Music of the Romantic Era

instructor:

Dr. Blake Howe [bhowe@|su.edu]

M&DA 297

meetings: Mondays, Wednesdays, and Fridays, 9:30‐10:20 M&DA 245

office hours: Fridays, 10:30-11:30 Struggle and Triumph

Music Ludwigvan Beethoven, Symphony No. 5 in C Minor,Op. 67 (1804‐08)

Ludwigvan Beethoven, Fidelio, Op. 72 (1805, rev. 1814) 0 Act II, Scene 1 (No. 11, “Gott! Welch' Dunkel hier!“) 0 Act II, Scene 2 (No. 16, “Heil! Heil sei dem Tag"!)

Primary Sources Ludwigvan Beethoven, Letter to Carl andJohann Beethoven (6 October 1802), translated in Musicin the Western World:A Historyin Documents,2nd ed., ed. Piero Weiss and Richard Taruskin (Belmont, CA: Schirmer Cengage Learning, 2008),277‐79.

Christian Friedrich Michaelis, "Einige Bemerkungen Uber das Erhabene der Musik” (“Some Remarks on the Sublime in Music," 1805), excerpted and translated in MusicandAesthetics in the EighteenthandEarly-Nineteenth Centuries, ed. Peter le Huray and James Day, abridged edition (Cambridge: Cambridge University Press, 1988), 202‐03.

E.T. A. Hoffmann, "Beethovens Instrumental-Musik"(1813), translated as"Beethoven’s Instrumental Music," in Strunk's Source Readings in MusicHistory, revised edition, ed. Leo Treitler (NewYork and London: W. W. Norton, 1998), 1193-98.

Historical/Analytical Studies Joseph Kerman,"Beethoven’s Minority," in Write All These Down: on Music(Berkeley, Los Angeles, and London: University of California Press, 1998), 217‐37. MoralLawWithin, Starry Skies Above

Music Ludwigvan Beethoven, Piano Sonata No. 32 in C Minor,Op. 111 (1821‐22): 0 Second movement, Arietta: Adagio molto semplice e cantabile

Ludwigvan Beethoven, String Quartet No. 15 in A Minor, Op. 132 (1825): 0 Third movement, Molto Adagio‐Andante (HeiligerDankgesangeines Genesenen an die Gottheit, in derlydischen Tonart)

Primary Sources Immanuel Kant, Kritik derpraktischen Vernunft(1788), as excerpted and translated in Paul Guyer, "Introduction: The Starry Heavens and the Moral Law," in The Cambridge Companion to KantandModernPhilosophy, ed. Paul Guyer (Cambridge: Cambridge University Press, 2006), 1.

Friedrich Schiller, Uber naive andsentimentalische Dichtung(1795), translated as On NaiveandSentimentalPoetry, trans. and ed. William F. Wertz,Jr., The Schiller Institute, selected excerpts.

G.W. F. Hegel, Phanomenologie des Geistes(1807), translated as The Phenomenologyof Mind, trans.J.B. Baillie (NewYork: Macmillan, 1910), selected excerpts.

Historical/Analytical Studies Theodor W. Adorno, Beethoven: The Philosophyof Music, ed. RolfTiedemann, trans. EdmundJephcott (Stanford: Stanford University Press, 1998), 123‐26.

Maynard Solomon, "Some RomanticImages," in Late Beethoven: Music, Thought, Imagination(Berkeley, Los Angeles, London: University of California Press, 2004), 42-70. The Ninth

Music Ludwigvan Beethoven, Symphony No. 9 in D Minor, Op. 125 (1824)

Primary Sources , "Etude critique des symphonies de Beethoven" (1862), translated asA CriticalStudy of Beethoven's Nine Symphonies, trans. Edwin Evans (London: William Reeves, 1958), 103‐17.

Richard Wagner, program notes for Beethoven's Symphony No. 9 (1846), translated in Thomas 5. Grey, "Wagner Introduces Wagner (and Beethoven): Program Notes Written for Concert Performances by and of ," in Richard Wagner and His World, ed. Thomas 5. Grey (Princeton and Oxford: Princeton University Press, 2009), 480-90.

Historical/Analytical Studies Maynard Solomon, "Beethoven's Ninth Symphony: A Search for Order,“ 79th-Centu1yMus/c10 (1986): 3‐23. Interiority

Music , Nocturne No.4 in A Major(1817)

Franz Schubert, Momentmusicalin A flat Major, Op. 94, No. 6, D. 780 (ca. 1823‐28)

Franz Schubert, Impromptu in Eflat Major, Op. 90, No.2, D. 899 (1827)

Clara Schumann, Soirées Musicales, 0p. 6 (1836) : 0 No.2, Notturno in F Major

Primary Sources Wilhelm Wackenroder, ”Das merkardige musikalische Leben des TonkUnstlersJoseph Berglingei" (1797), translated as "The Remarkable Musical Life of the Musicianjoseph Berglinger" in Strunk’sSource Readings in MusicHistory, revised edition, ed. Leo Treitler (NewYork and London: W. W. Norton, 1998), 1061-72.

Franz Liszt, Preface tojohn Field, 18Nocturnes(1859), excerpted and translated in Piero Weiss and Richard Taruskin, eds., Musicin the Western World: A Historyin Documents, 2nd ed. (Belmont, CA: Schirmer Cengage Learning, 2008),311‐13.

Historical/Analytical Studies Nicholas Temperley, "John Field and the First Nocturne," Music& Letters56 (1975): 335‐40. Projections of Subjectivity

Music Franz Schubert, "Nachthelle," D. 892 (1826)

Franz Schubert, String Quintet in C Major, D. 956 (1828): 0 First movement,Allegro ma non troppo

Franz Schubert, Piano Sonata in Bflat Major D. 960 (1828): 0 First movement, Molto moderato

Primary Sources Franz Schubert,notebook entries from 25 March 1824 to 29 March 1824, as translated in Otto Erich Deutsch, ed., Schubert:A DocumentaryBiography, trans. Eric Blom (London:J. M. Dent & Sons, 1946),336‐37.

Eduard von Bauernfeld,Josef Kenner, and Josef von Spaun, reminiscences of Schubert collected by biographer Ferdinand Luib (1857‐58), as translated in Otto Erich Deutsch, ed., Schubert: Memoirsby HisFriends, trans. Rosamond Ley andJohn Nowell (NewYork: Macmillan, 1958), 45‐46, 81‐82, and 125‐44.

