186: William Rothstein (The Musical Language of Italian Opera, 1813-1859) @NikhilHoganShow

Nikhil Hogan Show Professor William Rothstein joins me to discuss his latest book, "The Musical Language of Italian Opera, 1813-1859," published by Oxford University Press.

Description of book: "Though studying opera often requires attention to aesthetics, libretti, staging, singers, compositional history, and performance history, the music itself is central. This book examines operatic music by five Italian composers—Rossini, Bellini, Mercadante, Donizetti, and Verdi—and one non-Italian, Meyerbeer, during the period from Rossini's first international successes to Italian unification. Detailed analyses of form, rhythm, melody, and harmony reveal concepts of musical structure different from those usually discussed by music theorists, calling into question the notion of a common practice. Taking an eclectic analytical approach, author William Rothstein uses ideas originating in several centuries, from the sixteenth to the twenty-first, to argue that operatic music can be heard not only as passionate vocality but also in terms of musical forms, pitch structures, and rhythmic patterns—that is, as carefully crafted music worth theoretical attention. Although no single theory accounts for everything, Rothstein's analysis shows how certain recurring principles define a distinctively Italian practice, one that left its mark on the German repertoire more familiar to music theorists."

Professor William Rothstein is Professor of Music Theory at Queens College and The Graduate Center of the City University of New York. He previously taught at Amherst College, Oberlin College, and the University of Michigan. He is author of Phrase Rhythm in Tonal Music and co-author (with Charles Burkhart) of Anthology for Musical Analysis. He has written and lectured extensively on music of the eighteenth and nineteenth centuries, with special emphasis on musical rhythm, Schenkerian theory and analysis, and nineteenth-century Italian opera.

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updated 7 months ago

186: William Rothstein (The Musical Language of Italian Opera, 1813-1859)

Nikhil Hogan Show 2024-03-07 | Professor William Rothstein joins me to discuss his latest book, "The Musical Language of Italian Opera, 1813-1859," published by Oxford University Press.

Description of book: "Though studying opera often requires attention to aesthetics, libretti, staging, singers, compositional history, and performance history, the music itself is central. This book examines operatic music by five Italian composers—Rossini, Bellini, Mercadante, Donizetti, and Verdi—and one non-Italian, Meyerbeer, during the period from Rossini's first international successes to Italian unification. Detailed analyses of form, rhythm, melody, and harmony reveal concepts of musical structure different from those usually discussed by music theorists, calling into question the notion of a common practice. Taking an eclectic analytical approach, author William Rothstein uses ideas originating in several centuries, from the sixteenth to the twenty-first, to argue that operatic music can be heard not only as passionate vocality but also in terms of musical forms, pitch structures, and rhythmic patterns—that is, as carefully crafted music worth theoretical attention. Although no single theory accounts for everything, Rothstein's analysis shows how certain recurring principles define a distinctively Italian practice, one that left its mark on the German repertoire more familiar to music theorists."

Professor William Rothstein is Professor of Music Theory at Queens College and The Graduate Center of the City University of New York. He previously taught at Amherst College, Oberlin College, and the University of Michigan. He is author of Phrase Rhythm in Tonal Music and co-author (with Charles Burkhart) of Anthology for Musical Analysis. He has written and lectured extensively on music of the eighteenth and nineteenth centuries, with special emphasis on musical rhythm, Schenkerian theory and analysis, and nineteenth-century Italian opera.

Buy the Book (Amazon Affiliate link):
amzn.to/3vaS2fY

✅ Please LIKE 👍🏻 this video and SUBSCRIBE 📲 to this channel!

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Romanticism was a clear break in the purpose of Art (feat. Lydia Goehr)

Nikhil Hogan Show 2024-10-12 | 🖥 For lessons, in-depth articles, and resources on historic music pedagogy, visit the Hogan School of Music website:
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Scholasticism vs Modern Philosophy in Music (feat. Lydia Goehr)

Nikhil Hogan Show 2024-10-11 | Full interview: youtu.be/ovhVsEVrE08

Scholastic book referenced: "A History of Philosophy" by Rev. Paul J. Glenn PhD STD

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Schopenhauer and Hegel took Rossini not Beethoven as their model when discussing music (Lydia Goehr)

Nikhil Hogan Show 2024-10-08 | Full interview: youtube.com/watch?v=ovhVsEVrE08

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189: Lydia Goehr (Werktreue: The Work Concept in the 19th-century Philosophy of Music)

Nikhil Hogan Show 2024-10-03 | The concept of “Werktreue” (the faithfulness to/centrality of the piece of music) has been a dominant aspect to the understanding behind the philosophy of classical music since the 19th century.

