Nineteenth-Century Music Criticism

Teresa Cascudo (ed). Pages: approx. 552 p. Language(s):English, French, Italian. Publication Year:2017. Brepols. ISBN: 978-2-503-57497-4. Hardback -- SUMMARY The “long nineteenth century” encompasses what has been described by some authors as “newspaper civilization”. Music was fundamental for many men and women who lived during that century. Not surprisingly, at this time, music was a common theme in the press. On the one hand, news, chronicles and criticism played a central part in the musical market, since the success of that market was predicated on the dissemination of information about performers, musical events and new repertoires. On the other hand, as we have observed, the prominence of music opened the door to new types of critical reflection in longer essays. Writings about music in those years were the result of artistic aspirations and preferences; the same writings also present evidence of prejudices and modes of perception marked by specific ideological issues. This volume collects twenty-two articles that address these issues, focusing on case studies in Europe and America. The collection reflects the growing importance of music criticism in particular and the press in general as objects of study for contemporary musicology. TABLE OF CONTENTS Teresa Cascudo García-Villaraco Introduction Music Criticism / Music Journalism Katharine Ellis Music Criticism, Speech Acts and Generic Contracts Guillaume Bordry Barnum et les Romains: Critique, claque et réclame dans les Soirées de l’orchestre d’Hector Berlioz Sylvia Kahan A Critic’s Progress: Émile-Mathieu de Monter’s Musical Reporting of the Paris 1867 and 1878 Exposition Universelles for the Revue et Gazette musicale de Paris Ingeborg Zechner London’s Italian Opera as a Topic of Interest to International Nineteenth-Century Music Criticism Jeroen van Gessel Speaking for Whom? Using Opera Reviews from Strasbourg (1887-1918) to Clarify the Problematical Source Character of Music Criticism José Ignacio Suárez García Graphic Humour as Musical Criticism: Cartoon and Caricature in the First Wagnerian Reception in Madrid Mónica Vermes The Music in the Theatres of Rio de Janeiro (1890-1900): Concert Series, Music Criticism and Conflicting Cultural Projects in the Early Years of the Republic Marita Fornaro Bordolli The Power of Music Criticism in the Shaping of Modern Uruguay: An Analysis of the Newspaper Montevideo Musical Discourses Melanie Plesch The Cultural Biography of a Music Periodical: Boletín Musical (Buenos Aires, 1837) Erin Fulton Nativist Rhetoric in the Opera Journalism of Antebellum New York City Marc Ernesti 1813, Vienna, and a Re-print of the AmZ: Notes on Intertextuality in German Music Media around 1800 Nancy November The String Quartet in Early Nineteenth-Century Performance and Criticism Maria Teresa Arfini Beethoven e Mendelssohn nel pensiero di Adolf Bernhard Marx Renato Ricco «La musica non imita e non esprime che lo stesso sentimento in persona»: per una (mancata) teoria musicale leopardiana Žarko Cveji" Fallen Angels of Music: Subjectivity in Early 19th-Century Philosophy and the Reception of Virtuosity in Contemporary Music Criticism Michael B. Ward ‘Absolute’ Philosophy? Gender, Nationalism, and Jewishness in Eduard Hanslick’s Formalism Teresa Cascudo García-Villaraco Manuel de Falla at War: On Race, Sound and New Music Composers’ Voices R. J. Arnold «Les Plaisirs de l’Imagination Sont les Seuls Réels»: Grétry’s Writings and the Expansion of Critical Thought at the Beginning of the Nineteenth Century Diau-Long Shen Composer-Critic and «Inimitable Creators»: E. T. A. Hoffmann, W. A. Mozart, and the Genesis of German Romantic Opera Anja Bunzel Critical Responses to Nineteenth-Century Music Criticism: Johanna Kinkel’s Trinklieder and Her Later Lieder Collections Yaël Hêche Richard Wagner et La Reine de Chypre de Fromental Halévy (Paris, 1841): la critique musicale comme réflexion esthétique capitale Rainer Kleinertz Richard Wagners offener.…