Historical/Analytical Studies Richard L.Cohn, "As Wonderful as Star Clusters: Instrumentsfor Gazing at Tonality in Schubert," 19th-CenturyMusic22 (1999): 213‐32. Lieder im Volkston

Music Ludwigvan Beethoven, An die ferne Geliebte, Op. 98 (1816)

Franz Schubert, “Heidenrdslein,” Op. 3, No.3, D. 257 (1815)

Franz Schubert, “Nahe des Geliebten,“ Op. 5, No. 2, D. 162 (1815)

Franz Schubert, Winterreise, Op. 89, D. 911 (1827): o No. 5, "Der Lindenbaum"

Primary Sources Johann Abraham Peter Schulz, Preface to Liederim Volkston, 2nd ed. (Songs in the Tone of the People, 1785),translated by David Gramit in CultivatingMusic: The Aspirations, Interests, andLimitsof German MusicalCulture, 1770‐7848(Berkeley, Los Angeles, and London: University of California Press, 2002), 66‐67.

Johann Wolfgang von Goethe, miscellaneous writings on music and song (1801‐23), excerpted from Lorraine Byrne Bodley, Schubert’s Goethe Settings(Hampshire and Burlington: Ashgate, 2003), 3‐24.

Historical/Analytical Studies Walter Frisch, "Schubert's Nahe des Ge/iebten (D. 162):Transformation of the Volkston," in Schubert: CriticalandAnalytical Studies, ed. Walter Frisch (Lincoln and Nebraska: University of Nebraska Press), 175‐99. Music of Nationhood

Music , Symphony No. Sin D Minor,Op. 107 ("Reformation," 1830): 0 First movement,Andante ‐ Allegro con fuoco 0 Fourth movement, Andante con moto ‐ Allegro vivace ‐ Allegro maestoso

Felix Mendelssohn, Paulus, Op. 36 (1834‐36): 0 Overture, No. 1 ("Herr! Du bist der Gott"),and No. 2 ("Allein Gott in der Hoh' sei Ehr’") o No. 35, Recitative ("Da das die Apostel horen") and Chorus ("Aber unser Gott ist im HimmeI")

Primary Sources Felix Mendelssohn and Abraham Mendelssohn, excerpts from the letters of 1SJune 1830, 16 October 1830, 15July 1831, 6 October 1831, 4 March 1833, and 10 March 1835, astranslated inJudith Silber, ”Mendelssohn and His ‘Reformation' Symphony," journalof the American MusicologicalSociety40 (1987): 310‐36; Lettersfrom ItalyandSwitzerlandby Felix Mendelssohn Bartholdy, trans. Lady Wallace (London: Longman, Green, Longman, and Roberts, 1862); and Letters of Felix Mendelssohn Bartholdyfrom 1833 to 1847, ed. Paul Mendelssohn Bartholdy and Carl Mendelssohn Bartholdy, trans. Lady Wallace (London: Longmans, Green, 1867).

Historical/Analytical Studies Wolfgang Dinglinger,”The Programme of Mendelssohn's 'Reformation' Symphony," trans.John Michael Cooper, in The Mendelssohns: Their Musicin History, ed.John Michael Cooper andJulie D. Prandi (Oxford: Oxford University Press, 2002), 115‑ 34. Fairy Magic

Music Felix Mendelssohn, Octet in Eflat Major, Op. 20 (1825): 0 Third movement, Scherzo

Felix Mendelssohn, Overture for A MidsummerNight’s Dream, Op. 21 (1826)

HectorBerlioz, Roméo etjuliette, Op. 17(1839): 0 Second part, fourth movement, Scherzo (La reine Mab, reine des songes)

Fanny Hensel, Dasjahr, H.385 (1841) o No. 2, "Februar" (Scherzo)

Primary Sources Johann Christian Lobe, "Gesprache mit Mendelssohn" (1855), translated as "Conversations with Felix Mendelssohn" by Susan Gillespie in Mendelssohn andHis World, ed. R.LarryTodd (Princeton: Princeton University Press, 1991), 187‐205.

Historical/Analytical Studies Francesca Brittan, "On Microscopic Hearing: Fairy Magic, Natural Science, and the Scherzo fantastique,"journalof the American MusicologicalSociety64 (2011): 527‐600. Eroico and Giocoso

Music , Tancredi(1813): 0 Act I,Scene 5 (“Oh patria!" [par/ante], "Tu che accendi questo core" [cantabile], and "Di tanti palpiti" [cabaletta])

Gioachino Rossini, L’Italiana in Algeri(1813): o Overture 0 Act I, Finale ‐ Scene 10 ("Viva, viva iI flagel delle donne"), Scene 11 ("Oh! Che muso, che figural"), Scene 12 ("V0’ star con mia nopote"), and Scene 13 (“Pria di dividerci da voi")

Primary Sources Gioachino Rossini, et al., embellishments on “Di tanti palpiti," in EmbellishedOpera Arias, ed. Austin B.Caswell, Recent Research in Music of the Nineteenth and Twentieth Centuries, vols. 7‐8 (Madison, WI: A-R Editions, 1989).

Stendahl, Vie de Rossini(1824),translated by Richard N. Coe as Life of Rossini(Seattle: University of Washington Press, 1972), 54-57 and 123‐24.

Giuseppe Mazzini, Filosofia della musica(1836), translated as Philosophy of Musicin Strunk’sSource Readings in MusicHistory, revised edition, ed. Leo Treitler (NewYork and London: W. W. Norton, 1998), 1085‐94.

Historical/Analytical Studies Philip Gossett, "Gioachino Rossini and the Conventions of Composition," Acta musicologica 42 (1970): 48-58. Belcanto Mania

Music , Norma(1831): 0 Act I,Scene 4 ("Sedizio sevoce" [par/ante], "Casta diva" [cantabile], "Fine al rito" [tempo di mezzo], and "Ah! bello a me ritorno" [cabalettaD

Gaetano Donizetti, Lucia diLammermoor(1835): 0 Act III, Scene 2 (”Eccola!...|l dolce suono" [par/ante], “Splendon Ie sacre faci" [cantabile], ”S'avanza Enrico" [tempo di mezzo], and ”Spargi d'amaro pianto" [cabaletta])

Primary Sources Stendahl, Vie de Rossini(1824), translated by Richard N. Coe as Life of Rossini(Seattle:University of Washington Press, 1972), 361‐76 (Chapter 35, "Madame Pasta").

Edmond Michotte, Souvenirs: Unesoirée chez Rossinia Beau-5éjours(ca. 1890, describing a meeting in 1858),translated in Edmond Michotte, RichardWagner’s Visit to Rossini(Paris, 1860) andAn Eveningat Rossini’sin Beau-Sejour (Passy, 7858), trans. HerbertWeinstock (Chicago and London: University of Chicago Press, 1968), 102‐20.

