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19 TH CENTURY MUSIC Comment & Chronicle Music Manuscripts and Books is an exhibition continuing from 29 April through 3 September 2006 at the Morgan Library and Museum. The Morgan houses one of the ï¬nest collections of music manuscripts and books in the country and owns a large collection of musiciansâ letters and a small but growing collection of ï¬rst and early editions of scores and librettos. Occupying a newly enlarged, midtown Manhattan campus, designed by architect Renzo Piano, the Morgan reopened to the public with its latest music exhibition including a printed libretto with autograph annotations of Verdiâs Aida, Mozartâs autograph manuscript of the full score of Symphony in D Major, K. 385 (âHaffnerâ), Mahlerâs autograph manuscript of Symphony No. 5, Beethovenâs Piano Trio, op. 70, no. 1 (âGeisterâ), Chopinâs Polonaise in A , op. 53, and an autograph manuscript of the full score of Schoenbergâs Gurrelieder. New releases from G. Henle USA include: Schillerâs Lyrical Writings with Music by Johann Friedrich Reichardt, edited by Rainer Gstrein and Andreas Meier, volume 7 in the Early Romantic Era series in their Legacy of German Music; Johannes Brahms Complete Edition, Orchestra Works, volume 3: Symphony No. 3 in F Major, op. 90, edited by Robert Pascall with critical commentary; and two autograph facsimiles from manuscripts owned by the Bibliothéque Nationale de France, Paris, Robert Schumannâs Waldszenen, op. 82, with an epilogue by Margit L. McCorkle, and W. A. Mozartâs Piano Concerto in A Major, K. 488, with an introduction by Ernst-Günter Heinemann. Contributors to this issue: Keith Chapin is an assistant professor of music at Fordham University. His research interests include the histories of aesthetics and music theory in the eighteenth through twentieth centuries, as well as the crosscurrents between music and literature. His recent publications include an article on Koch and Mozart in Eighteenth-Century Music and a chapter on Hindemithâs and Adornoâs visions of counterpoint in Apparitions: New Perspectives on Adorno and TwentiethCentury Music. He performs irregularly as a violist. James Hepokoski, who teaches at Yale University, is the coauthor (with Warren Darcy) of Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata (Oxford, 2006). He has published studies of Verdi, Sibelius, Strauss, and others and is continuing to pursue aspects of musical structure, structural deformation, and cultural hermeneutics within the Western art-music tradition. Berthold Hoeckner is associate professor of music and the humanities and afï¬liated faculty in the Department of Germanic Studies at the University of Chicago. Margaret Notley is associate professor of music history at the University of North Texas. Her article for 19thCentury Music (in vol. 23, no. 3) won the Alfred Einstein Award from the American Musicological Society in 2000; her ï¬rst book, Lateness and Brahms: Music and Culture in the Twilight of Viennese Liberalism, will be published by Oxford University Press this fall as part of the AMS Studies in Music. l 19th-Century Music, XXX/1, p. 94. ISSN: 0148-2076, electronic ISSN 1533-8606. © 2006 by the Regents of the University of California. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Pressâs Rights and Permissions website, at http://www.ucpress.edu/journals/rights.htm.
19th-Century Music – University of California Press
Published: Jul 1, 2006
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