Music in the Nineteenth Century

The Oxford History of Western Music #3

by Richard Taruskin

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.

In Music in the Nineteenth Century, Richard Taruskin offers a panoramic tour of this magnificent century in the history music. Major themes addressed in this book include the romantic transformation of opera, Franz Schubert and the German lied, the rise of virtuosos such as Paganini and Liszt, the twin giants of nineteenth-century opera, Richard Wagner and Giuseppe Verdi, the lyric dramas of Bizet and Puccini, and the revival of the symphony by Brahms. Laced with brilliant observations, memorable musical analysis, and a panoramic sense of the interactions between history, culture, politics, art, literature, religion, and music, this book will be essential reading for anyone who wishes to understand this rich and diverse period.

Genres: Music, History, Nonfiction

905 pages, Paperback

First published January 1, 2009

Reviews

[Bryn Hammond · Rating 5 out of 5]

Consulted rather than read. A true history, that follows the changes of music in its social, political, ideological context. Masterly.

[Philip Koslow · Rating 5 out of 5]

The Oxford History of Western Music by Richard Taruskin: Volume 3 of 5 entitled The Nineteenth Century. 800 pages that survey names, dates, events and copious musical examples with accompanying analysis that can both be intimidating to the uninitiated but a revelation (occasionally) for even the most casual concert attendee. This volume begins with Beethoven on page 1 and ends with yet another shout out to Beethoven on page 792. Between those pages all the familiar names of 19th century composers, performers and assorted “musical thinkers” make an appearance. Here’s a partial “Liszt.” Rossini, Bellini, Donizetti, bel canto, Weber, Gluck, Meyerbeer, Wagner, Verdi, Puccini, Schubert, Mendelssohn, Schumann, Dvorak, Brahms, Bruckner, Tchaikovsky, and more. And all ably presented. What is confirmed in this reviewer’s opinion is that Beethoven’s shadow that informs musical expression for more than 3/4 of a century after his death might better characterize him as the most consequential artist in history! Or else, why bring his name up regardless of the exponential growth of opera throughout the century under this tome’s survey as well as the (so called) rebirth of the symphony as a genre as the century progressed. As well as the enduring popularity of chamber music that found a place in private homes and the concert stage. Ludwig seems to be everywhere. In spirit and as an icon for the growing recognition of a musical canon for the ages.

The author has an extraordinary command of information and opinions that are both clearly stated and confident in its conclusions. Here are a few “gems” of his own or quoted from other sources.

Page 15: “The romantic emphasis on individuality and peculiarity, which became over the course of the 19th century an ever more pressing demand for originality. The more fundamental (radical, profound) the better.”

Page 631: “Tragedy, like all beautiful or uplifting (high) art; is a lie. Fully to disenchant or disillusion art in the name of literal or scientific truth risks destroying its power.”

Page 783: “It is all too obvious by now that teaching people that their love of Schubert makes them better people teaches them little more than self regard. There are better reasons to cherish art.”

Page 796: “As soon as we are dealing with expression in any artistic medium, we are necessarily dealing with conventions of representation. Representation necessarily relies on similarities and associations, where other arts can make reference directly to nature, music must work through mediating roles.” (such as dance forms, military parades etc.)

This and more abound in page after page. Verdi/Wagner, Brahms/Wagner, Hegel/Schopenhauer, the “sublime’ (higher than human)/the beautiful (all too human), emotion/rationality, “Other arts persuade us, music invades us.” Music as national identity, “tonal music is the instrument of knowing desire, but not its object.”

And chapter 40 as required reading to ground one’s understanding of the schism that pervade the unfolding story of “classical” music as the century comes to a close. A crisis looms. Stay tuned for volume 4. Highly recommended for the curious reader with ample time for reflection

[Jeff · Rating 3 out of 5]

The 19th century is, for most fans of "Classical" music, the heart of the repertoire, so it's not surprising that Taruskin gives this period its own volume. It points up, too, both the strengths and quirks of Taruskin as the author of this massive history project. How Taruskin chooses to divide up the discussion is, at time, confounding, and seems clearly designed to demonstrate his own erudition rather than clearly examine the works of certain composers. While he repeatedly offers an "apology" about there being so few women discussed, I can't help but notice that he gives short shrift to Fanny Mendelssohn, does not address Clara Schumann as anything but wife and pianist, and fails to mention the very successful French composer Cecile Chaminade even as a footnote. I'm sure Taruskin would note that he leaves a number of male composers in the dust as well, but saying that there is "no history" of women composers (his usual defense) seems a weak argument in this time period. And anyone who wants to know about American music during this time period will need to look elsewhere. Those quibbles aside, there's some good stuff here.

[Elena · Rating 5 out of 5]

LOVE

[Dan Graser · Rating 5 out of 5]

In this third volume of Taruskin's incredible examination of Western Music we are treated to in-depth examinations of the post-Beethoven symphonic era, competing factions of French Grand Opera, Italian Opera, Wagnerian Music-Drama, as well as the eventual internationalization of the symphony beyond the Germanic tradition (Dvorak, Nielsen, Sibelius, Franck). As with any far-reaching history like this there will be elements, pieces, and composers that we all feel are underrepresented. While Taruskin's examinations are on point as always, his dismissal and lack of discussion on Schumann's wonderful four symphonies (coupled with a hugely drawn-out examination of Schubert's 8th) seems like a gaping hole in the middle of what is otherwise an excellent and engaging narrative. However, as previously stated, I'm certain we all will have similar thoughts when going through this massive tome about our own favorites. Wonderful and awe-inspiring research as always from Taruskin.