Historical/Analytical Studies Susan Rutherford,"‘La cantante delle passioni': Giuditta Pasta and the Idea of Operatic Performance," Cambridge Operajournal 19 (2007): 107-38. The Haunted Forest

Music , DerFreischt'itz, Op. 77 (1821): 41 0 Overture 0 Act II, Finale (“Milch des Mondes fiel auf's Kraut...") n

Heinrich Marschner, HansHeiling, Op. 80 (1832): 0 Act II, Finale (“Ein geiziger, hartherziger Mann")

Primary Sources Max Maria von Weber, KarlMaria von Weber: Ein Lebensbild(CarlMaria von Weber:A Biography, 1864‐66), excerpted and translated in Piero Weiss, 'A Historyin Documents(Oxford and NewYork: Oxford University Press, 2002), 175‐78.

Richard Wagner, "Le FreischUtz" (1841), translated in Richard Wagner’s Prose Works, trans. William Ashton Ellis (London: Kegan Paul, Trench, TrUbner & Co., 1898), 7:183-204, selected excerpts.

Jacob and Wilhelm Grimm, “Die Heilingszwerge,“ in Deutsche Sagen(1816‐18), translated in The German Legends ofthe ,trans. Donald Ward (Philadelphia: Institutefor the Study of Human Issues, 1981).

Historical/Analytical Studies Anthony Newcomb, "New Light(s) on Weber's Wolf's Glen Scene," in Opera andthe Enlightenment, ed. Thomas Bauman and Marita Petzoldt McClymonds (Cambridge: Cambridge University Press, 1995), 61‐90. The Danceof Death

Music , Giselle (1841)

Primary Sources Théophile Gautier and Jules-Henri Vernoy de Saint-Georges, scenario for Giselle(1841), translated in Marian Smith, Balletand Opera in theAge of "Giselle"(Princeton and Oxford: Princeton University Press, 2000), 227-38.

Hector Berlioz, Les Grotesques de la musique(1859),translated as The MusicalMadhouse, trans. and ed. Alastair Bruce (Rochester: University of Rochester Press, 2003), 130‐32.

Historical/Analytical Studies Evan Alderson, “Ballet as Ideology: Giselle, Act 2," Dance Chronicle 10 (1987): 290‐304. Disasters and Massacres

Music Daniel‐Francois‐Esprit Auber, La muette de Portici(1828): 0 Act V (complete)

Giacomo Meyerbeer, Les Huguenots(1836): 0 Act II, No. 6 ("Oui, d'un heureux hymen préparé...") 0 Act IV, No. 23, Conspiracy and Blessing of the Daggers ("Des troubles renaissants...")

Primary Sources Richard Wagner, "Erinnerungen an Auber" ("Reminsicences of Auber," 1871), translated in Piero Weiss, Opera:A Historyin Documents(Oxford and NewYork: Oxford University Press, 2002), 179‐81.

Richard Wagner, "Uber Meyerbeers Huguenots" (ca. 1840),translated by Thomas 5. Grey in RichardWagner andHis World, ed. Thomas S.Grey (Princeton and Oxford: Princeton University Press, 2009), 335-46.

Historical/Analytical Studies Simon Williams, "The Spectacle of the Past in Grand Opera," in The Cambridge Companion to GrandOpera, ed. David Charlton (Cambridge: Cambridge University Press, 2003), 58-75. Patriots and Martyrs

Music Mikhail Ivanovich Glinka, Zhizn’za tsaiya (A Life forthe Tsar, 1836): o Overture 0 Act I,Introduction ‐ No. 1 (Chorus,"Rodina moya! Russkaya zemlya"), No.2(Antonida’s cavatina, “Akh, ti, polye, polye ti moyo”), and No. 3 (Susanin and Chorus, "Chto gadat’ o svad’bye") 0 Act II, No. 7 ( and Finale, "Otkuda?") o Epilogue ("Slav'sya, slav’sya ti, nash Ruskiy Tsar ’!")

Mikhail Ivanovich Glinka, Ruslan i Lyudmila (RuslanandLudmila, 1837‐42): 0 Overture

Mikhail Ivanovich Glinka, Kamarinskaya(1848)

Primary Sources Mikhail Ivanovich Glinka, Memoirs, trans. Richard B. Mudge (Norman: University of Oklahoma Press, 1963), 55‐90.

Vladimir Fyodorovich Odoyevsky, Letter to Sever’naya pchela (7 December 1836), translated in Russians on Russian Music, 1830‐1880:An Anthology, ed. and trans. Stuart Campbell (Cambridge: Cambridge University Press, 1994), 1‐3.

Historical/Analytical Studies Richard Taruskin, "M. I.Glinka and the State," in DefiningRussia Musically: HistoricalandHermeneuticalEssays (Princeton and Oxford: Princeton University Press, 1997), 25‐47. The NewVirtuosity

Music Niccolo Paganini, Ipalpiti, Op. 13 (1819)

Franz Liszt, Grandgalop chromatique, S.219 (1838)

Louis Moreau Gottschalk, Union,Op. 48 (1863)

Thomas ("Blind Tom") Wiggins, The Battle ofManassas(1866)

Teresa Carrefio, La fausse note, Op. 39 (1872)

Primary Sources , reports for The Tat/er on Paganini (23June 1831 and 25June 1831), excerpted in Piero Weiss and Richard Taruskin, eds., Musicin the Western World:A History in Documents,2nd ed. (Belmont, CA: Schirmer Cengage Learning, 2008),290‐93.

Heinrich Heine, Report on the Musical Season of 1844in Paris, translated in The Attentive Listener: Three Centuries of Music Criticism, ed. Harry Haskell (Princeton: Princeton University Press, 1996), 115‐20.

Louis Moreau Gottschalk, Notes of a Pianist(1881), as excerpted inJudith Tick, ed., Musicin the USA:A Documentaly Companion (Oxford: Oxford University Press, 2008), 195‐201.

James M. Trotter, "Thomas Greene Bethune, Otherwise Known as 'Blind Tom,’ the Wonderful Pianist," in MusicandSome Highly MusicalPeople... (Boston: Lee and Shepard; and NewYork: Charles T. Dillingham, 1881), 141‐59.

Hazel Gertrude Kinscella, "A Half Century of Piano Playing as Viewed Through Teresa Carrefio's Eyes," MusicalAmerica (30 December 1916): 5. Mimesis

Music , Symphony No. 6 in F Major, Op. 68 (1808): 0 Second movement, Andante molto mosso (Szene am Bach)

Hector Berlioz, Symphonie fantastique, Op. 14 (1830) 0 First movement, Largo ‐ Allegro agitato e appassionato assai (Réveries ‐ Passions) 0 Fifth movement,Allegro frenetico (Orgie de brigands)

Primary Sources Hector Berlioz, De l’Imitation musicale(1837), translated as "On Imitation in Music" byJacques Barzun (modified by Edward T. Cone), in Edward T. Cone, Berlioz: FantasticSymphony(New York and London: W. W. Norton, 1971), 36‐46.

