Music of the Romantic Era

instructor:

Dr. Blake Howe [bhowe@|su.edu]

M&DA297

meetings:

Mondays,Wednesdays, and Fridays, 9:30‐10:20

M&DA245

office hours:

Fridays, 10:30-11:30

Struggle and Triumph

MusicLudwigvan Beethoven, Symphony No. 5 in CMinor, Op. 67 (1804‐08)

Ludwigvan Beethoven, Fidelio,Op. 72 (1805, rev. 1814)0 Act II, Scene 1 (No. 11, “Gott! Welch' Dunkel hier!“)0 Act II, Scene 2 (No. 16, “Heil! Heil sei dem Tag"!)

Primary SourcesLudwigvan Beethoven, Letter to Carl andJohann Beethoven (6 October 1802), translated in Music in the Western World:AHistory in Documents, 2nd ed., ed. PieroWeiss and Richard Taruskin (Belmont, CA: Schirmer Cengage Learning, 2008),277‐79.

Christian Friedrich Michaelis, "Einige Bemerkungen Uber das Erhabene der Musik” (“Some Remarks on the Sublime in Music,"1805), excerpted and translated in MusicandAesthetics in the EighteenthandEarly-Nineteenth Centuries, ed. Peter le HurayandJames Day, abridged edition (Cambridge: Cambridge University Press, 1988), 202‐03.

E.T. A. Hoffmann, "Beethovens Instrumental-Musik" (1813), translated as"Beethoven’s Instrumental Music," in Strunk's SourceReadings in MusicHistory, revised edition, ed. Leo Treitler (NewYork and London:W.W. Norton, 1998), 1193-98.

Historical/Analytical StudiesJoseph Kerman, "Beethoven’s Minority," in WriteAll These Down:Essayson Music(Berkeley, LosAngeles, and London:University of California Press, 1998), 217‐37.

MoralLawWithin, Starry Skies Above

MusicLudwigvan Beethoven, Piano Sonata No. 32 in CMinor, Op. 111 (1821‐22):

0 Second movement, Arietta: Adagio molto semplice e cantabile

Ludwigvan Beethoven, StringQuartet No. 15 in A Minor, Op. 132 (1825):0 Third movement, Molto Adagio‐Andante (HeiligerDankgesangeines Genesenen an die Gottheit, in der lydischen

Tonart)

Primary SourcesImmanuel Kant, Kritik derpraktischen Vernunft(1788), as excerpted and translated in Paul Guyer, "Introduction: The StarryHeavens and the Moral Law," in The Cambridge Companion to KantandModernPhilosophy, ed. Paul Guyer (Cambridge:Cambridge University Press, 2006), 1.

Friedrich Schiller, Ubernaive andsentimentalische Dichtung(1795), translated as OnNaiveandSentimentalPoetry, trans. anded.William F.Wertz,Jr., The Schiller Institute, selected excerpts.

G.W. F. Hegel, Phanomenologie des Geistes(1807), translated as The Phenomenologyof Mind, trans. J.B.Baillie (NewYork:Macmillan, 1910), selected excerpts.

Historical/Analytical StudiesTheodor W.Adorno, Beethoven: The Philosophyof Music, ed. RolfTiedemann, trans. EdmundJephcott (Stanford: StanfordUniversity Press, 1998), 123‐26.

Maynard Solomon, "Some RomanticImages," in LateBeethoven:Music, Thought, Imagination(Berkeley, LosAngeles, London:University of California Press, 2004), 42-70.

The Ninth

MusicLudwigvan Beethoven, Symphony No. 9 in DMinor, Op. 125 (1824)

Primary SourcesHector Berlioz, "Etude critique des symphonies de Beethoven" (1862), translated asA CriticalStudyof Beethoven'sNineSymphonies, trans. Edwin Evans (London: William Reeves, 1958), 103‐17.

RichardWagner, program notes for Beethoven's Symphony No. 9 (1846), translated in Thomas 5. Grey, "Wagner IntroducesWagner (and Beethoven): Program NotesWritten for Concert Performances by and of RichardWagner," in RichardWagnerandHis World, ed. Thomas 5. Grey (Princeton and Oxford: Princeton University Press, 2009), 480-90.

Historical/Analytical StudiesMaynard Solomon, "Beethoven's Ninth Symphony: A Search for Order,“ 79th-Centu1yMus/c10 (1986): 3‐23.

Interiority

MusicJohn Field, Nocturne No.4 in A Major(1817)

Franz Schubert, Momentmusicalin A flat Major, Op. 94, No. 6, D. 780 (ca. 1823‐28)

Franz Schubert, Impromptu in Eflat Major, Op. 90, No.2, D. 899 (1827)

Clara Schumann, SoiréesMusicales, 0p. 6 (1836) :0 No.2, Notturno in FMajor

Primary SourcesWilhelm Wackenroder, ”Das merkardige musikalische Leben des TonkUnstlersJoseph Berglingei" (1797), translated as "TheRemarkable Musical Life of the Musicianjoseph Berglinger" in Strunk’sSource Readings in MusicHistory, revised edition, ed.Leo Treitler (NewYork and London:W.W. Norton, 1998), 1061-72.

Franz Liszt, Preface tojohn Field, 18Nocturnes(1859), excerpted and translated in PieroWeiss and RichardTaruskin, eds.,Music in the Western World:A History in Documents, 2nd ed. (Belmont, CA: Schirmer Cengage Learning, 2008),311‐13.

Historical/Analytical StudiesNicholasTemperley, "John Field and the First Nocturne," Music& Letters56 (1975): 335‐40.

Projections of Subjectivity

MusicFranz Schubert, "Nachthelle," D. 892 (1826)

Franz Schubert, String Quintet in CMajor, D. 956 (1828):0 First movement,Allegro ma non troppo

Franz Schubert, Piano Sonata in Bflat Major D.960 (1828):0 First movement, Molto moderato

Primary SourcesFranz Schubert,notebook entries from 25 March 1824 to 29 March 1824, as translated in Otto Erich Deutsch, ed., Schubert:ADocumentaryBiography, trans. Eric Blom (London:J. M. Dent & Sons, 1946),336‐37.

Eduard von Bauernfeld,Josef Kenner, andJosef von Spaun, reminiscences of Schubert collected by biographer Ferdinand Luib(1857‐58), as translated in Otto Erich Deutsch, ed., Schubert:Memoirs by HisFriends, trans. Rosamond Ley andJohn Nowell(NewYork: Macmillan, 1958), 45‐46, 81‐82, and 125‐44.

Historical/Analytical StudiesRichard L.Cohn, "AsWonderful asStar Clusters: Instruments for Gazing at Tonality in Schubert," 19th-CenturyMusic22 (1999):213‐32.

