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The Cambridge Companion to the Symphony
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Book description

Few genres of the last 250 years have proved so crucial to the course of music history, or so vital to public musical experience, as the symphony. This Companion offers an accessible guide to the historical, analytical and interpretative issues surrounding this major genre of Western music, discussing an extensive variety of works from the eighteenth century to the present day. The book complements a detailed review of the symphony's history with focused analytical essays from leading scholars on the symphonic music of both mainstream composers, including Haydn, Mozart and Beethoven and lesser-known figures, including Carter, Berio and Maxwell Davies. With chapters on a comprehensive range of topics, from the symphony's origins to the politics of its reception in the twentieth century, this is an invaluable resource for anyone with an interest in the history, analysis and performance of the symphonic repertoire.


'A thoroughly compelling volume.'

Source: BBC Music Magazine

'Horton's team of 16 writers works hard to show how the symphony was born and why it has not (yet) died.'

Source: Gramophone

'Including essays both general and tightly focused, this collection goes well beyond the traditional chronological study and overview of the symphony and offers numerous perspectives and scholarly insights … Recommended. Upper-division undergraduates through faculty and professionals.'

B. L. Eden Source: Choice

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Bonds, Mark EvanHaydn, Laurence Sterne and the Origins of Musical Irony’, Journal of the American Musicological Society, 44 (1991), 57–91.
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Bonds, Mark EvanSinfonia Anti-Eroica: Berlioz’s Harold en Italie and the Anxiety of Beethoven’s Influence’, Journal of Musicology, 10/4 (1992), 417–63.
Bonds, Mark EvanThe Symphony as Pindaric Ode’, in Elaine Sisman, ed., Haydn and his World (Princeton, 1997), 131–53.
Bonds, Mark EvanWordless Rhetoric: Musical Form and the Metaphor of the Oration (Cambridge, Mass., 1991).
Botstein, Leon, ‘The Future of Conducting’, in José Antonio Bowen, ed., The Cambridge Companion to Conducting (Cambridge, 2003), 286–304.
Botstein, LeonGustav Mahler’s Vienna’, in Mitchell and Nicholson, eds., The Mahler Companion, 6–37 .
Botstein, LeonListening through Reading: Musical Literacy and the Concert Audience’, 19th-Century Music, 16 (1992), 129–45.
Boulez, Pierre, ‘Orchestras, Concert Halls, Repertory, Audiences’, in Orientations, ed. Jean-Jacques Nattiez, trans. Martin Cooper (London, 1986), 467–70.
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Brendel, Franz, Geschichte der Musik in Italien, Deutschland und Frankreich: Von den ersten christlichen Zeiten bis auf die Gegenwart, 3rd edn (Leipzig, 1860).
Bribitzer-Stull, Matthew, ‘The End of Die Feen and Wagner’s Beginnings: Multiple Approaches to an Early Example of Double-Tonic Complex, Associative Theme and Wagnerian Form’, Music Analysis, 25/3 (2006), 315–40.
Brinkmann, Reinhold, ‘Die gepreßte Sinfonie. Zum geschichtlichen Gehalt von Schönbergs Opus 9’, in Otto Kolleritsch, ed., Gustav Mahler. Sinfonie und Wirklichkeit, Studien zur Wertungsforschung, 9 (Graz, 1977), 133–5.
Brinkmann, ReinholdLate Idyll: The Second Symphony of Johannes Brahms, trans. Peter Palmer (Cambridge, Mass., 1997).
Brodbeck, David, Brahms: Symphony No. 1 (Cambridge, 1997).
Brodbeck, DavidBrahms, the Third Symphony, and the New German School’, in Walter Frisch and Kevin Karnes, eds., Brahms and His World, rev. edn (Princeton, 2009), 95–116.
Brodbeck, DavidDvořák’s Reception in Liberal Vienna: Language Ordinances, National Property, and the Rhetoric of Deutschtum’, Journal of the American Musicological Society, 60 (2007), 71–132.
Broder, Nathan, ‘The Wind Instruments in Mozart’s Symphonies’, Musical Quarterly, 19 (1933), 238–59.
Bronfin, Elena, Muzïkalnaya kultura Petrograda pervogo poslereoliutinnogo pyatiletiya 1917–1922 (Leningrad, 1984).
Brook, Barry S. and Barbara Heyman, gen. eds., The Symphony, 1720–1840: A Comprehensive Collection of Scores in Sixty Volumes, 60 vols. (New York, 1979–1986).