Francois-Joseph Fétis, review of Berlioz's Symphonie fantastic in Revue musicale(1 February 1835),translated in Edward T. Cone,Berlioz: Fantastic5ymphony(New York and London: W. W. Norton, 1971), 215-20.

Felix Mendelssohn, Letter to Lea Salomon Mendelssohn (15 March 1831), excerpted and translated in Edward T. Cone, Berlioz: FantasticSymphony(New York and London: W. W. Norton, 1971), 281‐82

Richard Wagner, report from Paris for the DresdenerAbendzeitung(5 May 1841),translated in Edward T. Cone, Berlioz: FantasticSymphony(New York and London: W. W. Norton, 1971), 284‐87.

Historical/Analytical Studies Stephen Rodgers, Form, Program, andMetaphorin the Music of Berlioz(Cambridge: Cambridge University Press, 2009), 85‑ 106. Puzzle Pieces

Music Ludwigvan Beethoven, Bagatelles, Op. 126 (1825)

Robert Schumann, Carnaval, Op. 9 (1834‐35)

Primary Sources Johann Wolfgang von Goethe, “Die Metamorphose der Pflanzen" (1798), translated as "The Metamorphosis of Plants" in Goethe: ScientificStudies, trans. and ed. Douglas Miller (NewYork: Suhrkamp, 1988).

Friedrich Schlegel and , selected fragments from Athenaum (1798‐1800),translated in ’s ”Lucinde"andthe Fragments,trans. Peter Firchow (Minneapolis: University of Minnesota Press, 1971), 164‐65, 167, 170, 175‐76, 184, and 189.

Robert Schumann, selected aphorisms from MeisterRaro’s, F/orestan’s undEusebius’s Denk- undDicht-Biich/ein(ca. 1833), excerpted from RobertSchumann, On MusicandMusicians, ed. Konrad Wolff, trans. Paul Rosenfeld (NewYork: Pantheon Books, 1946), 38‐51.

Historical/Analytical Studies Theodor W. Adorno, Beethoven: The Philosophyof Music, ed. RolfTiedemann, trans. EdmundJephcott (Stanford: Stanford University Press, 1998), 130‐32.

Peter Kaminsky, "Principles of Formal Structure in Schumann's Early Piano Cycles," Music Theory Spectrum 11 (1989): 207‐25. Sketches, Ruins, EagleWings

Music Frédéric Chopin, , Op. 17 (1831‐33) 0 No.2 in E Minor 0 No.4inA Minor

Frédéric Chopin, Preludes, Op. 28 (1838‐39): 0 No.1 in C Major 0 No.2 inA Minor 0 No.4 in E minor

Primary Sources Francois-Joseph Fétis, "Concert de M. Chopin de Varsovic" (1832), translated as “The Concert of Monsieur Chopin from Warsaw" in Strunk'sSource Readings in MusicHistory, revised edition, ed. Leo Treitler (NewYork and London: W. W. Norton, 1998), 1 123‐25.

Robert Schumann, “Phantasieen, Capricen etc. fUr Pianoforte" (1839), excerpted and translated in Thomas Higgins, Frédéric Chopin: Preludes, Opus 28 (NewYork: W. W. Norton, 1973), 91.

George Sand, Histoire de ma vie (Storyof My Life, 1855), excerpted and translated in Thomas Higgins, Frédéric Chopin: Preludes, Opus28 (NewYork: W. W. Norton, 1973), 94‐95.

Historical/Analytical Studies Jeffrey Kallberg, “Hearing Poland: Chopin and Nationalism," in Nineteenth-CentwyPiano Music, ed. R.Larry Todd, 221‐57 (New York and London: Routledge, 2004). Poemswithout Words

Music Wilhelm Taubert, An die Geliebte:Acht Minne‐Iieder(1834): o No. 5,Allegretto moderato (Goethe: "An dem Felsen am Fluss...")

Fanny Hensel, Vier Lieder, Op. 8 (ca. 18405): 0 No.3, (Lenau)

Clara Schumann, Romance in Eflat Minor,Op. 11, No. 1 (1839)

Frédéric Chopin, Ballade No. 2 in FMajor, Op. 38 (1839)

Primary Sources Robert Schumann, reviews of Felix Mendelssohn‘s Opp. 30, 38, and 53 (1835‐41), translated in RobertSchumann on Musicand Musicians, ed. Konrad Wolff, trans. Paul Rosenfeld (NewYork: Pantheon, 1946), 210‐12.

Robert Schumann, review of Frédéric Chopin's Opp. 37, 38, and 42 (1841), translated in RobertSchumann on Musicand Musicians, ed. Konrad Wolff, trans. Paul Rosenfeld (NewYork: Pantheon, 1946), 142‐43.

Félicien Mallefille, "A. M. F. Chopin, sur sa Ballade polonaise“ (1838), translated inJonathan D. Bellman, Chopin’s Polish Ballade: Op. 38 as Narrative of NationalMartyrdom(Oxford: Oxford University Press, 2010), 176‐84.

Historical/Analytical Studies Elfriede Glusman, “Taubert and Mendelssohn: OpposingAttitudes toward Poetry and Music," The MusicalQuarterlyS7 (1971): 628-35. A Poet's Love

Music Robert Schumann, Dichterliebe, Op. 48 (1840)

Clara Schumann, "Loreley" (1843)

Primary Sources Clara and Robert Schumann, letters of 13July 1833, 13 August 1837, 15 August 1837, 18 September 1837, 12 November 1837, early May 1838, 25 February 1839, 7 May 1839, 2Ju|y1839, 30 November 1839, 2 March 1840, 12August 1840, and 21 August 1840, in Eva Weissweiler, ed., The Complete Correspondence of Clara andRobertSchumann, 3 vols., trans. Hildegard Fritsch, Ronald L. Crawford, and Harold P. Fry (NewYork: Peter Lang, 1994‐2002).

Historical/Analytical Studies Hanna Spencer, (Boston: Twayne, 1982), 12‐30. Thematic Transformations

Music Ludwigvan Beethoven, String Quartet No. 16 in F Major, Op. 135 (1826): 0 Fourth movement (DerschwergefaBte EntscthB), Grave, ma non troppo (Mussessein?) ‐ Allegro (Es musssein!)

Franz Liszt, Lespré/udes, S.97 (1849‐55)

Primary Sources Eduard Hanslick, Vom musika/isch-Schdnen (Onthe Musical/yBeautiful, 1854), excerpted and translated in Strunk's Source Readingsin MusicHistory, revised edition, ed. Leo Treitler (NewYork and London: W. W. Norton, 1998), 1202‐11.