Lieder im Volkston

MusicLudwigvan Beethoven,An die ferne Geliebte, Op. 98 (1816)

Franz Schubert, “Heidenrdslein,” Op. 3, No.3, D. 257 (1815)

Franz Schubert, “Nahe des Geliebten,“ Op. 5, No. 2, D. 162 (1815)

Franz Schubert, Winterreise, Op. 89, D. 911 (1827):o No. 5, "Der Lindenbaum"

Primary SourcesJohann Abraham Peter Schulz, Preface to Liederim Volkston, 2nd ed. (Songs in the Tone of the People, 1785), translated byDavid Gramit in CultivatingMusic: TheAspirations, Interests, andLimits of German MusicalCulture, 1770‐7848(Berkeley, LosAngeles, and London: University of California Press, 2002), 66‐67.

Johann Wolfgang von Goethe, miscellaneous writings on music and song (1801‐23), excerpted from Lorraine Byrne Bodley,Schubert’s Goethe Settings (Hampshire and Burlington: Ashgate, 2003), 3‐24.

Historical/Analytical StudiesWalter Frisch, "Schubert's Nahe des Ge/iebten(D. 162): Transformation of the Volkston," in Schubert: CriticalandAnalyticalStudies, ed. Walter Frisch (Lincoln and Nebraska: University of Nebraska Press), 175‐99.

Music of Nationhood

MusicFelix Mendelssohn, Symphony No. S in D Minor, Op. 107 ("Reformation," 1830):

0 First movement,Andante ‐ Allegro con fuoco0 Fourth movement, Andante con moto ‐ Allegro vivace ‐ Allegro maestoso

Felix Mendelssohn, Paulus,Op. 36 (1834‐36):0 Overture, No. 1 ("Herr! Du bist der Gott"),and No. 2 ("Allein Gott in der Hoh' sei Ehr’")o No. 35, Recitative ("Da das die Apostel horen") and Chorus ("Aber unser Gott ist im HimmeI")

Primary SourcesFelix Mendelssohn and Abraham Mendelssohn, excerpts from the letters of 1SJune 1830, 16 October 1830, 15July 1831, 6October 1831, 4 March 1833, and 10March 1835, as translated inJudith Silber, ”Mendelssohn and His ‘Reformation' Symphony,"journal of theAmerican MusicologicalSociety40 (1987): 310‐36; Letters from ItalyandSwitzerlandby FelixMendelssohnBartholdy, trans. LadyWallace (London: Longman, Green, Longman, and Roberts, 1862); and Letters of FelixMendelssohnBartholdy from 1833 to 1847, ed. Paul Mendelssohn Bartholdy and Carl Mendelssohn Bartholdy, trans. LadyWallace (London:Longmans, Green, 1867).

Historical/Analytical StudiesWolfgang Dinglinger, ”The Programme of Mendelssohn's 'Reformation' Symphony," trans.John Michael Cooper, in TheMendelssohns: TheirMusic in History, ed.John Michael Cooper andJulie D.Prandi (Oxford: Oxford University Press, 2002), 115‑34.

FairyMagic

MusicFelix Mendelssohn, Octet in Eflat Major, Op. 20 (1825):

0 Third movement, Scherzo

Felix Mendelssohn, Overture for A MidsummerNight’sDream, Op. 21 (1826)

HectorBerlioz, Roméo etjuliette, Op. 17 (1839):0 Second part, fourth movement, Scherzo (La reine Mab, reine des songes)

Fanny Hensel, Dasjahr, H.385 (1841)o No. 2, "Februar" (Scherzo)

Primary SourcesJohann Christian Lobe, "Gesprache mit Mendelssohn" (1855), translated as "Conversations with Felix Mendelssohn" by SusanGillespie in MendelssohnandHis World, ed. R.LarryTodd (Princeton: PrincetonUniversity Press, 1991), 187‐205.

Historical/Analytical StudiesFrancesca Brittan, "On Microscopic Hearing: Fairy Magic, Natural Science, and the Scherzo fantastique," journal of the AmericanMusicologicalSociety64 (2011): 527‐600.

Eroico and Giocoso

MusicGioachino Rossini, Tancredi(1813):

0 Act I, Scene 5 (“Oh patria!" [par/ante], "Tu che accendi questo core" [cantabile], and "Di tanti palpiti" [cabaletta])

Gioachino Rossini, L’Italiana in Algeri(1813):o Overture0 Act I, Finale ‐ Scene 10 ("Viva, viva iI flagel delle donne"), Scene 11 ("Oh! Che muso, che figural"), Scene 12 ("V0’ star con

mia nopote"), and Scene 13 (“Pria di dividerci da voi")

Primary SourcesGioachino Rossini, et al., embellishments on “Di tanti palpiti," in EmbellishedOpera Arias, ed. Austin B.Caswell, Recent Researchin Music of the Nineteenth and Twentieth Centuries, vols. 7‐8 (Madison, WI: A-R Editions, 1989).

Stendahl, Vie de Rossini(1824),translated by Richard N. Coe as Life of Rossini(Seattle: University of Washington Press, 1972),54-57 and 123‐24.

Giuseppe Mazzini, Filosofia della musica(1836), translated as Philosophyof Music in Strunk’sSource Readings in MusicHistory,revised edition, ed. Leo Treitler (New York and London: W. W. Norton, 1998), 1085‐94.

Historical/Analytical StudiesPhilip Gossett, "Gioachino Rossini and the Conventions of Composition," Acta musicologica42 (1970): 48-58.

Belcanto Mania

MusicVincenzo Bellini, Norma (1831):

0 Act I, Scene 4 ("Sedizio se voce" [par/ante], "Casta diva" [cantabile], "Fine al rito" [tempo di mezzo], and "Ah! bello a meritorno" [cabalettaD

Gaetano Donizetti, Lucia diLammermoor(1835):0 Act III, Scene 2 (”Eccola!...|l dolce suono" [par/ante], “Splendon Ie sacre faci" [cantabile], ”S'avanza Enrico" [tempo di

mezzo], and ”Spargi d'amaro pianto" [cabaletta])

Primary SourcesStendahl, Vie de Rossini(1824), translated by Richard N. Coe as Life of Rossini(Seattle:University of Washington Press, 1972),361‐76 (Chapter 35, "Madame Pasta").

Edmond Michotte, Souvenirs: Une soirée chez Rossinia Beau-5éjours(ca. 1890, describing a meeting in 1858), translated inEdmond Michotte, Richard Wagner’s Visit to Rossini(Paris, 1860) andAn Eveningat Rossini’s in Beau-Sejour (Passy, 7858), trans.Herbert Weinstock (Chicago and London: University of Chicago Press, 1968), 102‐20.

Historical/Analytical StudiesSusan Rutherford, "‘La cantante delle passioni': Giuditta Pasta and the Idea of Operatic Performance," Cambridge Operajournal19 (2007): 107-38.

