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In 'Beethoven's Century: Essays on Composers and Themes', world-renowned musicologist Hugh Macdonald draws together many of his richest essays on music from Beethoven's time into the early twentieth century. The essays are here revised and updated, and some are printed in English for the first time. 'Beethoven's Century' addresses perennial questions of what music meant to the composer and his audiences, how it was intended to be played, and how today's audiences can usefully approach it. Opening with a revealing analysis of Beethoven's not always generous regard for his listeners, the essays probe aspects of Schubert's musical personality, the brief friendship between Berlioz and Schumann, Liszt's abilities as a conductor, and Viennese views of Wagner as expressed by Hugo Wolf. Essays on comic opera and trends in French opera librettos in the late nineteenth century reflect the author's long-standing sympathy for French music, and strikingly eccentric personalities in the world of music, such as Paganini, Alkan, Skryabin, and Janácek, are brought to life. 'Beethoven's Century' concludes with a wry look at some startling developments in early twentieth-century music that have often been overlooked. Hugh Macdonald has taught music at the universities of Cambridge, Oxford, and Glasgow, and since 1987 has been Avis H. Blewett Distinguished Professor of Music at Washington University, St. Louis. He has written books on Skryabin and Berlioz, and is a regular pre-concert speaker for the Boston and St. Louis Symphony Orchestras.

Music --- Musique --- History and criticism. --- Histoire et critique --- Alkan. --- Beethoven. --- Berlioz. --- French opera. --- Hugo Wolf. --- Janácek. --- Liszt. --- Paganini. --- Schubert. --- Schumann. --- Scriabin. --- Skryabin. --- Viennese views. --- Wagner. --- analysis. --- audience. --- comic opera. --- composer. --- conductor. --- development. --- early twentieth century. --- early twentieth-century music. --- eccentric personalities. --- friendship. --- libretti. --- music. --- musical personality. --- play. --- trends.

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Grete Meisel-Hess (1879-1922), a contemporary of Freud, Schnitzler, and Klimt, was a feminist voice in early-twentieth-century modernist discourse. Born in Prague to Jewish parents and raised in Vienna, she became a literary presence with her 1902 novel Fanny Roth. Influenced by many of her contemporaries, she also criticized their notions of gender and sexuality. Relocating to Berlin, she continued to write fiction and began publishing on sexology and the women's movement. Helga Thorson's book combines a literary-cultural exploration of modernism in Vienna and Berlin with a biography of Meisel-Hess and a critical analysis of her works. Focusing on Meisel-Hess's negotiations of feminism, modernism, and Jewishness, it illustrates the dynamic interplay between gender, sexuality, and race/ethnicity in Austrian and German modernism. Analyzing Meisel-Hess's fiction as well as her sexological studies, Thorson argues that Meisel-Hess posited herself as both a "New Woman" and the writer of the "New Woman." The book draws on extensive archival research that uncovered a large number of new sources, including an unpublished drama and a variety of documents and letters scattered in collections across Europe. Until now there have been only limited secondary sources about Meisel-Hess, most containing errors and omissions regarding her biography. This is the first book on Meisel-Hess in English.

German literature --- History and criticism. --- Austrian Modernism. --- Berlin. --- Biography. --- Early Twentieth Century. --- Feminism. --- Feminist Voice. --- Gender. --- German Modernism. --- Grete Meisel-Hess. --- Jewishness. --- Literary-cultural Exploration. --- Modernist Discourse. --- Race/Ethnicity. --- Sexuality. --- Vienna. --- Women authors, German --- Feminist literature --- Modernism (Literature) --- Sexology --- Women authors --- Jewish authors --- History --- Meisel-Hess, Grete, --- Criticism and interpretation.

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Despite several recent monographs, editions and recordings devoted to the reassessment of British music in the late nineteenth and early twentieth century, some negative perceptions still remain - particularly a sense that British composers in this period somehow lacked literary credentials. ‘British Music and Literary Context’ counters this perception by showing that these composers displayed a real confidence and assurance in refiguring literary texts in their music. The book explores how literary context might offer modern audiences and listeners a 'way in' to appreciate specific works that have traditionally been viewed as problematic. Each chapter of this interdisciplinary study juxtaposes a British composer with a particular literary counterpart or genre. Chapter one focuses upon the artistic collaboration between Hubert Parry and Robert Bridges; chapter two explores how Charles Villiers Stanford consistently returned to Tennyson's texts throughout his compositional career; chapters three and four suggest how an orchestral drama by Granville Bantock might represent a close reading of a poem by Robert Browning, and how structure and imagery in a novel by Edward Bulwer Lytton might inform a reading of Edward Elgar's Piano Quintet Op.84. The final chapter offers parallels between narrative strategies in Victorian travel literature (including works by Charles Dickens and George Gissing) and the nature of musical events in Elgar's concert overture ‘In the South’ Op.50. Issues highlighted in the book include the vexed relationship between words and music, the refiguring of literary narratives as musical structures, and the ways in which musical settings or representations of literary texts might be seen as critical 'readings' of those texts. Anyone interested in nineteenth century British music, literature and Victorian studies will find this book most stimulating. Michael Allis is a Senior Lecturer in the School of Music, University of Leeds.