Robert Schumann, Felix Mendelssohn, Franz Liszt, Franz Brendel, andJohannes Brahms, remarks concerning (or leading up to) the Zukunftsmusik controversy (1835‐59), excerpted and translated in PieroWeiss and Richard Taruskin, eds., Musicin the Western World:A History in Documents,2nd ed. (Belmont, CA: Schirmer Cengage Learning, 2008), 324‐29.

Richard Wagner, Letter to Princess Carolyne zu Sayn‐Wittgenstein (15 February 1857), published in the NeueZeitschrift fur Musikas “Uber Franz Liszts Symphonische Dichtungen" (1857), translated as “On Franz Liszt's Symphonic Poems," in Richard Wagner's Prose Works, trans. William Ashton Ellis (London: Kegan Paul, Trench, TrUbner, 1907),3:235‐54. Fantasy and Sonata

Music Robert Schumann, Fantasiein C Major, Op. 17 (1836‐39): 0 First movement, Durchaus fantastisch undIeidenschaftlich vorzutragen - Im Legenden-Ton

Franz Liszt, Piano Sonata in B Minor, 5. 178 (1854)

Primary Sources Robert Schumann, Letters to Friedrich Kistner (19 December 1836)and Clara Schumann (18 March 1838, 16 April 1838, and 9 June 1838)translated in Nicholas Marston, Schumann: "Fantasie," Op. 17(Cambridge: Cambridge University Press, 1992), 3-4; and The Complete Correspondence of Clara andRobertSchumann, vols. 1‐3 (NewYork: Peter Lang, 1994‐2002).

Historical/Analytical Studies Alan Walker, "Schumann, Liszt, and the C Major Fantasia, Op. 17: A Study in Declining Relationships," in Reflections on Liszt(|thaca: Cornell University Press, 2005), 40‐50.

Alan Walker, "Liszt's Sonata in B Minor," in Reflections on Liszt(lthaca: Cornell University Press, 2005), 128‐49. Chromatic Lovedeaths

Music Richard Wagner, Tristan undlsolde(1857‐59): 0 Prelude 0 Act II, Scene 2 ("Isolde! Geliebte!‐ Tristan! Geliebter!" until entrance of Marke) 0 Act III, Scene 3 (from IsoldesLiebestod, "Mild und Ieise wie er Iachelt...“)

Hugo Wolf, "Bedeckt mich mit Blumen" (1891)

Primary Sources Richard Wagner, Letters to Mathilde Wesendonck (6July 1858, 12 October 1858, and 5 October 1859), translated in Richard Wagner to Mathilde Wesendonck, ed. and trans. William Ashton Ellis, 2nd ed. (New York: Charles Scribner‘s, 1905), 24‐28 and 53‐65.

Richard Wagner, program notes to Tristan undlso/de(1860 and 1863), translated in "Wagner Introduces Wagner (and Beethoven): Program Notes Written for Concert Performances by and of Richard Wagner," ed. and trans. Thomas S.Grey, in RichardWagner andHis World, ed. Thomas S.Grey (Princeton and Oxford: Princeton University Press, 2009), 505-07.

Historical/Analytical Studies Laurence Dreyfus, Wagner andthe EroticImpulse(Cambridge, MA: Harvard University Press, 2010), 40‐72 . The Ring

Music Richard Wagner, DerRingdes Nibelungen(1876): 0 Das Rheingold(1869)

Primary Sources Richard Wagner, ”Eine Mittheilung an meiner Freunde” ("A Communication to My Friends," 1851), excerpted and translated in Piero Weiss, Opera:A Historyin Documents(Oxford and New York: Oxford University Press, 2002), 196‐201.

Richard Wagner, DasKunstwerk derZukunft(TheArtwork of the Future, 1849), excerpted and translated in Piero Weiss, Opera: A Historyin Documents(Oxford and NewYork: Oxford University Press, 2002), 201‐211.

Eduard Hanslick, review of DerRingdes Nibelungen(1876), translated in Hanslick's Music Criticism, trans. and ed. Henry Pleasants (NewYork: Dover, 1978), 129‐56.

Hans von Wolzogen, Erla'uterungenzu RichardWagner’s Nibelungendrama (1878), translated as Guide Through the Musicof R. Wagner’s "The Ringof the Nibelung,"trans. Ernstvon Wolzogen, new ed. (: Feodor Reinboth, n.d.), 9-29. Moguchaya kuchka

Music Miliy Balakirev, Rus’(Overture on Russian Themes, No. 2, 1863‐64, rev. 1884)

Alexander Borodin, VsrednyeiAzii(InCentralAsia, 1880)

Nikolay Rimsky‐Korsakov, Sadko(1897): 0 Scene 2 0 Scene 4, Song of the Indian Guest ("Ne schest almazov...")

Primary Sources Vladimir Stasov, "Nasha muz'ika za posledniye 25 let"(“Our Music during the Last Twenty-Five Years," 1883), translated in Vladimir Stasov, SelectedEssays on Music, trans. FlorenceJonas (NewYork and Washington: Frederick A. Praeger, 1968), 66‐75.

Nikolay Rimsky-Korsakov, My MusicalLife, ed. Carl Van Vechten, trans. Judah A.Joffe (NewYork: Tudor, 1935), 52-56, 61, 71-73, 183-84.

Historical/Analytical Studies Richard Taruskin, "How the Acorn Took Root," in DefiningRussia Musically:HistoricalandHermeneuticalEssays (Princeton and Oxford: Princeton University Press, 1997), 113‐51. Ceskost

Music BedFich Smetana, Ma vIast(1872‐79) o No. 1, Vys'ehrad, T. 110 (1874) 0 No.2, V/tava, T. 111 (1874)

Primary Sources Véclavjuda Novotny, reminiscence on Smetana's first trip to Liszt in Weimar (1857), excerpted and translated in Frantisek Bartos, ed., Bedr'ich Smetana:LettersandReminiscences, trans. Daphne Rusbridge (Prague: Artia, 1955),45‐47.

BedFich Smetana, Letter to Franz Liszt (24 October 1858), excerpted and translated in Frantisek Bartos, ed., Bedfich Smetana: LettersandReminiscences, trans. Daphne Rusbridge (Prague: Artia, 1955),47‐51.

Historical/Analytical Studies Michael Beckerman, "In Search of Czechness in Music," 79th-CenturyMusic10 (1986): 61-73. Exoticism

Music Félicien David, Le désert(1844): 0 Part 1, "L'Entrée au désert" and "Marche de la caravane"

Georges Bizet, Carmen(1875): 0 Act I, No. 5, “L'amour est un oiseau rebelle" (Habafiera) 0 Act I, No. 10, "Pres des ramparts de Séville“ (Seguidilla)

Camille Saint-Saéns, Samson et Dali/a(1877): 0 Act III, Scene 2 (Bacchanale)

Cécile Chaminade, DeuxMorceaux, Op. 27 (1883): 0 No.2, "Zingara"

Primary Sources , "La captive," from Les orientales(Orienta/ia, 1829),translated as "The Captive" in Victor Hugo, Selected Poetry in French andEnglish, trans. Steven Monte (NewYork: Routledge, 2002), 4‐9.