The Haunted Forest

MusicCarl Maria von Weber, DerFreischt'itz, Op. 77 (1821):

0 Overture0 Act II, Finale (“Milch des Mondes fiel auf's Kraut...")

Heinrich Marschner, Hans Heiling, Op. 80 (1832):0 Act II, Finale (“Ein geiziger, hartherziger Mann")

Primary SourcesMax Maria von Weber, KarlMaria von Weber: Ein Lebensbild(CarlMaria von Weber:A Biography, 1864‐66), excerpted andtranslated in Piero Weiss, Opera'A History in Documents (Oxford and New York: Oxford University Press, 2002), 175‐78.

Richard Wagner, "Le FreischUtz" (1841), translated in Richard Wagner’s Prose Works, trans. William Ashton Ellis (London: KeganPaul,Trench, TrUbner & Co., 1898), 7:183-204, selected excerpts.

Jacob and Wilhelm Grimm, “Die Heilingszwerge,“ in Deutsche Sagen(1816‐18), translated in The German Legends oftheBrothers Grimm, trans. Donald Ward (Philadelphia: Institute for the Study of Human Issues, 1981).

Historical/Analytical StudiesAnthony Newcomb, "New Light(s) on Weber's Wolf's Glen Scene," in Opera andthe Enlightenment, ed. Thomas Bauman andMarita Petzoldt McClymonds (Cambridge: Cambridge University Press, 1995), 61‐90.

41

n

The Danceof Death

MusicAdolphe Adam, Giselle (1841)

Primary SourcesThéophile Gautier andJules-Henri Vernoy de Saint-Georges, scenario for Giselle(1841), translated in Marian Smith, BalletandOpera in theAge of "Giselle"(Princeton and Oxford: Princeton University Press, 2000), 227-38.

Hector Berlioz, LesGrotesques de la musique(1859), translated as The MusicalMadhouse, trans. and ed. Alastair Bruce(Rochester: University of Rochester Press, 2003), 130‐32.

Historical/Analytical StudiesEvanAlderson, “Ballet as Ideology: Giselle, Act 2," DanceChronicle 10 (1987): 290‐304.

Disasters and Massacres

MusicDaniel‐Francois‐EspritAuber, Lamuette de Portici(1828):

0 Act V (complete)

Giacomo Meyerbeer, LesHuguenots(1836):0 Act II, No. 6 ("Oui, d'un heureux hymen préparé...")0 Act IV, No. 23, Conspiracy and Blessingof the Daggers ("Des troubles renaissants...")

Primary SourcesRichardWagner, "Erinnerungen an Auber" ("Reminsicences of Auber," 1871), translated in PieroWeiss, Opera:A HistoryinDocuments (Oxford and NewYork: Oxford University Press, 2002), 179‐81.

RichardWagner, "Uber Meyerbeers Huguenots" (ca. 1840), translated by Thomas 5. Grey in RichardWagner andHis World, ed.Thomas S.Grey (Princeton and Oxford: Princeton University Press, 2009), 335-46.

Historical/Analytical StudiesSimonWilliams, "The Spectacle of the Past in Grand Opera," in The Cambridge Companion to GrandOpera, ed. David Charlton(Cambridge: Cambridge University Press, 2003), 58-75.

Patriots and Martyrs

MusicMikhail Ivanovich Glinka, Zhizn’za tsaiya (A Life for the Tsar, 1836):

o Overture0 Act I, Introduction ‐ No. 1 (Chorus,"Rodina moya! Russkaya zemlya"), No.2 (Antonida’s cavatina, “Akh, ti, polye, polye ti

moyo”), and No. 3 (Susanin and Chorus, "Chto gadat’ o svad’bye")0 Act II, No. 7 (Mazurka and Finale, "Otkuda?")o Epilogue ("Slav'sya, slav’sya ti, nash RuskiyTsar’!")

Mikhail Ivanovich Glinka, Ruslan i Lyudmila (RuslanandLudmila, 1837‐42):0 Overture

Mikhail Ivanovich Glinka, Kamarinskaya(1848)

Primary SourcesMikhail Ivanovich Glinka, Memoirs, trans. Richard B. Mudge (Norman: University of Oklahoma Press, 1963), 55‐90.

Vladimir Fyodorovich Odoyevsky, Letter to Sever’naya pchela (7 December 1836), translated in Russians on Russian Music,1830‐1880:An Anthology, ed. and trans. Stuart Campbell (Cambridge: Cambridge University Press, 1994), 1‐3.

Historical/Analytical StudiesRichard Taruskin, "M. I. Glinka and the State," in DefiningRussia Musically:HistoricalandHermeneuticalEssays(Princeton andOxford: Princeton University Press, 1997), 25‐47.

The NewVirtuosity

MusicNiccolo Paganini, Ipalpiti, Op. 13 (1819)

Franz Liszt, Grandgalop chromatique, S.219 (1838)

Louis Moreau Gottschalk, Union,Op. 48 (1863)

Thomas ("Blind Tom") Wiggins, The Battle ofManassas(1866)

Teresa Carrefio, La fausse note, Op. 39 (1872)

Primary SourcesLeigh Hunt, reports for The Tat/er on Paganini (23June 1831 and 25June 1831), excerpted in PieroWeiss and RichardTaruskin,eds., Music in the Western World:A History in Documents, 2nd ed. (Belmont, CA: Schirmer Cengage Learning, 2008),290‐93.

Heinrich Heine, Report on the Musical Season of 1844 in Paris, translated in TheAttentive Listener: Three Centuries of MusicCriticism, ed. Harry Haskell (Princeton: Princeton University Press, 1996), 115‐20.

Louis Moreau Gottschalk, Notes of a Pianist(1881), as excerpted in Judith Tick, ed., Music in the USA:A DocumentalyCompanion (Oxford: Oxford University Press, 2008), 195‐201.

James M. Trotter, "Thomas Greene Bethune,Otherwise Known as 'Blind Tom,’ the Wonderful Pianist," in MusicandSomeHighlyMusicalPeople... (Boston: Lee and Shepard; and NewYork: Charles T. Dillingham, 1881), 141‐59.

Hazel Gertrude Kinscella, "A Half Century of Piano PlayingasViewed Through Teresa Carrefio's Eyes," MusicalAmerica (30December 1916): 5.

Mimesis

MusicLudwig van Beethoven, Symphony No. 6 in FMajor, Op. 68 (1808):

0 Second movement, Andante molto mosso (Szene am Bach)

Hector Berlioz, Symphonie fantastique, Op. 14 (1830)0 First movement, Largo ‐ Allegro agitato e appassionato assai (Réveries ‐ Passions)0 Fifth movement,Allegro frenetico (Orgie de brigands)

Primary SourcesHector Berlioz, De l’Imitationmusicale(1837), translated as "On Imitation in Music" byJacques Barzun (modified by EdwardT.Cone), in Edward T. Cone, Berlioz:FantasticSymphony(NewYork and London:W.W. Norton, 1971), 36‐46.

