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The English composer, violist, and conductor Frank Bridge (1879-1941), a student of Sir Charles Villiers Stanford, was one of the first modernists in British music, developing the most radical and lastingly modern musical language of his generation. Bridge was also one of the most accomplished British composers of chamber music in the twentieth century. After the lyrical romanticism of the early period, a notable expansion of style can be observed as early as 1913, leading eventually to the radical language of the Piano Sonata and Third String Quartet, drawing on influences such as Debussy, Stravinsky and the Second Viennese School composers. However, Bridge became frustrated that his later, more complex music was often ignored in favour of his earlier 'Edwardian' works; this neglect of his mature music contributed to the growing obscurity into which his music and reputation fell in his last years and after his death. Symptomatically, Bridge is still often remembered primarily for privately tutoring Benjamin Britten, who later championed his teacher's music and paid homage to him in the 'Variations on a Theme of Frank Bridge' (1937). This book, the first detailed, and long-overdue, study of Bridge's music and its relevant socio-cultural and aesthetic contexts, encourages a more thorough understanding of Bridge's style and development and will appeal to readers with interests in British music, early twentieth-century modernism and post-romanticism as well as genre and style. Fabian Huss is Visiting Fellow at the University of Bristol and has published widely on British music (particularly E. J. Moeran), with an emphasis on cultural history, and aesthetic and analytical issues.

Bridge, Frank --- Music --- Composers --- Musique --- Compositeurs --- History and criticism. --- Biography --- Histoire et critique --- Biographies --- Bridge, Frank, --- Criticism and interpretation. --- Bridge, F. --- British Composer. --- Chamber Music. --- Frank Bridge. --- Modernism. --- Music. --- Musical Language. --- The Music of Frank Bridge. --- Twentieth Century.

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In this, the first extended study of Schoeck in English, Walton places the man and the artist squarely in the context of his time. The work of the late-Romantic Swiss composer Othmar Schoeck (1886-1957) has in recent years enjoyed a surge of interest. His 300 songs with piano accompaniment are now all on CD, as are his orchestral song cycles and five of his eight stage works. Yet despite an impressive discography featuring names such as Dietrich Fischer-Dieskau, Lucia Popp and Ian Bostridge, no biographical study of Schoeck has ever been available in English. Chris Walton, author of Richard Wagner in Zurich: The Muse of Place, charts the turbulent course of Schoeck's life and career with care and candor, from a rampant youth to midlife monogamy and an old age ravaged by fears of neglect. He traces Schoeck's relationships to musicians such as Max Reger, Ferruccio Busoni, Wilhelm Furtwängler, Paul Hindemith, and Igor Stravinsky, and to writers Thomas Mann, Hermann Hesse, and James Joyce. New light is also shed on Schoeck's uneasy relationship with Nazi Germany and its culmination, for him, in public humiliation and private catastrophe. As an accompanist, Schoeck was an arch-Romantic master of 'rubato'; as a conductor, he was a fervent champion of the new; and in his compositions, he moved from late-Romanticism through a modernist vortex to emerge in full mastery of an individual musical language both sensuous and stringent. Chris Walton is Extraordinary Professor at the University of Stellenbosch in South Africa and managing director of the Orchestre Symphonique Bienne in Switzerland. He is the recipient of the 2010 Max Geilinger Prize honoring exemplary contributions to the literary and cultural relationship between Switzerland and the English-speaking world.

Composers --- Schoeck, Othmar, --- Switzerland. --- Biographical Study. --- Chris Walton. --- Compositions. --- Discography. --- Individual Musical Language. --- Late-Romantic Style. --- Musician. --- Nazi Germany. --- Orchestre Symphonique Bienne. --- Othmar Schoeck. --- Relationships. --- Sensuous. --- Stringent. --- Swiss Composer. --- University of Stellenbosch. --- Writers.

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"The Music of Tragedy offers a new approach to the study of classical Greek theater by examining the use of musical language, imagery, and performance in the late work of Euripides. Naomi Weiss demonstrates that Euripides' allusions to music-making are not just metatheatrical flourishes or gestures towards musical and religious practices external to the drama but closely interwoven with the dramatic plot. Situating Euripides' experimentation with the dramaturgical effects of mousikē within a broader cultural context, she shows how much of his novelty lies in his reinvention of traditional lyric styles and motifs for the tragic stage. If we wish to understand better the trajectories of this most important ancient art form, The Music of Tragedy argues, we must pay closer attention to the role played by both music and text"--Provided by publisher

Greek drama (Tragedy) --- Music, Greek and Roman --- History and criticism. --- Euripides --- Criticism and interpretation. --- E-books --- Ėvripid --- Yūrībīdīs --- Euripide --- Euripedes --- Eŭripido --- Eurypides --- Euripidesu --- אוריפידס --- エウリーピデース --- Εὐριπίδης --- Greek drama (Tragedy). --- Music, Greek and Roman. --- Euripides. --- ancient art form. --- ancient poetry. --- classic poetry. --- classical greek theater. --- drama. --- dramatic plot. --- dramaturgical effects. --- euripides. --- experimentation. --- imagery. --- meta theatrical flourishes. --- motifs. --- mousike. --- music making. --- music. --- musical language. --- novelty. --- performance. --- religious practices. --- traditional lyrics styles. --- tragic dramas and plays. --- tragic stage.