Music --- Music and literature --- Literature and music --- Literature --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- History and criticism. --- English literature --- English poetry --- History --- Musical settings --- British composers. --- British literature. --- British music. --- Edward Elgar. --- Tennyson. --- Victorian travel literature. --- aesthetic inspiration. --- early twentieth century. --- late nineteenth century. --- literary context. --- literary credentials. --- literary texts. --- music history.

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Masques, Mayings and Music-Dramas comprises a sequence of in-depth case-studies of significant aspects of early twentieth-century English music-theatre. Vaughan Williams forms a central thread in this discussion, and Stratford-upon-Avon serves as a geographical focus-point for mediating conflicting visions of an English musical tradition. But the reach of the book is much wider, shedding new light on English Wagnerism (at Glastonbury especially) and on the reception of Wagner's ideas as a point of emulation and resistance. No less significant is the discussion of Purcell and the seventeenth-century masque - one of the primary sources for re-imagining an English dramatic tradition - and the more familiar images of the May festival, the Mummers' play and the pageant play, which are tellingly re-contextualised. The book also looks at the associations between Vaughan Williams, the theatre artist Edward Gordon Craig and the impresario Serge Diaghilev. The sequence is framed by the image of the pilgrim-vagabond Vaughan Williams's setting of the poetry of Matthew Arnold and Robert Louis Stevenson as a metaphor and paradigm for his creative career and personal progress. The book not only sheds light on the activities and ambitions of principal agents but also illuminates a particularly dynamic moment in the re-emergence of a distinctively English music-theatrical practice: one especially concerned with calling on aspects of the past to help to secure a worthwhile future. Notions of Englishness turn out to be less insular than sometimes thought and the idea of a 'musical renaissance' more complex when the case-studies are understood in their proper historical context. Scholars and students of twentieth-century English music, theatre and opera will find this volume indispensable. Roger Savage is Honorary Fellow in English Literature at the University of Edinburgh. He has published widely on theatre and its interface with music from the baroque to the twentieth century in leading journals and books.

Music --- Music theater --- History and criticism. --- Vaughan Williams, Ralph, --- Dramatic music --- Mixed media (Music) --- Uilʹi︠a︡ms, Ralʹf Voan, --- Vaughan-William, R. --- Vaughan Williams, R. --- Vaughn Williams, Ralph, --- Voan Uilʹi︠a︡ms, R. --- Voan Uilʹi︠a︡ms, Ralʹf, --- Vōn-Wiriamuzu, Reifu, --- William, R. Vaughan --- -Williams, Ralph Vaughan, --- Williams, Vaughan, --- Wiriamuzu, Reifu Vōn-, --- Williams, Ralph Vaughan --- Williams, R. Vaughan --- 1900 - 1999 --- England. --- Angleterre --- Anglii͡ --- Anglija --- Engeland --- Inghilterra --- Inglaterra --- Edward Gordon Craig. --- English music-theatre. --- Englishness. --- May festival. --- Mummers' play. --- Purcell. --- Serge Diaghilev. --- Vaughan Williams. --- Wagnerism. --- early twentieth-century. --- musical practice. --- musical renaissance. --- pageant play. --- theatre artist.

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Chinatown Film Culture provides the first comprehensive account of the emergence of film and moviegoing in the transpacific hub of San Francisco in the early twentieth century. Working with materials previously left in the margins of grand narratives of history, Kim K. Fahlstedt uncovers the complexity of a local entertainment culture that offered spaces where marginalized Chinese Americans experienced and participated in local iterations of modernity. At the same time, this space also fostered a powerful Orientalist aesthetic that would eventually be exported to Hollywood by San Francisco showmen such as Sid Grauman. Instead of primarily focusing on the screen-spectator relationship, Fahlstedt suggests that immigrant audiences' role in the proliferation of cinema as public entertainment in the United States saturated the whole moviegoing experience, from outside on the street to inside the movie theater. By highlighting San Francisco and Chinatown as featured participants rather than bit players, Chinatown Film Culture provides an historical account from the margins, alternative to the more dominant narratives of U.S. film history.

Chinese in motion pictures. --- Chinese --- Motion picture audiences --- Motion picture theaters --- Motion pictures --- PERFORMING ARTS / General. --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Cinemas --- Movie theaters --- Moving-picture theaters --- Theaters, Motion picture --- Theaters --- Film audiences --- Filmgoers --- Moviegoers --- Moving-picture audiences --- Ethnology --- Social life and customs. --- History. --- Social aspects --- History and criticism --- Audiences --- Chinatown, Film, Culture, Chinese, San Francisco, Chinese Americans, early twentieth century, Kim K. Fahlstedt, History, Hollywood, Entertainment, historical, emergence, Revolutions, Movie, Theaters, Chinatown Audiences, Chinatown Spectators, Post-Quake, Media Studies, United States, American Studies, Communications, Ethnic Studies, Asian American Studies, Social Science, Performing, Arts, Video, Crititism.