Brown, A. Peter, ‘Stylistic Maturity and Regional Influence: Joseph Martin Kraus’ Symphonies in C-sharp minor (Stockholm, 1782) and C minor (Vienna, 1783)’, in Eugene K. Wolf and Edward H. Roesner, eds., Studies in Musical Sources and Style: Essays in Honor of Jan LaRue (Madison, 1990), 381–418.
Brown, A. Peter ed., The Symphonic Repertoire, vol. II: The First Golden Age of the Viennese Symphony: Haydn, Mozart, Beethoven, and Schubert (Bloomington, 2002).
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Brown, A. Peter and Brian Hart, The Symphonic Repertoire, vol. III, Part B: The European Symphony ca. 1800–ca. 1930: Great Britain, Russia, and France (Bloomington, 2008).
Brown, David, Tchaikovsky: The Crisis Years 1874–1878 (London, 1982).
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Broyles, Michael, ‘Ensemble Music Moves Out of the Private House: Haydn to Beethoven’, in Peyser, ed., The Orchestra, 97–122.
Brunner, Lance W., ‘The Orchestra and Recorded Sound’, in Peyser, ed., The Orchestra, 475–528.
Bryan, Paul R., ‘The Horn in the Works of Mozart and Haydn: Some Observations and Comparisons’, Haydn Yearbook (1975), 189–255.
Bryan, Paul R.Johann Wanhal, Viennese Symphonist: His Life, and His Musical Environment (Stuyvesant, 1997).
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Burkholder, J. Peter, ‘Brahms and Twentieth-Century Music’, 19th-Century Music, 8 (1984/85), 75–83.
Burkholder, J. PeterThe Twentieth Century and the Orchestra as Museum’, in Peyser, ed., The Orchestra, 409–32.
Burnham, Scott, Beethoven Hero (Princeton, 1995).
Burnham, Scott and Michael SteinbergNovel Symphonies and Dramatic Overtures’, in Perrey, ed., The Cambridge Companion to Schumann, 148–72.
Burnham, Scott and Michael Steinberg, Beethoven and His World (Princeton, 2000).
Caplin, William E., Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven (New York and Oxford, 1998).
Caplin, William E.Structural Expansion in Beethoven’s Symphonic Forms’, in Kinderman, ed., Beethoven’s Compositional Process, 27–54.
Carpani, Giuseppe, The Lives of Haydn and Mozart, trans. L. A. C. Bombet, 2nd edn (London, 1818), 107–8.
Carse, Adam, The History of the Orchestra (New York and London, 1925).
Carse, Adam, The Orchestra in the XVIIIth Century (Cambridge, 1940).
Carter, Elliott, ‘A Symphony of Three Orchestras (1976)’, reprinted in The Writings of Elliott Carter: An American Composer Looks at Modern Music, ed. Else and Kurt Stone (Bloomington, 1977).
Celenza, Anna Harwell, The Early Works of Niels W. Gade: In Search of the Poetic (Ashgate, 2001), 169–76.
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Chua, Daniel, The ‘Galitzin’ Quartets of Beethoven (Princeton, 1995).
Churgin, Bathia, ‘Sammartini and Boccherini: Continuity and Change in the Italian Instrumental Tradition of the Classic Period’, Chigiana, 43 (1993), 171–91.
Churgin, Bathia ‘The Symphonies of G. B. Sammartini’, 2 vols. (Ph.D. diss., Harvard University, 1963).
Churgin, BathiaThe Symphony as Described by J. A. P. Schulz (1774): A Commentary and Translation’, Current Musicology, 29 (1980), 7–16.
Churgin, Bathia ed., The Symphonies of G. B. Sammartini, vol. I: The Early Symphonies (Cambridge, Mass., 1968).
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Cohn, Richard L.Audacious Euphony: Chromaticism and the Triad’s Second Nature (New York and Oxford, 2012).
Cohn, Richard L.The Dramatization of Hypermetric Conflicts in the Scherzo of Beethoven’s Ninth Symphony’, 19th-Century Music, 15/3 (1992), 188–206.
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Cohn, Richard L.Maximally Smooth Cycles, Hexatonic Systems and the Analysis of Late-Romantic Triadic Progressions’, Music Analysis, 15 (1996), 9–40.
Cohn, Richard L.Neo-Riemannian Operations, Parsimonious Trichords and Their Tonnetz Representations’, Journal of Music Theory, 42/1 (1997), 1–66.