Francois-Joseph Fétis, review of Berlioz's Symphonie fantastic in Revuemusicale(1 February 1835), translated in EdwardT.Cone,Berlioz: Fantastic5ymphony(NewYork and London:W.W. Norton, 1971), 215-20.

Felix Mendelssohn, Letter to Lea Salomon Mendelssohn (15 March 1831), excerpted and translated in EdwardT. Cone, Berlioz:FantasticSymphony(NewYork and London:W. W. Norton, 1971), 281‐82

RichardWagner, report from Paris for the DresdenerAbendzeitung(5 May 1841), translated in EdwardT. Cone, Berlioz:FantasticSymphony(NewYork and London:W.W. Norton, 1971), 284‐87.

Historical/Analytical StudiesStephen Rodgers, Form, Program, andMetaphor in the Music of Berlioz(Cambridge: Cambridge University Press, 2009), 85‑106.

Puzzle Pieces

MusicLudwigvan Beethoven, Bagatelles, Op. 126 (1825)

Robert Schumann, Carnaval, Op. 9 (1834‐35)

Primary SourcesJohannWolfgang von Goethe, “Die Metamorphose der Pflanzen" (1798), translated as"The Metamorphosis of Plants" in Goethe:ScientificStudies, trans. and ed. Douglas Miller (NewYork: Suhrkamp, 1988).

Friedrich Schlegel and August Wilhelm Schlegel, selected fragments from Athenaum (1798‐1800), translated in FriedrichSchlegel’s ”Lucinde"and the Fragments, trans. Peter Firchow (Minneapolis: University of Minnesota Press, 1971), 164‐65, 167,170, 175‐76, 184, and 189.

Robert Schumann, selected aphorisms from MeisterRaro’s, F/orestan’s undEusebius’sDenk- undDicht-Biich/ein(ca. 1833),excerpted from RobertSchumann, On MusicandMusicians, ed. KonradWolff, trans. Paul Rosenfeld (NewYork: PantheonBooks, 1946), 38‐51.

Historical/Analytical StudiesTheodor W.Adorno, Beethoven: The Philosophyof Music, ed. RolfTiedemann, trans. EdmundJephcott (Stanford: StanfordUniversity Press, 1998), 130‐32.

Peter Kaminsky, "Principles of Formal Structure in Schumann's Early Piano Cycles," Music TheorySpectrum 11 (1989): 207‐25.

Sketches, Ruins, EagleWings

MusicFrédéric Chopin, Mazurkas, Op. 17 (1831‐33)

0 No.2 in E Minor0 No.4 in A Minor

Frédéric Chopin, Preludes, Op. 28 (1838‐39):0 No.1 in C Major0 No.2 in A Minor0 No.4 in E minor

Primary SourcesFrancois-Joseph Fétis, "Concert de M. Chopin de Varsovic" (1832), translated as “The Concert of Monsieur Chopin from Warsaw"in Strunk'sSource Readings in Music History, revised edition, ed. Leo Treitler (New York and London: W. W. Norton, 1998),1 123‐25.

Robert Schumann, “Phantasieen, Capricen etc. fUr Pianoforte" (1839), excerpted and translated in Thomas Higgins, FrédéricChopin: Preludes, Opus28 (New York: W. W. Norton, 1973), 91.

George Sand, Histoire de ma vie (Story of My Life, 1855), excerpted and translated in Thomas Higgins, Frédéric Chopin:Preludes, Opus 28 (New York: W. W. Norton, 1973), 94‐95.

Historical/Analytical StudiesJeffrey Kallberg, “Hearing Poland: Chopin and Nationalism," in Nineteenth-CentwyPiano Music, ed. R.Larry Todd, 221‐57 (NewYork and London: Routledge, 2004).

Poemswithout Words

MusicWilhelm Taubert, An die Geliebte:AchtMinne‐Iieder(1834):

o No. 5,Allegretto moderato (Goethe: "An dem Felsen am Fluss...")

Fanny Hensel, Vier Lieder, Op. 8 (ca. 18405):0 No.3, Lied (Lenau)

Clara Schumann, Romance in Eflat Minor, Op. 11, No. 1 (1839)

Frédéric Chopin, Ballade No. 2 in FMajor, Op. 38 (1839)

Primary SourcesRobert Schumann, reviews of Felix Mendelssohn‘s Opp. 30, 38, and 53 (1835‐41), translated in RobertSchumann on MusicandMusicians, ed. KonradWolff, trans. Paul Rosenfeld (NewYork: Pantheon, 1946), 210‐12.

Robert Schumann, review of Frédéric Chopin's Opp. 37, 38, and 42 (1841), translated in RobertSchumann on MusicandMusicians, ed. KonradWolff, trans. Paul Rosenfeld (NewYork: Pantheon, 1946), 142‐43.

Félicien Mallefille, "A. M. F.Chopin, sur sa Ballade polonaise“ (1838), translated inJonathan D. Bellman, Chopin’s PolishBallade:Op. 38 asNarrative of NationalMartyrdom(Oxford: Oxford University Press, 2010), 176‐84.

Historical/Analytical StudiesElfriedeGlusman, “Taubert and Mendelssohn: OpposingAttitudes toward Poetry and Music," The MusicalQuarterlyS7 (1971):628-35.

A Poet's Love

MusicRobert Schumann, Dichterliebe, Op. 48 (1840)

Clara Schumann, "Loreley" (1843)

Primary SourcesClara and Robert Schumann, letters of 13July 1833, 13August 1837, 15August 1837, 18 September 1837, 12 November 1837,early May 1838, 25 February 1839, 7 May 1839, 2Ju|y1839, 30 November 1839, 2 March 1840, 12August 1840, and 21August1840, in Eva Weissweiler, ed., The Complete Correspondence of Clara andRobertSchumann, 3 vols., trans. Hildegard Fritsch,Ronald L. Crawford, and Harold P. Fry (NewYork: Peter Lang, 1994‐2002).

Historical/Analytical StudiesHanna Spencer, HeinrichHeine(Boston: Twayne, 1982), 12‐30.

Thematic Transformations

MusicLudwigvan Beethoven, String Quartet No. 16 in FMajor, Op. 135 (1826):

0 Fourth movement (DerschwergefaBte EntscthB), Grave, ma non troppo (Muss essein?) ‐ Allegro (Esmusssein!)

Franz Liszt, Lespré/udes, S.97 (1849‐55)

Primary SourcesEduard Hanslick, Vommusika/isch-Schdnen (On the Musical/yBeautiful, 1854), excerpted and translated in Strunk's SourceReadingsin MusicHistory, revised edition, ed. Leo Treitler (NewYork and London:W. W. Norton, 1998), 1202‐11.

