Famous letters by a young American pianist, dating from 1869 to 1875, uniquely describe study with Liszt, Tausig, and other luminaries. Fay offers firsthand impressions of performances by Rubinstein, Clara Schumann, Wagner (as conductor), Joachim, and many others.

"There can be no doubt that German for Musicians will prove a real asset to every young singer and instrumentalist who needs to become acquainted with the German language, written or spoken." --Dietrich Fischer-Dieskau German for Musicians is an intensive course for beginners, a refresher for those with some German, and a reader for those who need to practice translating musical texts.

This collection of articles dedicated to the memory of Lenore Coral divides into three sections that focus on her scholarly interests: music of the eighteenth century, music libraries and collections, and new approaches to the musical canon. Many of the seventeen contributions included in the volume are the result of the individual author's connection with Lenore, or were projects that she had been directly involved with, either as dissertation advisor, committee member, or interested observer. The senior scholars and music librarians represented here are testament to the impact of her intellect and influence.

This absorbing and award-winning biography tells the story of the tragedies and triumphs of Clara Wieck Schumann (1819–1896), a musician of remarkable achievements. At once artist, composer, editor, teacher, wife, and mother of eight children, she was an important force in the musical world of her time. To show how Schumann surmounted the obstacles facing female artists in the nineteenth century, Nancy B. Reich has drawn on previously unexplored primary sources: unpublished diaries, letters, and family papers, as well as concert programs. Going beyond the familiar legends of the Schumann literature, she applies the tools of musicological scholarship and the insights of psychology to provide a new, full-scale portrait.The book is divided into two parts. In Part One, Reich follows Clara Schumann's life from her early years as a child prodigy through her marriage to Robert Schumann and into the forty years after his death, when she established and maintained an extraordinary European career while supporting and supervising a household and seven children. Part Two covers four major themes in Schumann's life: her relationship with Johannes Brahms and other friends and contemporaries; her creative work; her life on the concert stage; and her success as a teacher.Throughout, excerpts from diaries and letters in Reich's own translations clear up misconceptions about her life and achievements and her partnership with Robert Schumann. Highlighting aspects of Clara Schumann's personality and character that have been neglected by earlier biographers, this candid and eminently readable account adds appreciably to our understanding of a fascinating artist and woman.For this revised edition, Reich has added several photographs and updated the text to include recent discoveries. She has also prepared a Catalogue of Works that includes all of Clara Schumann's known published and unpublished compositions and works she edited, as well as descriptions of the autographs, the first editions, the modern editions, and recent literature on each piece. The Catalogue also notes Schumann's performances of her own music and provides pertinent quotations from letters, diaries, and contemporary reviews.

From 1933 to 1945, the Reich Chamber of Culture exercised a profound influence over hundreds of thousands of German artists and entertainers. Alan Steinweis focuses on the fields of music, theater, and the visual arts in this first major study of Nazi cultural administration, examining a complex pattern of interaction among leading Nazi figures, German cultural functionaries, ordinary artists, and consumers of culture. Steinweis gives special attention to Nazi efforts to purge the arts of Jews and other so-called undesirables. Steinweis describes the political, professional, and economic environment in which German artists were compelled to function and explains the structure of decision making, thus showing in whose interest cultural policies were formulated. He discusses such issues as insurance, minimum wage statutes, and certification guidelines, all of which were matters of high priority to the art professions before 1933 as well as after the Nazi seizure of power. By elucidating the economic and professional context of cultural life, Steinweis helps to explain the widespread acquiescence of German artists to artistic censorship and racial 'purification.' His work also sheds new light on the purge of Jews from German cultural life.

In the period between the Civil War and World War I, German universities provided North American women with opportunities in graduate and professional training that were not readily available to them at home. This training allowed women to compete to a greater degree with men in increasingly professionalized fields. In return for such opportunities, these women played a key role in opening up German universities to all women. Many devoted the rest of their lives to creating better research and graduate opportunities for other women, forever changing the course of higher education in North America. This study provides accounts of the incredible barriers encountered by these first women students in Europe. It documents their perseverance and hard-won triumphs and includes as well the stories of the progressive men who mentored them and fought for their rights to higher education. Never before has documentation of so many North American students at German-speaking universities been included in one volume. This collection of stories from women across disciplines makes it possible to assess the truly remarkable nature of their combined contributions to higher education and research in North America and Europe.

An indispensable study of nineteenth-century German music, history and nationalism. Music played a central role in the self-conception of middle-class Germans between the March Revolution of 1848 and the First World War. Although German music was widely held to be 'universal' and thus apolitical, it participated- like the other arts - in the historicist project of shaping the nation's future by calling on the national heritage. Compositions based on - often heavily mythologised - historical events and heroes, such as the Battle of the Teutoburg Forest or the medieval Emperor Barbarossa, invited individual as well as collective identification and brought alive a past that compared favourably with contemporary conditions. History in Mighty Sounds mapsout a varied picture of these 'invented traditions' and the manifold ideas of 'Germanness' to which they gave rise, exemplified through works by familiar composers like Max Bruch or Carl Reinecke as well as their nowadays little-known contemporaries. The whole gamut of musical genres, ranging from pre- and post-Wagnerian opera to popular choruses to symphonic poems, contributes to a novel view of the many ways in which national identities were constructed, shaped and celebrated in and through music. How did artists adapt historical or literary sources to their purpose, how did they negotiate the precarious balance of aesthetic autonomy and political relevance, and how did notions of gender, landscape and religion influence artistic choices? All musical works are placed within their broader historical and biographical contexts, with frequent nods to other arts and popular culture. History in Mighty Sounds will be indispensable reading for anyone interested in nineteenth-century German music, history and nationalism. Barbara Eichner is Senior Lecturer in Musicology at Oxford Brookes University.

Includes music.

A monthly journal for the musician, the music student, and all music lovers.