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Cook, Nicholas, Beethoven: Symphony No. 9 (Cambridge, 1993).
Cooper, John Michael, ‘“Aber eben dieser Zweifel”: A New Look at Mendelssohn’s “Italian” Symphony’, 19th-Century Music, 15 (1992), 169–87.
Cooper, John MichaelMendelssohn’s ‘Italian’ Symphony (New York and Oxford, 2003).
Cornelius, Peter, Gesammelte Aufsätze: Gedanken über Musik und Theater, Poesie und bildende Kunst, ed. Gunter Wagner and James A. Deaville (Mainz, 2004).
Dahlhaus, Carl, Foundations of Music History, trans. J. B. Robinson (Cambridge, 1983).
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Dahlhaus, CarlLiszts Bergsymphonie und die Idee der Symphonischen Dichtung’, in Dagmar Droysen, ed., Jahrbuch des Staatlichen Instituts für Musikforschung Preußischer Kulturbesitz 1975 (Berlin, 1976), 96–130.
Dahlhaus, CarlLiszts Idee des Symphonischen’, in Dahlhaus, Klassische und romantische Musikästhetik (Laaber, 1988), 401–12.
Dahlhaus, CarlLudwig van Beethoven: Approaches to His Music trans. Mary Whittall (Oxford, 1991).
Dahlhaus, CarlDie Musik des 19. Jahrhunderts (Laaber, 1980), trans. J. Bradford Robinson as Nineteenth-Century Music (Berkeley and Los Angeles, 1989).
Dahlhaus, CarlSymphonie und symphonischer Stil um 1850’, Jahrbuch des Staatlichen Instituts für Musikforschung Preußischer Kulturbesitz 1983/84, ed. Dagmar Droysen-Reber and Günther Wagner (Kassel, 1987), 34–58.
Dahlhaus, CarlWagners Stellung in der Musikgeschichte’, trans. by Alfred Clayton as ‘Wagner’s Place in the History of Music’, in Wagner Handbook, ed. Ulrich Müller and Peter Wapnewski, trans. and ed. John Deathridge (Cambridge, Mass. and London, 1992), 99–117.
Daverio, John, Robert Schumann: Herald of a ‘New Poetic Age’ (New York and Oxford, 1997).
Deathridge, John, Wagner beyond Good and Evil (Berkeley, 2008).
Debussy, Claude, ‘Monsieur Croche the Dilettante-Hater’, in Three Classics in the Aesthetics of Music (New York, 1962), 3–71.
Determann, Robert, Begriff und Ästhetik der ‘Neudeutschen Schule’: Ein Beitrag zur Musikgeschichte des 19. Jahrhundert (Baden-Baden, 1989).
Deutsch, Otto Eric, Mozart: A Documentary Biography, trans. Eric Blom, Peter Branscombe and Jeremy Noble, 3rd edn (London, 1990).
Doctor, Jenny R., David C. H. Wright and Nicholas Kenyon, eds., The Proms: A New History (London, 2007).
Dömling, Wolfgang, Franz Liszt und seine Zeit (Laaber, 1998).
Dörffel, Alfred, Geschichte der Gewandhausconcerte zu Leipzig, 2 vols. (Leipzig, 1884).
Edge, Dexter, ‘Manuscript Parts as Evidence of Orchestral Size in the Eighteenth-Century Viennese Concerto’, in Zaslaw, ed., Mozart’s Piano Concertos, 427–60.
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Ehlers, Paul, ‘Das Regensburger Bruckner Erlebnis’, Zeitschrift für Musik, 104 (1937), 745–8.
Einstein, Alfred, Mozart: His Character, His Work, trans. Arthur Mendel and Nathan Broder (London, 1945).
Eisen, Cliff, ed., Mozart Studies (Oxford, 1991).
Ekman, Karl, Jean Sibelius: His Life and Personality, trans. Edward Birse (New York, 1938).
Elgar, Edward and Percy M. Young, A Future for English Music, and Other Lectures (London, 1968).
Everist, Mark, ‘Reception Theories, Canonic Discourses, and Musical Value’, in Nicholas Cook and Mark Everist, eds., Rethinking Music (New York and Oxford, 1999), 378–402.
Fairclough, Pauline, ‘Mahler Reconstructed: Sollertinsky and the Soviet Symphony’, Musical Quarterly, 85/2 (2001), 367–90.
Fairclough, PaulineA Soviet Credo: Shostakovitch’s Fourth Symphony (Aldershot, 2006).