Miscellaneous reviews of the premiere of Bizet’s Carmen, excerpted and translated in Mina Curtiss, BizetandHis World (Westport, CT: Greenwood Press, 1977), 399‐409.

Historical/Analytical Studies Ralph P. Locke, “Cutthroats and Casbah Dancers, Muezzins and Timeless Sands: Musical Images of the Middle East," 79th‑ Century Music22 (1998): 20‐53. "Beauty Is Life"

Music Modest Musorgsky, Boris Godunov(1869, rev. 1872): 0 Part I,Scene 2 (Coronation Scene, "Da zdravstvuyet tsar’ Boris Feodorovichl")

Pyotr IIyich Chaikovsky, Yevgeny Onegin(1879): 0 Act I,Scene 2 (Letter Scene, "Puskay pogribnu ya...")

Primary Sources Nikolai G. Chernyshevsky, Esteticheskiye otnosheniya iskusstva k deistvitel’nosti(1855), translated as The Aesthetic Relation of Artto Realityin Chernyshevsky, SelectedPhilosophicalEssays (Moscow: Foreign Languages Publishing House, 1953), 380‐81.

Modest Musorgsky, statements on realism in miscellaneous letters and the autobiographical sketch, excerpted and translated in Piero Weiss and Richard Taruskin, eds., Musicin the Western World:A History in Documents, 2nd ed. (Belmont, CA: Schirmer Cengage Learning, 2008), 336‐38.

Pyotr IIyich Chaikovsky, letters on the composition and performance of Yevgeny Onegin(1877‐92), excerpted and translated in Piero Weiss, Opera:A Historyin Documents(NewYork and Oxford: Oxford University Press, 2002), 216‐23.

Historical/Analytical Studies Richard Taruskin, "P. I. Chaikovsky and the Ghetto," in DefiningRussia Musically:HistoricalandHermeneuticalEssays (Princeton and Oxford: Princeton University Press, 1997), 48‐60. Con slancio

Music , (1842): 0 Act III, Scene 2 (Chorus, "Va, pensiero")

Giuseppe Verdi, Rigoletto(1851): 0 Act III

Primary Sources Abramo Basevi, Studio sulle opera di Giuseppe Verdi (1859), excerpted and translated in Piero Weiss, Opera:A Historyin Documents(Oxford and NewYork: Oxford University Press, 2002), 189‐96.

Giuseppe Verdi, Letter to Antonio Somma (22 April 1853),translated in Verdi: The Manin HisLetters, ed. and Paul Stefan, trans. Edward Downes (NewYork: , 1973), 174‐76.

Historical/Analytical Studies Piero Weiss, "Verdi and the Fusion of Genres,"journalof theAmerican MusicologicalSociety35 (1983): 138‐56. Shakespearean Opera

Music Giuseppe Verdi, Otel/o(1887): 0 Act IV

Primary Sources Giuseppe Verdi, Letters to Antonio Somma (29June 1853), Cesare De Sanctis (20 April 1872), Domenico Morelli (7 February 1880, 24 September 1881),and Giulio Ricordi (20 November 1880),translated in Verdi: The Manin HisLetters, ed. Franz Werfel and Paul Stefan, trans. Edward Downes (NewYork: Vienna, 1973), 178, 312‐13, 355‐56, 358‐61.

Ugo Pesci, "Le prove dell' Otello" (1887),translated as "Rehearsals for Otello" in Marcello Conati, InterviewsandEncounters with Verdi, trans. Richard Stokes (London: Victor Gollancz, 1984), 184‐87.

Disposizione scenica for the premiere of Giuseppe Verdi's Otello(1887), inJames Hepokoski and Mercedes Viale Ferrerro, "Otello"de Giuseppe Verdi(Milan: Ricordi, 1990).

Eduard Hanslick, review of Giuseppe Verdi's Otello(1887), in translated in Hanslick’s Music Criticism, trans. and ed. Henry Pleasants (NewYork: Dover, 1978), 275‐87.

Historical/Analytical Studies James Hepokoski, "Staging Verdi's : the Single, 'Correct' Performance," in Verdi in Performance, ed. Alison Latham and Roger Parker, 11‐20(Oxford: Oxford University Press, 2001). Verismo

Music Pietro Mascagni, Cavalieria rusticana (1890): 0 Scenes 10‐12 (from ”A voi tutti salute!")

Giacomo Puccini, Tosca(1900): 0 Act II, Finale (from “Quanto? Quanto? II prezzo!“)

Gustave Charpentier, Louise(1900): 0 Act II, Scene 2 (“La la la la Ia...")

Primary Sources Giovanni Verga, Cavalieria rusticana (short story, 1880),translated by D. H. Lawrence as Rustic Chivalefy, and reprinted in Piero Weiss, Opera:A Historyin Documents(Oxford and New York: Oxford University Press, 2002), 246‐51.

Vito Fedeli, “Verismo...?“ (Gazzetta musica/e di Milano, 1892); "II costume borghese neI melodramma" (IImondo artistico, 1896); and Giuseppe Samoggia, “Realismo neI melodramma" (Gazzetta teatra/e ita/iana, 1901); excerpted and translated in Arman Schwartz, ed., "The Verismo Debate,“ in Arman Schwartz and Emanuele Senici, eds., Giacomo PucciniandHis World(Princeton and London: Princeton University Press, 2016), 261‐72.

Hans Merian, "Leoncavallo's Pagliacci, und die modern-realistische Oper" (1893), translated as "Leoncavallo's Pagliacciand Modern-Realistic Opera by Hans Merian,“ trans. Elaine Fitz Gibbon, in Arman Schwartz and Emanuele Senici, eds., Giacomo PucciniandHis World(Princeton and London: Princeton University Press, 2016), 273-90. Allusion

Music , in BMajor, Op. 8 (1854, rev. 1889): fli 0 Fourth movement, Allegro

Johannes Brahms, Klavierstt'icke, Op. 76 (1871, rev. 1878): o No. 1, Capriccio in Fsharp Minor fl"

Johannes Brahms, "Alte Liebe," Op. 72, No. 1 (1876)

Historical/Analytical Studies Nancy B. Reich, "Clara Schumann and Johannes Brahms," in Walter Frisch and Kevin C. Karnes, eds., BrahmsandHis World, rev. ed. (Princeton and Oxford: Princeton University Press, 2009), 57‐72. J;

Paul Berry, BrahmsamongFriends: Listening Performance, andthe RhetoricofA/Iusion(Oxford: Oxford University Press, 2014), 199-228. DevelopingVariations

Music Johannes Brahms, in FMinor, Op. 34 (1864)

Amy Beach, Piano Quintet in Fsharp Minor,Op. 67 (1907): 0 Third movement,Allegro agitato

Primary Sources Adolf Schubring, “Schumanniana:Joseph Brahms" (1862), translated in "Adolf Schubring: Five Early Works by Brahms," trans. Walter Frisch, in Walter Frisch and Kevin C.Karnes, eds., BrahmsandHis World, rev. ed. (Princeton and Oxford: Princeton University Press, 2009), 199‐205.