Robert Schumann, Felix Mendelssohn, Franz Liszt, Franz Brendel, andJohannes Brahms, remarks concerning (or leading up to)the Zukunftsmusik controversy (1835‐59), excerpted and translated in PieroWeiss and Richard Taruskin, eds., Music in theWestern World:A History in Documents, 2nd ed. (Belmont, CA: Schirmer Cengage Learning, 2008), 324‐29.

RichardWagner, Letter to Princess Carolyne zu Sayn‐Wittgenstein (15 February 1857), published in the NeueZeitschrift furMusikas “Uber Franz Liszts Symphonische Dichtungen" (1857), translated as “On Franz Liszt's Symphonic Poems," in RichardWagner's Prose Works, trans.William Ashton Ellis (London: Kegan Paul,Trench, TrUbner, 1907), 3:235‐54.

Fantasyand Sonata

MusicRobert Schumann, Fantasie in C Major, Op. 17 (1836‐39):

0 First movement, Durchaus fantastisch undIeidenschaftlich vorzutragen - Im Legenden-Ton

Franz Liszt, Piano Sonata in B Minor, 5. 178 (1854)

Primary SourcesRobert Schumann, Letters to Friedrich Kistner (19 December 1836) and Clara Schumann (18 March 1838, 16April 1838, and 9June 1838) translated in Nicholas Marston, Schumann: "Fantasie," Op. 17(Cambridge: Cambridge University Press, 1992), 3-4;and The Complete Correspondence of Clara andRobertSchumann, vols. 1‐3 (NewYork: Peter Lang, 1994‐2002).

Historical/Analytical StudiesAlan Walker, "Schumann, Liszt, and the CMajor Fantasia,Op. 17:A Study in Declining Relationships," in ReflectionsonLiszt(|thaca: Cornell University Press, 2005), 40‐50.

Alan Walker, "Liszt's Sonata in B Minor," in Reflectionson Liszt(lthaca: Cornell University Press, 2005), 128‐49.

Chromatic Lovedeaths

MusicRichard Wagner, Tristan undlsolde(1857‐59):

0 Prelude0 Act II, Scene 2 ("Isolde! Geliebte! ‐ Tristan! Geliebter!" until entrance of Marke)0 Act III, Scene 3 (from IsoldesLiebestod, "Mild und Ieise wie er Iachelt...“)

Hugo Wolf, "Bedeckt mich mit Blumen" (1891)

Primary SourcesRichard Wagner, Letters to Mathilde Wesendonck (6July 1858, 12 October 1858, and 5 October 1859), translated in RichardWagner to Mathilde Wesendonck, ed. and trans. William Ashton Ellis, 2nd ed. (New York: Charles Scribner‘s, 1905), 24‐28 and53‐65.

Richard Wagner, program notes to Tristan undlso/de(1860 and 1863), translated in "Wagner Introduces Wagner (andBeethoven): Program Notes Written for Concert Performances by and of Richard Wagner," ed. and trans. Thomas S.Grey, inRichard Wagner and His World, ed. Thomas S.Grey (Princeton and Oxford: Princeton University Press, 2009), 505-07.

Historical/Analytical StudiesLaurence Dreyfus, Wagner and the Erotic Impulse(Cambridge, MA: Harvard University Press, 2010), 40‐72 .

The RingMusicRichardWagner, DerRingdes Nibelungen(1876):

0 DasRheingold(1869)

Primary SourcesRichardWagner, ”Eine Mittheilungan meiner Freunde” ("A Communication to My Friends," 1851), excerpted and translated inPieroWeiss, Opera:A Historyin Documents(Oxford and NewYork: Oxford University Press, 2002), 196‐201.

RichardWagner, DasKunstwerk derZukunft(TheArtwork of the Future, 1849), excerpted and translated in Piero Weiss, Opera:A History in Documents (Oxford and NewYork: Oxford University Press, 2002), 201‐211.

Eduard Hanslick, review of DerRingdesNibelungen(1876), translated in Hanslick'sMusic Criticism, trans. and ed. HenryPleasants (NewYork: Dover, 1978), 129‐56.

Hans von Wolzogen, Erla'uterungenzu RichardWagner’s Nibelungendrama (1878), translated as Guide Through the Musicof R.Wagner’s "The Ringof the Nibelung,"trans. Ernstvon Wolzogen, new ed. (Leipzig: Feodor Reinboth, n.d.), 9-29.

Moguchaya kuchka

MusicMiliy Balakirev, Rus’(Overture on Russian Themes, No. 2, 1863‐64, rev. 1884)

Alexander Borodin, VsrednyeiAzii( In CentralAsia, 1880)

Nikolay Rimsky‐Korsakov, Sadko(1897):0 Scene 20 Scene 4, Song of the Indian Guest ("Ne schest almazov...")

Primary SourcesVladimir Stasov, "Nasha muz'ika za posledniye 25 let" (“Our Music during the Last Twenty-Five Years," 1883), translated inVladimir Stasov, SelectedEssays on Music, trans. FlorenceJonas (New York and Washington: Frederick A. Praeger, 1968), 66‐75.

Nikolay Rimsky-Korsakov, My MusicalLife, ed. Carl Van Vechten, trans. Judah A.Joffe (New York: Tudor, 1935), 52-56, 61, 71-73,183-84.

Historical/Analytical StudiesRichard Taruskin, "How the Acorn Took Root," in DefiningRussia Musically:HistoricalandHermeneuticalEssays(Princeton andOxford: Princeton University Press, 1997), 113‐51.

Ceskost

MusicBedFich Smetana, Ma vIast(1872‐79)

o No. 1, Vys'ehrad, T. 110 (1874)0 No.2, V/tava, T. 111 (1874)

Primary SourcesVéclavjuda Novotny, reminiscence on Smetana's first trip to Liszt in Weimar (1857), excerpted and translated in FrantisekBartos, ed., Bedr'ichSmetana: Letters andReminiscences, trans. Daphne Rusbridge (Prague: Artia, 1955), 45‐47.

BedFich Smetana, Letter to Franz Liszt (24 October 1858), excerpted and translated in Frantisek Bartos, ed., Bedfich Smetana:LettersandReminiscences, trans. Daphne Rusbridge (Prague: Artia, 1955), 47‐51.

Historical/Analytical StudiesMichael Beckerman, "In Search of Czechness in Music," 79th-CenturyMusic10 (1986): 61-73.

Exoticism

MusicFélicien David, Le désert(1844):

0 Part 1, "L'Entrée au désert" and "Marche de la caravane"

Georges Bizet, Carmen (1875):0 Act I, No. 5, “L'amour est un oiseau rebelle" (Habafiera)0 Act I, No. 10, "Pres des ramparts de Séville“ (Seguidilla)

Camille Saint-Saéns, Samson et Dali/a(1877):0 Act III, Scene 2 (Bacchanale)

Cécile Chaminade, DeuxMorceaux, Op. 27 (1883):0 No.2, "Zingara"

Primary SourcesVictor Hugo, "La captive," from Les orientales(Orienta/ia, 1829), translated as "The Captive" in Victor Hugo, SelectedPoetry inFrenchandEnglish, trans. Steven Monte (NewYork: Routledge, 2002), 4‐9.