Fanning, David, ed., The Breath of the Symphonist: Shostakovich’s Tenth (London, 1988).
Fanning, David , ed., Nielsen: Symphony No. 5 (Cambridge, 1997).
Fanning, David, ed., Shostakovich Studies (Cambridge, 1995).
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Fink, G. W.Symphonie oder Sinfonie’, in Encyklopädie der gesammten musikalischen Wissenschaften: oder Universal-Lexicon der Tonkunst, ed. Gustav Schilling, 6 vols. (Stuttgart, 1838; repr., Hildesheim and New York, 1974), vol. VI, 541–51.
Fink, G. W.Ueber die Symphonie, als Beitrag zur Geschichte und Aesthetik derselben’, in Allgemeine musikalische Zeitung, 37 (1835), cols. 505–11, 521–4, 557–63.
Fink, Robert, ‘Beethoven Antihero: Sex, Violence and the Aesthetics of Failure, Or Listening to the Ninth Symphony as Postmodern Sublime’, in Andrew Dell’Antonio, ed., Beyond Structural Listening: Postmodern Modes of Hearing (Berkeley, 2004), 109–53.
Finscher, Ludwig, ‘The Struggle with Tradition: Johannes Brahms’, in Ursula von Rauchhaupt, ed., The Symphony (London, 1973), 165–74.
Finscher, LudwigSymphonie’, in Die Musik in Geschichte und Gegenwart, 2nd edn, Sachteil, vol. VIII (1994), cols. 19–56.
Finscher, Ludwig“Zwischen absoluter und Programmusik”: Zur Interpretation der deutschen romantischen Symphonie’, in Christoph-Hellmut Mahling, ed., Über Symphonien: Beiträge zu einer musikalischen Gattung (Festschrift Walter Wiora zum 70. Geburtstag) (Tutzing, 1979), 103–15.
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Foreman, Lewis, Bax: A Composer and His Times, 3rd rev. edn (Woodbridge, 2007).
Forner, Johannes, Andreas Göpfert, Fritz Hennenberg, Brigitte Richter and Ingeborg Singer, Die Gewandhaus-Konzerte zu Leipzig 1781–1981, 2 vols. (Leipzig, 1981).
Forsberg, Suzanne, ‘Joseph and Placidus von Camerloher’, in Morrow and Churgin, eds., The Eighteenth-Century Symphony, 339–52.
Franklin, Peter, ‘The Boy on the Train, or Bad Symphonies and Good Movies: The Revealing Error of the “Symphonic Score”’, in Daniel Goldmark, Lawrence Kramer and Richard Leppert, eds., Beyond the Soundtrack: Representing Music in Cinema (Berkeley, Los Angeles and London, 2007), 13–26.
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Franklin, PeterSibelius in Britain’, in Daniel M. Grimley, ed., The Cambridge Companion to Sibelius (Cambridge, 2004), 182–95.
Frisch, Walter, Brahms and the Principle of Developing Variation (Berkeley and Los Angeles, 1990).
Frisch, WalterBrahms: The Four Symphonies (New Haven, 2003).
Frisch, Walter“Echt symphonisch”: On the Historical Context of Brahms’ Symphonies’, in Brahms Studies, vol. II, ed. David Brodbeck (Lincoln and London, 1998), 114–16.
Frogley, Alain, ‘Constructing Englishness in Music: National Character and the Reception of Ralph Vaughan Williams’, in Frogley, ed., Vaughan Williams Studies (Cambridge, 1996), 1–22.
Frogley, Alain“The Old Sweet Anglo-Saxon Spell”: Racial Discourses and the American Reception of British Music, 1895–1933’, in Julie Brown, ed., Western Music and Race (Cambridge, 2007), 244–57.
Frogley, AlainVaughan Williams’s Ninth Symphony (New York and Oxford, 2001).
Frogley, Alain ed., Vaughan Williams Studies (Cambridge, 1996).
Frye, Northrop, Words with Power (San Diego, 1990).
Geiringer, Karl, Instruments in the History of Western Music (London, 1978), 201–73.
Gellner, Ernest, Language and Solitude: Wittgenstein, Malinowski and the Habsburg Dilemma (Cambridge, 1998).
Gerber, Ernst Ludwig, Historisch-biographisches Lexicon der Tonkünstler, 2 vols. (Leipzig, 1790, 1792).
Gerhard, Anselm, London und der Klassizismus in der Musik: De Idee der ‘absoluten Musik’ und Muzio Clementis Klavierwerke (Stuttgart, 2002).