George Henschel, diary entry of 27 February 1876, excerpted in Georg Henschel, PersonalRecollectionsofjohannes Brahms (Boston: Richard G. Badger, 1907), 22‐23.

GustavJenner,johannes Brahmsals Mensch, Lehrer undKanstler(1905), translated asjohannes Brahms as Man, Teacher, and Artistby Susan Gillespie and Elisabeth Kaestner, with annotations by Leon Botstein and Kevin C.Karnes, in Walter Frisch and Kevin C.Karnes, eds., BrahmsandHis World, rev. ed. (Princeton and Oxford: Princeton University Press, 2009), 382‐88, 405‐08, 418‐21 .

Historical/Analytical Studies Walter Frisch, "Brahms, Developing Variation, and the Schoenberg Critical Tradition," 79th-Century Music5 (1982): 215‐32. Rings of Saturn

Music Louise Farrenc, Symphony No. 2 in D Minor, Op. 32 (1845): 0 Fourth movement, Andante ‐ Allegro

Robert Schumann, Symphony No. 4 in D Minor, Op. 120 (1841, rev. 1851): 0 First movement,ZiemIich Iangsam ‐ Lebhaft

Johannes Brahms, Symphony No.1 in CMinor, Op. 68 (1876): 0 Fourth movement, Adagio‐Piu andante‐Allegro non troppo, ma con brio‐Piu allegro

Anton Bruckner, Symphony No. 8 in C Minor (1887, rev. 1890): 0 First movement,Allegro moderato

Primary Sources Aristide and Louise Farrenc, eds., Le Trésor despianistes, 23 vols. (Paris, 1861‐72).

Hector Berlioz, "Beethoven dans I’anneau de Saturne“ from A travers chants(1862), translated as “Beethoven in the Rings of Saturn," in Hector Berlioz, The ArtofMusicandOtherEssays, trans. and ed. Elizabeth Csicsery‐Ronay (Bloomington and Indianapolis: Indiana University Press, 1994), 53‐56.

Eduard Hanslick, review ofJohannes Brahms's Symphony No. 1(1876), excerpted and translated in Piero Weiss and Richard Taruskin, eds., Music in the Western World:A Historyin Documents, 2nd ed. (Belmont, CA: Schirmer Cengage Learning, 2008), 343‐45.

Eduard Hanslick, review of 's Symphony No. 8 (1892), translated in Hanslick’s MusicCriticisms, trans. and ed. Henry Pleasants (NewYork: Dover, 1950), 288‐90.

Historical/Analytical Studies J.Peter Burkholder, "Brahms and Twentieth-Century Classical Music," 19th-CenturyMusic8 (1984): 75‐83. Fate

Music Pyotr IIyich Chaikovsky, Lebedinoye ozero, Op. 20 (Swan Lake, 1876): 0 Act IV

Pyotr IIyich Chaikovsky, Symphony No. 4 in F Minor,Op. 36 (1877‐78): 0 First movement,Andante sostenuto

Primary Sources Vladimir Begichev and Vassili Gelster (?), scenario for Lebedinoye ozero(1876, pub. 1877),translated in RolandJohn Wiley, Tchaikovsky's Ballets: "Swan Lake," "SleepingBeauty," "Nutcracker”(Oxford: Clarendon Press, 1985), 321‐27.

Hermann Laroche, review of Pyotr IIyich Chaikovsky‘s Lebedinoye ozero(1878), excerpted and translated in Stuart Campbell, ed., Russians on Russian Music, 1830‐7880(Cambridge: Cambridge University Press, 1994), 272‐76.

Pyotr IIyich Chaikovsky, Letter to Nadezhda Filaretovna von Meck (17 February 1878), excerpted and translated in Piero Weiss and Richard Taruskin, eds., Musicin the Western World:A Historyin Documents, 2nd ed. (Belmont, CA: Schirmer Cengage Learning, 2008), 338‐42.

Historical/Analytical Studies Alexander Poznansky, Tchaikovksy: The Quest forthe InnerMan(NewYork: Schirmer, 1991), 195‐271. CyclicalDesigns

Music Camille Saint-Saéns, Symphony No. 3 in C Minor ("Organ," 1886)

César Franck, Symphony in D Minor (1888): 0 First movement, Lento ‐ Allegro ma non troppo

Primary Sources Camille Saint-Saéns, programmatic notes on the Symphony No. 3 in C Minor (1885), ed. and trans.Joseph Bennett, in Camille Saint-Saéns andHis World, ed.Jann Pasler (Princeton and Oxford: Princeton University Press, 2012), 167‐71.

Vincent D'Indy, Cours de composition musicale(1903‐05), excerpted and translated in Andrew Thomson, Vincent D’lndyandHis World(Oxford: Clarendon Press, 1996), 91‐92.

Vincent D'Indy, César Franck, trans. Rosa New March (Londonzjohn Lane, 1910),170‐73.

Historical/Analytical Studies Michael Strasser, "The Société Nationale and Its Adversaries: The Musical Politics of L’lnvasiongermanique in the 18705," 79th‑ Century Music24 (2001): 225‐51. Heritage

Music Antonin DvoFék, Piano Quintet No. 2 in A Major, Op. 81 (1887): 0 Second movement, Andante con moto (“Dumka”) 0 Third movement, Molto Vivace ("Furiant")

Enrique Granados, 12Danzas espafiolas(1888‐90): 0 No. 6, ”Rondalla aragonesa"

Johannes Brahms, Deutsche Volkslieder, vol. 1 (1893‐94): 0 No. 6,”Da unten im Tale"

Edvard Grieg, Sleitter, Op. 72 (1903‐05): 0 No. 7, "Rotnams-Knut”

Samuel Coleridge‐Taylor, Twenty‐four Negro Melodies, Op. 59 (1905): 0 No.7, "OIoba" 0 No.10,"Deep River"

Primary Sources Johannes Brahms, Letter to Clara Schumann (27January 1860),translated injohannes Brahms: LifeandLetters, ed. Styra Avins, trans.Josef Eisinger and Styra Avins (Oxford: Oxford University Press, 1997), 211‐13.

