, racist, and sexist tropes. This book draws on an unprecedented mass of archival evidence to set aside those tropes and offer a fresh portrait of Margaret Bonds. Examining her published and unpublished music, it shows how the child prodigy rose to become the first African American woman whose music was performed widely in Africa; one of the first African American women whose music was broadcast on European radio; the first African American woman and pianist to perform with a major U.S. orchestra; the second African American woman in classical music to attain full membership in ASCAP; the first woman Black or White to win not one or two, but three, awards from that predominantly White and male organization; the lasting musical voice of Langston Hughes; and the teacher of other notables including Ned Rorem and Cheryl Wall. It thus shows how the confluence of natural genius, matrilineal and racial pride, faith, and support from the community of African American artists, intellectuals, and institutions enabled Margaret Bonds to become one of the most extraordinary figures in all of twentieth-century music. In response to the increasing globalization of music, the Composers across Cultures series, formerly the Master Musicians series, seeks to explore the inexhaustible diversity of music, and its common links to our shared humanity.

Bellini is the most complete monograph ever published to-date on the life and legacy of the composer from Catania. His achievements, presented in the historical-social context of his time, explore his relationships with educational institutions, the theatrical production system and the literary world, and impresarios, publishers, librettists, and other musicians alike. Each chapter is dedicated to a period of Bellini's life and the cities in which he worked: Catania, Naples, Milan, Venice, London, and Paris.Of Bellini's ten operas, only three are well-loved by the public; the other seven are rarely performed, and thus, are relatively unknown. Bellini provides essential information on these lesser-known works, offering summaries of their synopses as well as discussions of various number of significant scenes and passages therein. Fabrizio Della Seta also explores the relationships between Bellini and the most famous singers of his time, such as Giuditta Pasta and Giovanni Battista Rubini, and the role his contemporaries played in shaping his musical style.Through a close, in-depth exploration of Bellini's operas, chamber music, and sacred and instrumental music, Della Seta positions the composer not only as a creator of memorable melodies, but as a first-rate dramatist whose musical structures were imbued with cultural meaning and historical significance.

Celebrated during his lifetime, Monteverdi disappeared from the repertory for centuries until interest in him gradually revived over the last hundred years. Denis Arnold's contribution to this revival was considerable. Here he pays tribute to Monteverdi's genius and such enduring achievements as the Vespers, other choral compositions, the operas, and the sacred and secular songs. In relating Monteverdi to the musical activity of his time, and in examining his years at the Court of Mantua and in Venice, Denis Arnold reveals a fascinating musician whose works epitomize in many varied ways the musical and cultural issues of his age.The text and appendices of this edition were revised by Tim Carter, who added a new chapter taking account of recent scholarship.

Revised to mark the centenary of Tchaikovsky's death and the recent upsurge of interest in his music, Edward Garden's study assesses the operas, ballets and other works against the background of the composer's eventful life: his ill-judged marriage, his curious pen-friendship with his patron Nadezhda von Meck, and his relationship with Balakirev and other Russian composers. Edward Garden also examines conflicting theories on the manner of Tchaikovsky's death.

Bridging the nineteenth- and the twentieth-centuries, the late-Romantic tradition and the beginnings of modernism, Mahler's music is an intimate reflection of his life and thought - and his continual self-questioning on matters of belief and the role of mankind. In this revised and enlarged edition of his Master Musicians volume, Michael Kennedy has drawn on new documentary evidence which has enabled him to give a much fuller account of Mahler's childhood and youth, and of his years as an opera conductor in Cassel, Prague, Leipzig, Budapest, Hamburg, and Vienna. All of Mahler's works are discussed and for the reprint in 2000 the author has added a new chapter covering recent research on the composer.

In this comprehensive life-and-works study, Hugh Macdonald draws on Berlioz's numerous writings - his Memoires, his critical articles, and his extensive correspondence, including many unpublished documents. Berlioz's provincial upbringing, his enthusiasm for Parisian opera and theatre, his marriage to the actress Harriet Smithson, his activities as composer, critic, and conductor, are covered in a biographical section which concludes with a chapter on his character. Discussion of the music is chronological, from the time when Berlioz arrived in Paris in 1821 to study medicine, through the peak of French Romanticism in the 1830's, to the compositions of his later years. In a final chapter Hugh Macdonald traces influences on Berlioz's style and examines his treatment of melody, harmony, and rhythm, and his distinctive orchestral technique.

Brahms has long been considered an arch-conservative, the last Classical master, but modern research reveals a troubled and self-critical Romantic whose genius united the emotionalism of his times with Classical principles. Malcolm MacDonald demonstrates how the musical and personal character of this great composer are inextricably entwined: how the man speaks in his music.

In print for nearly fifty years and based on Philip Radcliffe's exceptionally wide knowledge of the Classical and Romantic repertoires, this 'life and works' of Mendelssohn has been periodically updated to incorporate modern research on the composer. In the second half of the twentieth-century Mendelssohn studies have ranged from his intellectual and social background to his attitude to Bach, Handel, and other earlier composers. His formative years have come under scrutiny, as well as his relationship with his sister Fanny, who has attracted interest as a musician in her own right. Of crucial importance to scholars has been the re-emergence in Krakow of the large number of Mendelssohn manuscripts considered lost since their removal from Berlin for safekeeping during World War II. Thanks to this discovery, virtually all the composer's manuscripts are once again available for study. Peter Ward Jones took account of all these developments in revising the text and appendices for this (1990) edition.

Vivaldi has emerged during the last decades as a truly major composer of the early eighteenth-century. Taking account of recent research, to which he himself has made important contributions-including the discovery in 1973 of an unknown set of violin sonatas-Michael Talbot examines the life and works of this remarkable musician in their Venetian, Italian, and international settings.