Nineteenth-Century Music Review Volume 14

Nineteenth-Century Music Review Volume 14 / Issue 2, August 2017
Nineteenth-Century Music Review locates music within all aspects of culture in the long nineteenth century (c.1789-1914), covering the widest possible range of methods, topics and concepts. Through themed and general issues, articles provide both depth and breadth in their contribution to this expanding field. A rich supply of book, CD, DVD, and score reviews reflects the journal’s title and commitment to stimulate and advance critical discussion.
https://www.cambridge.org/core/journals/nineteenth-century-music-review

Rehearsal Letters, Rhythmic Modes and Structural Issues in Beethoven’s Grosse Fuge
Barry Cooper
Beethoven’s Grosse Fuge, published in 1827 after being detached from his string quartet Op. 130, appears to be the first work ever to have been allocated rehearsal letters. These were added by Beethoven’s friend Karl Holz at the request of the composer and his publisher Mathias Artaria. The rehearsal letters can be compared with the work’s structure, which is best perceived as dividing into three main ‘movements’, the third being much the longest. A different approach is necessary for analysing each of the three. In the first, reference to medieval rhythmic modes helps to clarify Beethoven’s procedure. The second is essentially a fugue, albeit unusually homophonic. The third is multi-partite but mainly in $$\raster=“rg4″$$ , and includes a 32-bar theme that returns intact – the only substantial exact reprise of material. This movement also include two fugal expositions. Thus there are four full fugal expositions altogether, and each is a double fugue in which the exposition is more or less regular. Holz’s letters match up well but not perfectly with the structure of the work.

The Musical Salon of the Countess of Proença-a-Velha in Lisbon: A Case of Patronage and Activism at the Turn of the Twentieth Century
Teresa Cascudo
This article seeks to shed light on the musical activities sponsored in Lisbon by women of high society, and specifically on the organization of the concerts produced by the Countess of Proença-a-Velha (1864–1944) in Lisbon at the turn of the ninteenth and the twentieth centuries. Between 1899 and 1903, the Countess held nine musical soirées and matinées at her home, and organized the first season of the Sociedade Artística de Concertos de Canto (Artistic Singing Concerts Society), which she founded. She also composed and premiered about 30 vocal works with piano accompaniment. Although both the number of events and her catalogue are small in size, they form an important window on turn-of-the-century Portuguese culture. Her decisions to focus on the repertoire of lyrical music and feature performances mainly by women was in stark contrast to the deeply masculine nature of the musical organizations active in Lisbon during the period. This article also explores the ideological dimension of her activities. An examination of the vocal pieces performed at the countess’ concerts shows that she intentionally explored four interrelated concepts of music: modern music, religious music, early music and Portuguese music. Some of her songs took part in the construction of what she considered to be a Portuguese national music inspired by Portuguese national poetry. The programmes the countess devised presented both a social and political dimension, proposing an elitist model for female socialization based upon the idea of the utility of cultural involvement and vindicating the role of tradition and, in particular, national tradition.
Romantic Nostalgia and Wagnerismo During the Age of Verismo: The Case of Alberto Franchetti*
Davide Ceriani


Book Reviews
Christina Fuhrmann, Foreign Operas at the London Playhouse: From Mozart to Bellini (Cambridge: Cambridge University Press, 2015). vii+262 pp. $99.99.
Brianna Robertson-Kirkland

John Mullen, The Show Must Go On! Popular Song in Britain During the First World War. Ashgate Popular and Folk Music Series, ed. Stan Hawkins and Derek B. Scott (Farnham, UK: Ashgate, 2015; London and New York: Routledge, 2016). xii+250 pp. £65.00
Michelle Meinhart

Marie Sumner Lott, The Social Worlds of Nineteenth-Century Chamber Music: Composers, Consumers, Communities (Urbana, Chicago, and Springfield: University of Illinois Press, 2015). xviii + 310 pp. $55.00.
Nancy November

Aisling Kenny and Susan Wollenberg, eds. Women and the Nineteenth-Century Lied (Farnham, Surrey: Ashgate, 2015). xxiv+275 pp. $124.95
Laura K.T. Stokes

CD Reviews
Joachim Raff, String Quartets 2, 3, 4 & 8 – String Quartet No. 2 in A major op. 90 String Quartet No. 3 in E minor op. 136 String Quartet No. 4 in A minor op. 137 String Quartet No. 8 in C major op. 192 Mannheimer Streichquartett CPO 7770042, 2015 (2 CDs: 128 minutes), $35
David M. Bynog

Songs by Tomášek – Selections from opp. 37, 53, 55, 56, 57, 58, 59, 69, 96 and 107 Sechs böhmische Lieder von Václav Hanka op. 71 Drei Gesänge op. 92 Renata Pokupić mezzo, Roger Vignoles pf Hyperion 67966, 2015 (1 CD: 61 minutes), $20
Yonatan Malin

Franz Schubert – Hungarian Melody for Piano in B minor, D. 817 Piano Sonata in G major, D. 894 Moments musicaux, D. 780 Allegretto for Piano in C minor, D. 915 Impromptus for Piano, D. 935 Piano Sonata in B flat major, D. 960 András Schiff pf ECM 2425–26, 2015 (2 CDs: 146 minutes), $28
Susan Wollenberg

Schubert (Re)Inventions – Ensemble Palladino: Alberto Mesirca gui, Ursula Langmayr sop, Eric Lamb fl, Firmian Lermer vla, Martin Rummel vc Paladino Music 58, 2015 (2 CDs: 133 minutes), $28
Lawrence M. Zbikowski

Edvard Grieg, Lyric Pieces – selections from Lyriske stykker opp. 12, 38, 43, 47, 54, 57, 62, 65, 68, and 71 Stephen Hough pf Hyperion 68070, 2015 (1 CD: 73 minutes), $20
Georgia Volioti

DVD Review
Richard Strauss, Elektra – Evelyn Herlitzius sop, Waltraud Meier sop, Adrianne Pieczonka sop, Mikhail Petrenko bass, Tom Randle ten Orchestre de Paris, Esa-Pekka Salonen cond Patrice Chéreau stage director Bel Air Classiques 110, 2014 (1 DVD: 110 minutes [opera] + 23 minutes [bonus material]), $36
Michael Palmese

Score Review
Fryderyk Chopin. Polonaises, Op. 40: Facsimile Edition of the Manuscript Held in the British Library in London, commentary by Zofia Chechlinska. Facsimile Edition A VI/40 (Warsaw: The Fryderyk Chopin Institute, 2015), 2 vols, 12 and 55 pp. € 67. Fryderyk Chopin. Mazurka in A flat major: Facsimile Edition of the Manuscript Held in the Bibliothèque Polonaise in Paris (MAM Rkp. 973), commentary by Irena Poniatowska. Facsimile Edition A IV/WN 45 (Warsaw: The Fryderyk Chopin Institute, 2015), 2 vols, 2 and 92 pp. € 48.
Deirdre Loughridge

Review Article
Reimagining Fauré’s Solo Vocal Music: New Editions and Recordings of the Songs and Vocalises
Heather de Savage

Digital Resource Review
Schenker Documents Online –
William M. Marvin