"Dvorak in the Czech Press: Unpublished Reviews and Criticism,“ ed. and trans. Tatiana Firkusny, in Michael Beckerman, ed., Dvor'a’k andHis World(Princeton: Princeton University Press, 1993), 230‐38.

Edvard Grieg, Letter to HenryT. Finck (17 July 1900), translated in Edvard Grieg: Letters to Colleagues andFriends, ed. Finn Benestad, trans. William H. Halverson (Columbus: Peer Gynt Press, 2000), 226‐28.

Samuel Coleridge‐Taylor and Booker T. Washington, Foreward and Introduction to Twenty-four Negro Melodies(Boston: Oliver Ditson, 1905). NewWorlds

Music Antonin Dvo‘r'ak, Symphony No. 9 in EMinor, Op. 95 ("From the New World," 1893): 0 Second movement, Largo

Amy Beach, Symphony in E Minor, Op. 32 (”Gaelic," 1896): 0 Third movement, Lento con molta espressione

Arthur Farwell, FromMesa andPlain, Op. 20 (1905): 0 No. 2, "Pawnee Horses"

HarryT. Burleigh, Fromthe South/and“ 910): 0 No.6, "A New Hidin' Place“

Primary Sources James Creelman, ”Real Value of Negro Melodies: Dr. Dvorak Finds in Them the Basis for an American School of Music..." (1893), excerpted inJudith Tick, ed., Musicin the USA:A DocumentaryCompanion(Oxford and NewYork: Oxford University Press, 2008), 308-12.

Amy Beach, response to Antonin Dvorak in the BostonHerald(28 May 1893): 23.

W. E.B.DuBois, The Souls of Black Folk(1903), excerpted in Readings in BlackAmerican Music, 2nd ed., ed. Eileen Southern (NewYork and London: W. W. Norton, 1983),203‐11.

Arthur Farwell, Introductionto American IndianMelodies(Wa-Wan Press, 1901; rpt. NewYork: G.Schirmer, 1914), 1‐8,selected excerpts.

Historical/Analytical Studies Adrienne Fried Block, “Dvorak, Beach, and American Music," in A Celebration ofAmerican Music: Words andMusicin Honorof H. Wiley Hitchcock, ed. Richard Crawford, R.Allen Lott, and CarolJ.Oja (AnnArbor: University of Michigan Press, 1990), 256‐80. Song and Symphony

Music , Lieder eines fahrenden Gesellen(1883‐85, rev. 1891‐96): o No. 2, "Ging heut' morgen [ibers Feld"

Gustav Mahler, Symphony No. 1 in D Major ("Titan," 1889, rev. 1896‐98): 0 First movement, Langsam, schleppend ‐ Immersehr gemachlich

Primary Sources Theodor Helm, review of the Mahler's Symphony No. 1 (1900), excerpted in Mahler andHis World, ed. Karen Painter (Princeton and Oxford: Princeton University Press, 2002), 290-94.

Gustav Mahler, Letter to Max Marschalk (26 March 1896), excerpted and translated in Piero Weiss and Richard Taruskin, eds., Musicin the Western World:A Historyin Documents, 2nd ed. (Belmont, CA: Schirmer Cengage Learning, 2008),351‐52.

Jean Sibelius's reminiscence of Gustav Mahler, recorded in Karl Ekman, Sibelius(1935), excerpted and translated in Henry-Louis de LaGrange, GustavMahler,vol. 3, Vienna: Triumph andDisillusion, 7904‐7907(Oxford and NewYork: Oxford University Press, 1999), 753.

Historical/Analytical Studies Raymond Knapp, Symphonic Metamorphoses:SubjectivityandAlienation in Mahler’sRe-CycledSongs(Middletown, CT: Wesleyan University Press, 2003), 151‐93. Verklarung

Music , Tod undVerklarung, Op. 24 (1889)

Arnold Schoenberg, Verk/arte Nacht, Op. 4 (1899)

Primary Sources Rudolf Louis, Die deutsche Musik der Gegenwart(rev. 1912), excerpted and translated as "On the Tone Poems of Richard Strauss," trans. Susan Gillespie, in RichardStrauss andHis World, ed. Bryan Gilliam (Princeton: Princeton University Press, 1992), 305‐10.

Richard Strauss,Letter to Friedrich von Hauseggar(1894), excerpted and translated in Norman Del Mar, RichardStrauss:A CriticalCommentary on HisLife andWorks (Ithaca: Cornell University Press, 1962), 1:77‐78; and Alexander Ritter,programmatic poem for Tod undVerk/a'rung(1889), translated by Stanley Appelbaum in Richard Strauss, Tone Poems, Series I: "Donjuan," "TodundVerklarung " "Don Quixote" in FullScore (NewYork: Dover, 1979).

Arnold Schoenberg, program notes to Verklarte Nacht(26 August 1950), reprinted in A SchoenbergReader:Documents of a Life, ed.Joseph Auner (New Haven: Yale University Press, 2008), 38‐40.

Historical/Analytical Studies Charles D.Youmans, “The Development of Richard Strauss's Worldview," in The RichardStrauss Companion, ed. Mark-Daniel Schmid (Westport, CT: Praeger, 2003), 63‐100. Lateness

Music Gustav Mahler, DasLiedvon derErde (1908‐09): 0 No. 6, "Der Abschied"

Richard Strauss, DerRosenkavalier, Op. 59 (1911): 0 Act III, "Hab' mir's gelobt"

Richard Strauss, Vierletzte Lieder(1948): 0 No.4,"Im Abendrot"

Primary Sources Gustav Mahler, letters to Bruno Walter of 18July 1908, Summer 1908 [undated],January 1909 [undated], and 18119 December 1909 [undated], in SelectedLetters oqustavMahler, ed. Knud Martner,trans. Eithne Wilkins, Ernst Kaiser, and Bill Hopkins (London: Faber and Faber, 1979).

Rudolf Hartmann, "The Last Visit with Richard Strauss," trans. Susan Gillespie, in RichardStrauss andHis World, ed. Bryan Gilliam, 295‐304 (Princeton: Princeton University Press, 1992).

Historical/Analytical Studies Theodor W. Adorno, Mahler:A MusicalPhysiognomy, trans. EdmundJephcott (Chicago and London: University of Chicago Press, 1992), selected excerpts.

Stephen E.Hefling, “Aspects of Mahler's Late Style," in Mahler andHis World, ed. Karen Painter, 199‐226 (Princeton: Princeton University Press, 2002).

Theodor W. Adorno, "Richard Strauss: BornJune 11, 1864," trans. Samuel Weber and Shierry Weber, Perspectives ofNewMusic 4 (1965): 14-32 and 4 (1966): 113-29, selected excerpts.