Miscellaneous reviews of the premiere of Bizet’s Carmen, excerpted and translated in Mina Curtiss, BizetandHis World(Westport, CT: Greenwood Press, 1977), 399‐409.

Historical/Analytical StudiesRalph P. Locke, “Cutthroats and Casbah Dancers, Muezzins and Timeless Sands: Musical Images of the Middle East," 79th‑CenturyMusic22 (1998): 20‐53.

"Beauty Is Life"

MusicModest Musorgsky, Boris Godunov(1869, rev. 1872):

0 Part I, Scene 2 (Coronation Scene, "Da zdravstvuyet tsar’ Boris Feodorovichl")

Pyotr IIyich Chaikovsky, Yevgeny Onegin(1879):0 Act I,Scene 2 (Letter Scene, "Puskay pogribnu ya...")

Primary SourcesNikolai G.Chernyshevsky, Esteticheskiye otnosheniya iskusstva k deistvitel’nosti(1855), translated as TheAesthetic Relation ofAr t to RealityinChernyshevsky, SelectedPhilosophicalEssays(Moscow: Foreign Languages PublishingHouse, 1953), 380‐81.

Modest Musorgsky, statements on realism in miscellaneous letters and the autobiographical sketch, excerpted and translatedin PieroWeiss and RichardTaruskin, eds., Music in the Western World:A History in Documents, 2nd ed. (Belmont, CA: SchirmerCengage Learning, 2008), 336‐38.

Pyotr IIyich Chaikovsky, letters on the composition and performance of Yevgeny Onegin(1877‐92), excerpted and translated inPieroWeiss, Opera:A Historyin Documents(NewYork and Oxford: Oxford University Press, 2002), 216‐23.

Historical/Analytical StudiesRichardTaruskin, "P. I. Chaikovsky and the Ghetto," in DefiningRussiaMusically:HistoricalandHermeneuticalEssays(Princetonand Oxford: Princeton University Press, 1997), 48‐60.

Con slancio

MusicGiuseppe Verdi, Nabucco(1842):

0 Act III, Scene 2 (Chorus, "Va, pensiero")

Giuseppe Verdi, Rigoletto(1851):0 Act III

Primary SourcesAbramo Basevi, Studio sulle opera di Giuseppe Verdi(1859), excerpted and translated in PieroWeiss, Opera:A History inDocuments (Oxford and NewYork: Oxford University Press, 2002), 189‐96.

Giuseppe Verdi, Letter to Antonio Somma (22 April 1853), translated in Verdi: The Man in His Letters, ed. FranzWerfel and PaulStefan, trans. Edward Downes (NewYork: Vienna, 1973), 174‐76.

Historical/Analytical StudiesPieroWeiss, "Verdi and the Fusion of Genres,"journal of theAmerican MusicologicalSociety35 (1983): 138‐56.

Shakespearean Opera

MusicGiuseppe Verdi, Otel/o(1887):

0 Act IV

Primary SourcesGiuseppe Verdi, Letters to Antonio Somma (29June 1853), Cesare De Sanctis (20 April 1872), Domenico Morelli (7 February1880, 24 September 1881),and Giulio Ricordi (20 November 1880), translated in Verdi: The Man in His Letters, ed. Franz Werfeland Paul Stefan, trans. Edward Downes (New York: Vienna, 1973), 178, 312‐13, 355‐56, 358‐61.

Ugo Pesci, "Le prove dell' Otello" (1887), translated as "Rehearsals for Otello" in Marcello Conati, InterviewsandEncounters withVerdi, trans. Richard Stokes (London: Victor Gollancz, 1984), 184‐87.

Disposizionescenica for the premiere of Giuseppe Verdi's Otello(1887), in James Hepokoski and Mercedes VialeFerrerro, "Otello"de Giuseppe Verdi(Milan: Ricordi, 1990).

Eduard Hanslick, review of Giuseppe Verdi's Otello(1887), in translated in Hanslick’sMusic Criticism, trans. and ed. HenryPleasants (New York: Dover, 1978), 275‐87.

Historical/Analytical StudiesJames Hepokoski, "Staging Verdi's Operas: the Single, 'Correct' Performance," in Verdi in Performance, ed. Alison Latham andRoger Parker, 11‐20 (Oxford: Oxford University Press, 2001).

Verismo

MusicPietro Mascagni, Cavalieria rusticana (1890):

0 Scenes 10‐12 (from ”A voi tutti salute!")

Giacomo Puccini, Tosca(1900):0 Act II, Finale (from “Quanto?Quanto? II prezzo!“)

Gustave Charpentier, Louise(1900):0 Act II, Scene 2 (“La la la la Ia...")

Primary SourcesGiovanni Verga, Cavalieria rusticana (short story, 1880), translated by D. H. Lawrence as RusticChivalefy, and reprinted in PieroWeiss, Opera:A Historyin Documents(Oxford and NewYork: Oxford University Press, 2002), 246‐51.

Vito Fedeli, “Verismo...?“ (Gazzetta musica/e di Milano, 1892); "II costume borghese neI melodramma" (I Imondo artistico, 1896);and Giuseppe Samoggia, “Realismo neI melodramma" (Gazzetta teatra/e ita/iana, 1901); excerpted and translated in ArmanSchwartz, ed., "The Verismo Debate,“ in Arman Schwartz and Emanuele Senici, eds., Giacomo PucciniandHis World(Princetonand London: Princeton University Press, 2016), 261‐72.

Hans Merian, "Leoncavallo's Pagliacci, und die modern-realistische Oper" (1893), translated as "Leoncavallo's PagliacciandModern-Realistic Opera by Hans Merian,“ trans. Elaine Fitz Gibbon, in Arman Schwartz and Emanuele Senici, eds., GiacomoPucciniandHis World(Princeton and London: Princeton University Press, 2016), 273-90.

Allusion

MusicJohannes Brahms, PianoTrio in BMajor, Op. 8 (1854, rev. 1889): fli

0 Fourth movement, Allegro

Johannes Brahms, Klavierstt'icke,Op. 76 (1871, rev. 1878):o No. 1, Capriccio in Fsharp Minor fl"

Johannes Brahms, "Alte Liebe," Op. 72, No. 1 (1876) <Ji| J‘J

Historical/Analytical StudiesNancy B. Reich, "Clara Schumann andJohannes Brahms," in Walter Frisch and Kevin C. Karnes, eds., BrahmsandHis World, rev.ed. (Princeton and Oxford: Princeton University Press, 2009), 57‐72. J;

Paul Berry, BrahmsamongFriends:Listening Performance, and the RhetoricofA/Iusion (Oxford: Oxford University Press,2014), 199-228.

