This first full-length study of Salome in English since Lawrence Gilman's (1907) moves from historical and literary analysis to critical appraisal and includes a synopsis, bibliography and discography.
A comprehensive guide to Richard Strauss's SALOME, featuring insightful and in depth Commentary and Analysis, a complete, newly translated Libretto with German/English side-by side, and over 25 music highlight examples.
Winner of the 2007 National Book Critics Circle Award for Criticism A New York Times Book Review Top Ten Book of the Year Time magazine Top Ten Nonfiction Book of 2007 Newsweek Favorite Books of 2007 A Washington Post Book World Best Book of 2007 In this sweeping and dramatic narrative, Alex Ross, music critic for The New Yorker, weaves together the histories of the twentieth century and its music, from Vienna before the First World War to Paris in the twenties; from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies up to the present. Taking readers into the labyrinth of modern style, Ross draws revelatory connections between the century's most influential composers and the wider culture. The Rest Is Noise is an astonishing history of the twentieth century as told through its music.
'Sisters of Salome' explores how four influential dancers embraced the persona of the femme fatale & transformed the misogynist image of a dangerously sexual woman into a form of personal liberation.
The universally acclaimed and award-winning Oxford History of Western Music is the eminent musicologist Richard Taruskin's provocative, erudite telling of the story of Western music from its earliest days to the present. Each book in this superlative five-volume set illuminates-through a representative sampling of masterworks-the themes, styles, and currents that give shape and direction to a significant period in the history of Western music. Music in the Early Twentieth Century , the fourth volume in Richard Taruskin's history, looks at the first half of the twentieth century, from the beginnings of Modernism in the last decade of the nineteenth century right up to the end of World War II. Taruskin discusses modernism in Germany and France as reflected in the work of Mahler, Strauss, Satie, and Debussy, the modern ballets of Stravinsky, the use of twelve-tone technique in the years following World War I, the music of Charles Ives, the influence of peasant songs on Bela Bartok, Stravinsky's neo-classical phase and the real beginnings of 20th-century music, the vision of America as seen in the works of such composers as W.C. Handy, George Gershwin, and Virgil Thomson, and the impact of totalitarianism on the works of a range of musicians from Toscanini to Shostakovich
A rare case among history's great music contemporaries, Gustav Mahler (1860-1911) and Richard Strauss (1864-1949) enjoyed a close friendship until Mahler's death in 1911. Unlike similar musical pairs (Bach and Handel, Haydn and Mozart, Schoenberg and Stravinsky), these two composers may have disagreed on the matters of musical taste and social comportment, but deeply respected one another's artistic talents, freely exchanging advice from the earliest days of professional apprenticeship through the security and aggravations of artistic fame. Using a wealth of documentary material, this book reconstructs the 24-year relationship between Mahler and Strauss through collage—"a meaning that arises from fragments," to borrow Adorno's characterization of Mahler's Sixth Symphony. Fourteen different topics, all of central importance to the life and work of the two composers, provide distinct vantage points from which to view both the professional and personal relationships. Some address musical concerns: Wagnerism, program music, intertextuality, and the craft of conducting. Others treat the connection of music to related disciplines (philosophy, literature), or to matters relevant to artists in general (autobiography, irony). And the most intimate dimensions of life—childhood, marriage, personal character—are the most extensively and colorfully documented, offering an abundance of comparative material. This integrated look at Mahler and Strauss discloses provocative revelations about the two greatest western composers at the turn of the 20th century.
Although the root of the Hebrew name “Salome” is “peaceful”, the image spawned by the most famous woman to carry that name has been anything but peaceful. She and her story have long been linked to the beheading of John the Baptist, as described in the Gospels of Matthew and Mark, since Salome was the supposed catalyst for the prophet’s execution. This history of the myth of Salome describes the process by which that myth was created, the roles that art, literature, theology and music played in that creation, and how Salome’s image as evil varied from one period to another according to the prevailing cultural myths surrounding women. After setting forth the Biblical and historical origins of the Salome story, the book examines the major cultural, literary and artistic works which developed and propagated it, including those by Filippo Lippi, Rogier van der Weyden, Titian, Moreau, Beardsley, Mallarmé, Wilde and Richard Strauss.
First published to wide acclaim in Sweden (1995) and in Germany (1997), the autobiography of opera legend Birgit Nilsson (1918-2005) is finally available in an English translation. From her humble roots in rural Sweden to her artistic triumphs in Stockholm, Bayreuth, Milan, and the Metropolitan Opera House, this candid and utterly charming memoir reveals the personality behind one of the great voices of the past century. Gracefully weaving together the private and professional, Nilsson chronicles her idyllic childhood in Vastra Karup, the early recognition of her unique natural abilities, and her first tentative steps into a wider artistic world. After achieving national acclaim in Verdi's Lady Macbeth, she went on to establish herself as the dominant Wagnerian soprano of her generation, appearing at the Bayreuth and Munich Festivals, and the Vienna and Bavarian State Opera Houses, creating, along the way, definitive performances of Sieglinde, Brnnhilde, and Isolde. The book details her rise to international stardom with behind-the-scenes recollections of her phenomenal triumph as Turandot at La Scala in 1958 and her headline-making Met premier in Tristan und Isolde the following year. Nilsson's long and illustrious career (she performed until 1984), her celebrated professional and personal relationships, her friendships and rivalries, are all recounted with a down-to-earth wit and an engagingly odd admixture of ego and selfeffacement. She tells it all: the legendary quips, the often prickly relationships with Met impresario Rudolph Bing and conductor von Karajan, the infamous story of the stalker "Miss N," and the touchingly rendered relationship with her beloved husband, Bertil Niklasson. What emerges from these pages is a diva in the old mold: a giant voice matched by an oversize personality, a professional who expected the same level of perfection from others that she demanded of herself, and a woman who loved and lived life with joy and good humor . . . and oh, that voice. Includes 56 photographs and a discography.