Gerlach, Sonja, ‘Haydns Orchestermusiker von 1761 bis 1774’, Haydn-Studien, 4 (1976), 35–48.
Gervink, Manuel, Die Symphonie in Deutschland und Österreich in der Zeit zwischen den beiden Weltkriegen (Regensburg, 1984).
Gibbs, Christopher H., ‘“The Phenomenon of the Seventh”: A Documentary Essay on Shostakovich’s “War” Symphony’, in Laurel Fay, ed., Shostakovich and His World, 59–113.
Gibbs, Christopher H. ed., The Cambridge Companion to Schubert (Cambridge, 1997).
Gilliam, Bryan, ‘The Annexation of Anton Bruckner: Nazi Revisionism and the Politics of Appropriation’, in Hawkshaw and Jackson, eds., Bruckner Studies (Cambridge, 1997), 72–90.
Gjerdingen, Robert, ‘The Symphony in France’, in Morrow and Churgin, eds., The Eighteenth-Century Symphony, 551–70.
Glebov, Igor, ‘The Music of Mozart’, Zhizn iskusstva [Life of Art] (4 September 1923).
Glebov, IgorRusskaya simfonicheskaya muzïka za 10 let’, Muzïka i revoliutsiya, 11 (1927), 21.
Glock, William, Notes in Advance (Oxford and New York, 1991), 211.
Goethe, Johann Wolfgang, Wilhelm Meisters Wanderjahre, Book II,in Sämtliche Werke, vol. XVII, ed. Karl Richer (Munich, 1985–98).
Goldmark, Karl, Notes from the Life of a Viennese Composer, trans. Alice Goldmark Brandeis (New York, 1927).
Goncharova, N., ‘Betkhoven v krasnoy armiy’, Sovetskaya muzïka, 7–8 (1935), 153.
Goss, Glenda Dawn, Jean Sibelius and Olin Downes: Music, Friendship, Criticism (Boston, 1995).
Goss, Glenda Dawn ed., The Sibelius Companion (Westport, 1996).
Grange, Henry-Louis de la, Gustav Mahler, vol. II: Vienna: The Years of Challenge (1897–1904) (Oxford and New York, 1995).
Grange, Henry-Louis de laGustav Mahler, vol. III: Vienna: Triumph and Disillusion (1904–1907) (Oxford and New York, 1999).
Grange, Henry-Louis de laGustav Mahler, vol. IV: A New Life Cut Short (1907–1911) (New York and Oxford, 2008).
Grave, Margaret H., ‘Dittersdorf’s First-Movement Form as a Measure of his Symphonic Development’ (Ph.D. diss., New York University, 1977).
Gray, Laura, ‘Sibelius and England’, in Glenda Dawn Goss, ed., The Sibelius Companion (Westport, 1996), 281–95.
Grimley, Daniel M., ed., The Cambridge Companion to Sibelius (Cambridge, 2004).
Grimley, Daniel M., and Julian Rushton, eds., The Cambridge Companion to Elgar (Cambridge, 2005).
Grotjahn, Rebecca, Die Sinfonie im deutschen Kulturgebiet 1850 bis 1875: Ein Beitrag zur Gattungs- und Institutionengeschichte (Sinzig, 1998).
Grotjahn, RebeccaZur Bedeutung der Sinfonie im Musikleben 1850 bis 1875’, in Christoph-Hellmut Mahling and Kristina Pfarr, eds., Aspekte historischer und systematischer Musikforschung (Mainz, 2002), 49–57.
Gülke, Peter, ‘Triumph der neuen Tonkunst’: Mozarts späte Sinfonien und ihr Umfeld (Kassel and Stuttgart, 1998).
Habermas, Jürgen, The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society, trans. Thomas Burger and Frederick Lawrence (Cambridge, Mass., 1991).
Halm, August, Die Symphonie Anton Bruckners (Munich, 1923).
Halm, AugustVon zwei Kulturen der Musik (Stuttgart, 1947).
Hanslick, Eduard, Aus dem Concertsaal (Vienna, 1870).
Hanslick, EduardAus dem Tagebuche eines Musikers (Berlin, 1892).
Harper-Scott, J. P. E., Edward Elgar: Modernist (Cambridge, 2009).
Harper-Scott, J. P. E.A Nice Sub-Acid Feeling: Schenker, Heidegger and Elgar’s First Symphony’, Music Analysis, 24/3 (2005), 349–82.
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