Developing Variations

MusicJohannes Brahms, Piano Quintet in FMinor, Op. 34 (1864)

Amy Beach, Piano Quintet in Fsharp Minor, Op. 67(1907):0 Third movement, Allegro agitato

Primary SourcesAdolf Schubring, “Schumanniana:Joseph Brahms" (1862), translated in "Adolf Schubring: Five Early Works by Brahms," trans.Walter Frisch, in Walter Frisch and Kevin C. Karnes, eds., BrahmsandHis World, rev. ed. (Princeton and Oxford: PrincetonUniversity Press, 2009), 199‐205.

George Henschel, diary entry of 27 February 1876, excerpted in Georg Henschel, PersonalRecollectionsof johannes Brahms(Boston: Richard G. Badger, 1907), 22‐23.

GustavJenner,johannes Brahmsals Mensch, Lehrer undKanstler(1905), translated asjohannes Brahmsas Man, Teacher, andArtist by Susan Gillespie and Elisabeth Kaestner, with annotations by Leon Botstein and Kevin C. Karnes, in Walter Frisch andKevin C. Karnes, eds., BrahmsandHis World, rev. ed. (Princeton and Oxford: Princeton University Press, 2009), 382‐88, 405‐08,418‐21 .

Historical/Analytical StudiesWalter Frisch, "Brahms, DevelopingVariation, and the Schoenberg Critical Tradition," 79th-Century Music5 (1982): 215‐32.

Ringsof Saturn

MusicLouise Farrenc, Symphony No. 2 in D Minor, Op. 32 (1845):

0 Fourth movement, Andante ‐ Allegro

Robert Schumann, Symphony No. 4 in D Minor, Op. 120 (1841, rev. 1851):0 First movement, ZiemIich Iangsam ‐ Lebhaft

Johannes Brahms, Symphony No.1 in CMinor, Op. 68 (1876):0 Fourth movement, Adagio‐Piu andante‐Allegro non troppo, ma con brio‐Piu allegro

Anton Bruckner, Symphony No. 8 in CMinor (1887, rev. 1890):0 First movement,Allegro moderato

Primary SourcesAristide and Louise Farrenc, eds., Le Trésor despianistes, 23 vols. (Paris, 1861‐72).

Hector Berlioz, "Beethoven dans I’anneau de Saturne“ from A travers chants(1862), translated as “Beethoven in the Rings ofSaturn," in Hector Berlioz, TheAr t ofMusic andOther Essays, trans. and ed. Elizabeth Csicsery‐Ronay (Bloomington andIndianapolis: Indiana University Press, 1994), 53‐56.

Eduard Hanslick, review ofJohannes Brahms's Symphony No. 1(1876), excerpted and translated in PieroWeiss and RichardTaruskin, eds., Music in the Western World:A History in Documents, 2nd ed. (Belmont, CA: Schirmer Cengage Learning, 2008),343‐45.

Eduard Hanslick, review of Anton Bruckner's Symphony No. 8 (1892), translated in Hanslick’sMusic Criticisms, trans. and ed.Henry Pleasants (NewYork: Dover, 1950), 288‐90.

Historical/Analytical StudiesJ.Peter Burkholder, "Brahms and Twentieth-Century Classical Music," 19th-CenturyMusic8 (1984): 75‐83.

Fate

MusicPyotr IIyich Chaikovsky, Lebedinoye ozero, Op. 20 (Swan Lake, 1876):

0 Act IV

Pyotr IIyich Chaikovsky, Symphony No. 4 in FMinor, Op. 36 (1877‐78):0 First movement, Andante sostenuto

Primary SourcesVladimir Begichev and Vassili Gelster (?), scenario for Lebedinoye ozero(1876, pub. 1877), translated in RolandJohn Wiley,Tchaikovsky's Ballets: "Swan Lake," "SleepingBeauty," "Nutcracker”(Oxford: Clarendon Press, 1985), 321‐27.

Hermann Laroche, review of Pyotr IIyich Chaikovsky‘s Lebedinoye ozero(1878), excerpted and translated in Stuart Campbell,ed., Russians on Russian Music, 1830‐7880 (Cambridge: Cambridge University Press, 1994), 272‐76.

Pyotr IIyich Chaikovsky, Letter to Nadezhda Filaretovna von Meck (17 February 1878), excerpted and translated in Piero Weissand RichardTaruskin, eds., Music in the Western World:A History in Documents, 2nd ed. (Belmont, CA: Schirmer CengageLearning, 2008), 338‐42.

Historical/Analytical StudiesAlexander Poznansky, Tchaikovksy: The Quest for the InnerMan (New York: Schirmer, 1991), 195‐271.

CyclicalDesigns

MusicCamille Saint-Saéns, Symphony No. 3 in C Minor ("Organ," 1886)

César Franck, Symphony in D Minor (1888):0 First movement, Lento ‐ Allegro ma non troppo

Primary SourcesCamille Saint-Saéns, programmatic notes on the Symphony No. 3 in C Minor (1885), ed. and trans. Joseph Bennett, in CamilleSaint-Saéns andHis World, ed.Jann Pasler (Princeton and Oxford: Princeton University Press, 2012), 167‐71.

Vincent D'Indy, Cours de compositionmusicale(1903‐05), excerpted and translated in Andrew Thomson, VincentD’lndyandHisWorld(Oxford: Clarendon Press, 1996), 91‐92.

Vincent D'Indy, César Franck, trans. Rosa New March (Londonzjohn Lane, 1910),170‐73.

Historical/Analytical StudiesMichael Strasser, "The Société Nationale and Its Adversaries: The Musical Politics of L’lnvasiongermanique in the 18705," 79th‑CenturyMusic24 (2001): 225‐51.

Heritage

MusicAntonin DvoFék, PianoQuintet No. 2 in A Major, Op. 81 (1887):

0 Second movement, Andante con moto (“Dumka”)0 Third movement, Molto Vivace ("Furiant")

Enrique Granados, 12Danzas espafiolas(1888‐90):0 No. 6, ”Rondalla aragonesa"

Johannes Brahms, Deutsche Volkslieder, vol. 1 (1893‐94):0 No. 6, ”Da unten im Tale"

Edvard Grieg, Sleitter, Op. 72 (1903‐05):0 No. 7, "Rotnams-Knut”

Samuel Coleridge‐Taylor, Twenty‐four NegroMelodies,Op. 59 (1905):0 No.7, "OIoba"0 No.10,"Deep River"

Primary SourcesJohannes Brahms, Letter to Clara Schumann (27January 1860), translated in johannes Brahms: LifeandLetters, ed. Styra Avins,trans.Josef Eisinger and Styra Avins (Oxford: Oxford University Press, 1997), 211‐13.

