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Why are the most cherished and regularly played works of the late-romantic period—Mahler, Delius, Debussy, Sibelius, Puccini—regarded by way of many critics as possibly now not really of the 1st rank? Why has modernist discourse persisted to model those works as overly sentimental and emotionally self-indulgent? Peter Franklin takes an in depth and even-handed examine how and why late-romantic symphonies and operas instructed a fancy path among modernism and mass tradition within the interval top as much as the second one global conflict. The style’s carrying on with attractiveness and its domination of the movie song idiom (via paintings by means of composers resembling Max Steiner, Erich Wolfgang Korngold, and their successors) deliver late-romantic tune to hundreds of thousands of listeners who've by no means set foot in a live performance corridor. Reclaiming Late-Romantic Music sheds new gentle on those usually unfairly disparaged works and explores the old measurement in their carrying on with position within the modern sound international.

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William Weber, “Mass tradition and the Reshaping of eu Musical flavor, 1770–1870,” overseas evaluation of the Aesthetics and Sociology of track eight, no. 1 (June 1977): 21. 6. Carl Dahlhaus, Esthetics of tune, trans. William Austin (Cambridge: Cambridge college Press, 1982), ninety. 7. See Zoltan Roman, Gustav Mahler and Hungary, stories in valuable and jap ecu track five (Budapest: Akadémiai Kiadó, 1991), 78–81. eight. See Weber, nice Transformation of Musical style, 34 178 | Notes to bankruptcy three nine. Richard Taruskin, tune within the 19th Century, vol. three of The Oxford heritage of Western tune (Oxford and long island: Oxford collage Press, 2010), 426. 10. Lawrence Kramer, “Music, historic wisdom and important Inquiry: 3 adaptations at the Ruins of Athens,” severe Inquiry 32, no. 1 (Autumn 2005): seventy six. eleven. See Matthew Pritchard, “ ‘A heap of damaged images’? Reviving AustroGerman Debates Over Musical which means, 1900–36,” magazine of the Royal Musical organization 138, no. 1 (2013): 129–74. 12. Ibid. , a hundred and seventy; translation via Drabkin, pointed out in Heinrich Schenker, Der Tonwille: Pamphlets in Witness of the Immutable legislation of tune, provided to a brand new new release of youngster, ed. William Drabkin, 2 vols. (Oxford: Oxford collage Press, 2004–5), ii, 162. thirteen. Pritchard, “ ‘A heap of damaged images’? a hundred and seventy. (This is pointed out from an identical English version of Schenker’s Der Tonwille as distinct in n. 12 above, the following 165). 14. Richard Taruskin, Defining Russia Musically: ancient and Hermeneutical Essays (Princeton, NJ: Princeton collage Press, 1997), chap. 14, “Shostakovich and the Inhuman,” 480. 15. James H. Johnson, Listening in Paris: A Cultural heritage (Berkeley, la, and London: college of California Press, 1995), 276; i wouldn't desire to oversimplify Johnson’s attention-grabbing research, yet his afterword returns (285) to the implicit advice that musical adventure could be reducible to outward modes of habit and comportment at public live shows. sixteen. See Richard Taruskin, track within the Early 20th Century, vol. four of The Oxford heritage of Western track (Oxford and manhattan: Oxford college Press, 2010 [originally 2005]), 351–53. 17. All extracts from Hugo’s 1829 poem (from the Feuilles d’Automne) are quoted within the translation by means of Humphrey Searle published in Eulenburg miniature ranking No. 447, Liszt, Ce qu’on entend sur l. a. Montagne (London, Zürich, Mainz, manhattan: Ernst Eulenburg Ltd. , 1976)—revised with corrections, x– vii. 18. The quoted words look within the track of the excessive Hills over the horn half on p. 23 of the UE miniature rating 13875, six bars prior to cue 18, the place the voices input, marked “(In the a ways distance). ” 19. Theodor Adorno, creation to the Sociology of song, trans E. B. Ashton (New York: Seabury Press, 1976), 61–62. 20. Stanislaus Przybyszewski, Zur Psychologie des Individuums. 1. Chopin und Nietzsche (Berlin: Fontane, 1892), forty seven. 21. Laurence Dreyfus, Wagner and the Erotic Impulse (Cambridge, MA: Harvard collage Press, 2010), 37. 22. Ibid. , 35. 23. From The Case of Wagner in Friedrich Nietzsche, The beginning of Tragedy and The Case of Wagner, trans.

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