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Kapellmeister Kreisler, the ingenious and eccentric conductor created by E.T.A. Hoffmann, served as the inspiration for this composition of 1838. S...

Ludwig van Beethoven's 9th Symphony and the musical city of Leipzig are closely intertwined with each other: Felix Mendelssohn, Kapellmeister of the Gewandhausorchester, made the work an indispensable part of the concert hall repertoire and Arthur Nikisch, one of his successors, established in 1918 the worldwide tradition of performing this groundbreaking and pioneering work at the end of the year. The phenomenal Herbert Blomstedt, Gewandhaus-kapellmeister from 1998 to 2005, once again conducted

When the people of Dresden rose up against their king in May 1849, Richard Wagner went from Royal Kapellmeister to republican revolutionary overnight. He gambled everything, but the rebellion failed, and he lost all. Now a wanted man in Germany, he fled to Zurich. Years later, he wrote that the city was "devoid of any public art form" and full of "simple people who knew nothing of my work as an artist." But he lied: Zurich boasted arguably the world's greatest concentration of radical intellectuals and a vibrant music scene. Wagner was accepted with open arms. This book investigates Wagner's affect on the musical life of the city and the city's impact on him. Mathilde Wesendonck emerges not as Wagner's passive muse but as a self-assured woman who exploited gender expectations to her own benefit. In 1858, Wagner had to flee Zurich after again gambling everything -- this time on Mathilde -- and again losing. But it was in Zurich that Wagner wrote his major theoretical works; composed Das Rheingold, Die Walküre, and parts of Siegfried and Tristan und Isolde; first planned Parsifal; held the first festival of his music; and conceived of a theater to stage his own works. If Wagner had been free in 1849 to choose a city in which to seek heightened intellectual stimulation among the like-minded and the similarly gifted, he could have come to no more perfect place. Chris Walton teaches music history at the Musikhochschule Basel in Switzerland. He is the recipient of the 2010 Max Geilinger Prize honoring exemplary contributions to the literary and cultural relationship between Switzerland and the English-speaking world.

The development of the Bayerische Hofkapelle at the ducal court in Munich was an important culminating event in the music history of the Renaissance. Johann de Fossa, a Netherlands composer, was Kapellmeister there from 1568 to 1594, succeeding Orlando di Lasso and expanding on Lasso's innovations -- particularly his idiomatic use of the continuo.

In 1721 a 20-year-old soprano employed at the princely court in Köthen married the court s Kapellmeister, set to become the greatest composer of the age. As his second wife she married into a young family with four children, and a busy household filled with music. The music book that Johann Sebastian Bach presented to his new wife Anna Magdalena in 1722, and replaced more lavishly in 1725, treats us to a tantalizing glimpse inside this unique family, allowing us to sit beside Bach as a composer, teacher, husband and father. Over the years, these notebooks became a place for the family to share instructional exercises, favourite pieces by Bach and other composers to play or sing, early composition efforts from the children, and first versions of some of Bach's more ambitious keyboard works. Drawn from Christoph Wolff's new and cutting-edge scholarly edition of the complete Anna Magdalena Notebooks, Edition Peters is proud to present a new volume of shorter and easier pieces from the notebooks, perfect for practical use by students of all ages and their teachers. · Urtext edition by pre-eminent Bach scholar Christoph Wolff, Harvard Professor and former Director of the Leipzig Bach Archive · Represents the very latest in Bach scholarship, reflecting up-to-the-minute research on texts, authorship and copyists · A selection of the most popular pieces from the two notebooks in a practical student edition · Contains works for keyboard and vocal pieces, following the practice of musical education and performance in Bach's home.

The development of the Bayerische Hofkapelle at the ducal court in Munich was an important culminating event in the music history of the Renaissance. Johann de Fossa, a Netherlands composer, was Kapellmeister there from 1568 to 1594, succeeding Orlando di Lasso and expanding on Lasso's innovations -- particularly his idiomatic use of the continuo.

Compassionate yet detached, ironic yet pitilessly honest, Szymon Laks, the kapellmeister of the Auschwitz orchestra, presents a disturbing description of a phenomenon seldom mentioned in the literature of the Holocaust: the presence of music among the crematoria. His story is a testament to the human spirit and to music itself, the beauty of which Laks and others honored even as the lives of so many were destroyed.

Benda: Chamber Music and Songs, Composer Georg Benda, Artist Elena Bertuzzi soprano, Paolo Borgonovo tenor, Ulrike Slowik violin, Ensemble Arcomelo, Michele Benuzzi harpsichord & director, Format 6 CD, Many listeners will be unfamiliar with the name Georg Anton Benda, but in his day this Bohemian Kapellmeister enjoyed international fame - chiefly on account of his opera Ariadne auf Naxos, a product of the melodrama that Benda was instrumental in developing and which influenced, among others, Wol

When the people of Dresden rose up against their king in May 1849, Richard Wagner went from Royal Kapellmeister to republican revolutionary overnight. He gambled everything, but the rebellion failed, and he lost all. Now a wanted man in Germany, he fled to Zurich. Years later, he wrote that the city was "devoid of any public art form" and full of "simple people who knew nothing of my work as an artist." But he lied: Zurich boasted arguably the world's greatest concentration of radical intellectuals and a vibrant music scene. Wagner was accepted with open arms. This book investigates Wagner's affect on the musical life of the city and the city's impact on him. Mathilde Wesendonck emerges not as Wagner's passive muse but as a self-assured woman who exploited gender expectations to her own benefit. In 1858, Wagner had to flee Zurich after again gambling everything -- this time on Mathilde -- and again losing. But it was in Zurich that Wagner wrote his major theoretical works; composed Das Rheingold, Die Walküre, and parts of Siegfried and Tristan und Isolde; first planned Parsifal; held the first festival of his music; and conceived of a theater to stage his own works. If Wagner had been free in 1849 to choose a city in which to seek heightened intellectual stimulation among the like-minded and the similarly gifted, he could have come to no more perfect place. Chris Walton teaches music history at the Musikhochschule Basel in Switzerland. He is the recipient of the 2010 Max Geilinger Prize honoring exemplary contributions to the literary and cultural relationship between Switzerland and the English-speaking world.

Although the interpretations of Karl Richter can scarcely claim to be musicological validity according to the standards of today's so-called "historical performance practices", there are still numerous enthusiastic followers of this ingenious Kapellmeister, the generations of music lovers above all with his interpretations of the works of Johann Sebastian Bach, Georg Friedrich Hndel and Wolfgang Amadeus Mozart. Richter gave these pieces an unrivaled warmth, a loving touch and a grace, which one

This mammoth, 33-CD set of all 104 symphonies by Haydn marks one of the most ambitious recording projects of the last ten years; they were recorded in the Haydnsaal of the Esterhazy Palace in Eisenstadt, where Haydn himself actally worked as Kapellmeister! Performing these hallowed works are the Austro-Hungarian Haydn Orchestra, which was formed especially for these recordings from first-bench players from the Wiener Philharmonic and the Hungarian State Orchestra, and conductor Adam Fischer, who