Burton D. Fisher's extremely popular Mini Guides feature Principal Characters in the Opera, Brief Story Synopsis, Story Narrative with Music Highlight Examples, and an insightful and in depth Commentary and Analysis of the opera.
While European powers were at war with the Ottoman Empire for much of the eighteenth century, European opera houses were staging operas featuring singing sultans and pashas surrounded by their musical courts and harems. Mozart wrote The Abduction from the Seraglio. Rossini created a series of works, including The Italian Girl in Algiers. And these are only the best known of a vast repertory. This book explores how these representations of the Muslim Ottoman Empire, the great nemesis of Christian Europe, became so popular in the opera house and what they illustrate about European–Ottoman international relations. After Christian armies defeated the Ottomans at Vienna in 1683, the Turks no longer seemed as threatening. Europeans increasingly understood that Turkish issues were also European issues, and the political absolutism of the sultan in Istanbul was relevant for thinking about politics in Europe, from the reign of Louis XIV to the age of Napoleon. While Christian European composers and publics recognized that Muslim Turks were, to some degree, different from themselves, this difference was sometimes seen as a matter of exotic costume and setting. The singing Turks of the stage expressed strong political perspectives and human emotions that European audiences could recognize as their own.
Matthew Head explores the cultural meanings of Mozart's Turkish music in the composer's 18th-century context, in subsequent discourses of Mozart's significance for 'Western' culture, and in today's (not entirely) post-colonial world. Unpacking the ideological content of Mozart's numerous representations of Turkey and Turkish music, Head locates the composer's exoticisms in shifting power relations between the Austrian and Ottoman Empires, and in an emerging orientalist project. At the same time, Head complicates a presentist post-colonial critique by exploring commercial stimuli to Mozart's turquerie, and by embedding the composer's orientalism in practices of self-disguise epitomised by masquerade and carnival. In this context, Mozart's Turkish music offered fleeting liberation from official and proscribed identities of the bourgeois Enlightenment.
During the years 1500–1800, European performing arts reveled in a kaleidoscope of Otherness: Middle-Eastern harem women, fortune-telling Spanish 'Gypsies', Incan priests, Barbary pirates, moresca dancers, and more. In this prequel to his 2009 book Musical Exoticism, Ralph P. Locke explores how exotic locales and their inhabitants were characterized in musical genres ranging from instrumental pieces and popular songs to oratorios, ballets, and operas. Locke's study offers new insights into much-loved masterworks by composers such as Cavalli, Lully, Purcell, Rameau, Handel, Vivaldi, Gluck, and Mozart. In these works, evocations of ethnic and cultural Otherness often mingle attraction with envy or fear, and some pieces were understood at the time as commenting on conditions in Europe itself. Locke's accessible study, which includes numerous musical examples and rare illustrations, will be of interest to anyone who is intrigued by the relationship between music and cultural history, and by the challenges of cross-cultural (mis)understanding.
Eminent historian Paul Johnson dazzles with a rich, succinct portrait of Mozart and his music As he’s done in Napoleon, Churchill, Jesus, and Darwin, acclaimed historian and author Paul Johnson here offers a concise, illuminating biography of Mozart. Johnson’s focus is on the music—Mozart’s wondrous output of composition and his uncanny gift for instrumentation. Liszt once said that Mozart composed more bars than a trained copyist could write in a lifetime. Mozart’s gift and skill with instruments was also remarkable as he mastered all of them except the harp. For example, no sooner had the clarinet been invented and introduced than Mozart began playing and composing for it. In addition to his many insights into Mozart’s music, Johnson also challenges the many myths that have followed Mozart, including those about the composer’s health, wealth, religion, and relationships. Always engaging, Johnson offers readers and music lovers a superb examination of Mozart and his glorious music, which is still performed every day in concert halls and opera houses around the world.
A seventeenth-century minister tells his story of abduction by pirates, and a solo journey from Algiers to Copenhagen, in this remarkable historical text. In summer 1627, Barbary corsairs raided Iceland, killing dozens and abducting almost four hundred people to sell into slavery in Algiers. Among those taken was Lutheran minister Olafur Egilsson. Reverend Olafur—born in the same year as William Shakespeare and Galileo Galilei—wrote The Travels to chronicle his experiences both as a captive and as a traveler across Europe as he journeyed alone from Algiers to Copenhagen in an attempt to raise funds to ransom the Icelandic captives that remained behind. He was a keen observer, and the narrative is filled with a wealth of detail―social, political, economic, religious―about both the Maghreb and Europe. It is also a moving story on the human level: We witness a man enduring great personal tragedy and struggling to reconcile such calamity with his understanding of God. The Travels is the first-ever English translation of the Icelandic text. Until now, the corsair raid on Iceland has remained largely unknown in the English-speaking world. To give a clearer sense of the extraordinary events connected with that raid, this edition of The Travels includes not only Reverend Olafur’s first-person narrative but also a collection of contemporary letters describing both the events of the raid itself and the conditions under which the enslaved Icelanders lived. Also included are appendices containing background information on the cities of Algiers and Salé in the seventeenth century, on Iceland in the seventeenth century, on the manuscripts accessed for the translation, and on the book’s early modern European context.
This collection of critical theorizing reflects the lived experiences of racialized Asian-Canadian contributors. Grounded in theory and history, these essays illuminate pathways to better understand Asian-ness in contemporary Canada. These academics provide fresh perspectives on Asian Canadian exclusion, examine new spaces for critical resistance, and navigate the challenges of identity formation across racial, cultural, and national boundaries.