"Dvorak in the Czech Press: Unpublished Reviews and Criticism,“ ed. and trans. Tatiana Firkusny, in Michael Beckerman, ed.,Dvor'a’kandHis World(Princeton: Princeton University Press, 1993), 230‐38.

Edvard Grieg, Letter to HenryT. Finck (17July 1900), translated in EdvardGrieg: Letters to ColleaguesandFriends, ed. FinnBenestad, trans. William H. Halverson (Columbus: Peer Gynt Press, 2000), 226‐28.

Samuel Coleridge‐Taylor and Booker T. Washington, Foreward and Introduction to Twenty-fourNegroMelodies (Boston: OliverDitson, 1905).

NewWorlds

MusicAntonin Dvo‘r'ak, Symphony No. 9 in EMinor, Op. 95 ("From the NewWorld," 1893):

0 Second movement, Largo

Amy Beach, Symphony in EMinor, Op. 32 (”Gaelic," 1896):0 Third movement, Lento con molta espressione

Arthur Farwell, FromMesa andPlain, Op. 20 (1905):0 No. 2, "Pawnee Horses"

HarryT. Burleigh, From theSouth/and“ 910):0 No.6, "A New Hidin' Place“

Primary SourcesJames Creelman, ”Real Value of Negro Melodies: Dr. Dvorak Finds in Them the Basis for an American School of Music..." (1893),excerpted inJudith Tick, ed., Music in the USA:A DocumentaryCompanion(Oxford and NewYork: Oxford University Press,2008), 308-12.

Amy Beach, response to Antonin Dvorak in the BostonHerald(28 May 1893): 23.

W. E.B.DuBois, The Souls of BlackFolk(1903), excerpted in Readings in BlackAmericanMusic, 2nd ed., ed. EileenSouthern(NewYork and London:W.W. Norton, 1983), 203‐11.

Arthur Farwell, Introduction to American IndianMelodies(Wa-Wan Press, 1901; rpt. NewYork: G.Schirmer, 1914), 1‐8, selectedexcerpts.

Historical/Analytical StudiesAdrienne Fried Block, “Dvorak, Beach, and American Music," in A Celebration ofAmerican Music: Words andMusic in HonorofH. WileyHitchcock, ed. Richard Crawford, R.Allen Lott, and CarolJ.Oja (AnnArbor: University of Michigan Press, 1990), 256‐80.

Song and Symphony

MusicGustav Mahler, Lieder eines fahrenden Gesellen(1883‐85, rev. 1891‐96):

o No. 2, "Ging heut' morgen [ i be r s Feld"

Gustav Mahler, Symphony No. 1 in D Major ("Titan," 1889, rev. 1896‐98):0 First movement, Langsam, schleppend ‐ Immer sehr gemachlich

Primary SourcesTheodor Helm, review of the Mahler's Symphony No. 1 (1900), excerpted in Mahler andHis World, ed. Karen Painter (Princetonand Oxford: Princeton University Press, 2002), 290-94.

Gustav Mahler, Letter to Max Marschalk (26 March 1896), excerpted and translated in PieroWeiss and RichardTaruskin, eds.,Music in the Western World:A History in Documents, 2nd ed. (Belmont, CA: Schirmer Cengage Learning, 2008),351‐52.

Jean Sibelius's reminiscence of Gustav Mahler, recorded in Karl Ekman, Sibelius(1935), excerpted and translated in Henry-Louisde LaGrange, GustavMahler,vol. 3, Vienna: Triumph andDisillusion, 7904‐7907(Oxford and NewYork: Oxford UniversityPress, 1999), 753.

Historical/Analytical StudiesRaymond Knapp, SymphonicMetamorphoses:SubjectivityandAlienation in Mahler’sRe-CycledSongs(Middletown, CT:Wesleyan University Press, 2003), 151‐93.

Verklarung

MusicRichard Strauss, Todund Verklarung, Op. 24 (1889)

Arnold Schoenberg, Verk/arte Nacht, Op. 4 (1899)

Primary SourcesRudolf Louis, Die deutsche Musik der Gegenwart(rev. 1912), excerpted and translated as "On the Tone Poems of RichardStrauss," trans. Susan Gillespie, in RichardStrauss andHis World, ed. Bryan Gilliam (Princeton: Princeton University Press,1992), 305‐10.

Richard Strauss,Letter to Friedrich von Hauseggar(1894), excerpted and translated in Norman Del Mar, RichardStrauss:ACriticalCommentary on HisLife andWorks (Ithaca: Cornell University Press, 1962), 1:77‐78; and Alexander Ritter, programmaticpoem for TodundVerk/a'rung(1889), translated by Stanley Appelbaum in Richard Strauss, Tone Poems, Series I: "Donjuan,""TodundVerklarung" "Don Quixote" in FullScore (NewYork: Dover, 1979).

Arnold Schoenberg, program notes to Verklarte Nacht(26 August 1950), reprinted in A SchoenbergReader:Documents of aLife, ed.Joseph Auner (New Haven: Yale University Press, 2008), 38‐40.

Historical/Analytical StudiesCharles D.Youmans, “The Development of Richard Strauss's Worldview," in The RichardStrauss Companion, ed. Mark-DanielSchmid (Westport, CT: Praeger, 2003), 63‐100.

Lateness

MusicGustav Mahler, DasLiedvon der Erde (1908‐09):

0 No. 6, "Der Abschied"

Richard Strauss, DerRosenkavalier, Op. 59 (1911):0 Act III, "Hab' mir's gelobt"

Richard Strauss, Vierletzte Lieder(1948):0 No.4, "Im Abendrot"

Primary SourcesGustav Mahler, letters to BrunoWalter of 18July 1908, Summer 1908 [undated],January 1909 [undated], and 18119 December1909 [undated], in SelectedLetters o q u s t a vMahler, ed. Knud Martner, trans. EithneWilkins, Ernst Kaiser, and Bill Hopkins(London: Faber and Faber, 1979).

Rudolf Hartmann, "The LastVisit with Richard Strauss," trans. Susan Gillespie, in RichardStrauss andHis World, ed. BryanGilliam, 295‐304 (Princeton: Princeton University Press, 1992).

Historical/Analytical StudiesTheodor W.Adorno, Mahler:A MusicalPhysiognomy, trans. EdmundJephcott (Chicago and London: University of Chicago Press,1992), selected excerpts.

Stephen E.Hefling, “Aspects of Mahler's Late Style," in Mahler andHis World, ed. Karen Painter, 199‐226 (Princeton: PrincetonUniversity Press, 2002).

Theodor W. Adorno, "Richard Strauss: BornJune 11, 1864," trans. Samuel Weber and ShierryWeber, PerspectivesofNewMusic4 (1965): 14-32 and 4 (1966): 113-29, selected excerpts.