Lydia Goehr is Fred and Fannie Mack Professor of Humanities in the Department of Philosophy at Columbia University. Lydia Goehr is the author of The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music (1992; second edition with a new essay, 2007). Her research interests are in German aesthetic theory and in particular in the relationship between philosophy, politics, history, and music.

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Piano competition judge rendered speechless by inconvenient question (feat. John Salmon)

Nikhil Hogan Show 2024-09-27 | Full interview: youtu.be/b4-IYvl0kdM

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Modern performance ideology comes out of one quote by Czerny (feat. John Salmon)

Nikhil Hogan Show 2024-09-26 | Full interview: youtu.be/b4-IYvl0kdM

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The idea of being a pianist-composer began to evaporate in the 19th-century (feat. John Salmon)

Nikhil Hogan Show 2024-09-25 | Full interview: youtu.be/b4-IYvl0kdM

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The Italians didnt care about Urtext (feat. John Salmon)

Nikhil Hogan Show 2024-09-23 | Full interview: youtu.be/b4-IYvl0kdM

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Youre Not Beethoven! Classical Piano Teacher argues with John Salmon against Improvisation

Nikhil Hogan Show 2024-09-18 | Full Interview: youtu.be/b4-IYvl0kdM

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188: John Salmon (Classical Improvisation on the Piano, Why Classical Improvisation Died, Werktreue)

Nikhil Hogan Show 2024-09-17 | Professor John Salmon joins the show for the first time to talk about classical improvisation on the piano and shares his musical journey.

John Salmon, piano, has distinguished himself on four continents, as both a classical and jazz artist. Critics have praised his “mesmerizing boldness and confidence” (Tallahassee Democrat, Tallahassee, Florida) and called him “a tremendous pianist” (El País, Madrid, Spain) and “dashing performer” (Journal de Genève, Geneva, Switzerland). His broad repertoire covers the classics – Mozart, Beethoven, Schubert, Schumann, Brahms – though his involvement with contemporary music is equally strong. Salmon has been at the forefront of performing new works by such celebrated composers as Dave Brubeck (who dedicated two compositions to Salmon), Nikolai Kapustin, and Lalo Schifrin. His performances and recordings on the Phoenix, Naxos, and Albany labels have been heard on radio stations throughout the U.S., including National Public Radio, WNYC in New York, and WFMT in Chicago; and on the national radio stations of Australia, Brazil, Canada, England, Finland, France, Germany, Holland, Hungary, Italy, Moldova, New Zealand, Norway, Spain, Sweden, Switzerland, and Ukraine. Salmon is a frequent guest performer at festivals in the U.S. and Europe, having appeared at the Piccolo Spoleto Festival (Charleston, South Carolina), Piano Festival Northwest (Portland, Oregon), Festival for Creative Pianists (Grand Junction, Colorado), Festival Internacional de Música del Mediterráneo (Cartagena, Spain), and the International Bartók Festival (Szombathely, Hungary). Other special appearances include an all-Liszt recital in Mexico City for the American Liszt Society and an all-Brubeck recital in Washington, DC for the Music Teachers National Association. As guest lecturer, Salmon has spoken on a wide array of topics – “Beethoven’s Shadow” (The Juilliard School), “September 1828: Schubert’s Last Three Piano Sonatas” (Boston Conservatory), “Adding Notes to Classical Scores” (Conservatorio de Música, Morelia, Mexico). As author, he has covered such subjects as “What Brubeck Got From Milhaud” and “Urtext, que me veux tu?,” appearing in American Music Teacher, The Chronicle of Higher Education, Clavier, College Music Society Newsletter, Piano & Keyboard, and Piano Today.  His book The Piano Sonatas of Carl Loewe was published by Peter Lang Publishing in 1996. John Salmon has been a member of the faculty of The University of North Carolina at Greensboro School of Music since 1989.

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Peter van Tours realization of a Cotumacci partimento

Nikhil Hogan Show 2024-09-10 | Full interview: youtu.be/MsT-OJBgBZs

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The level of Alessandro Scarlattis partimenti is very high (feat. Peter van Tour)

Nikhil Hogan Show 2024-09-09 | Full interview: youtu.be/MsT-OJBgBZs

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Carlo Cotumaccis Underfigured Bass (feat. Peter van Tour)

Nikhil Hogan Show 2024-08-18 | Full interview: youtu.be/MsT-OJBgBZs

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The connection between Cotumaccis solfeggi and counterpoint instruction (feat. Peter van Tour)

Nikhil Hogan Show 2024-06-26 | Full interview: youtube.com/watch?v=MsT-OJBgBZs

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Which was the best Neapolitan conservatory, out of the famous four? (feat. Peter van Tour)

Nikhil Hogan Show 2024-06-26 | Full interview: youtu.be/MsT-OJBgBZs

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187: Peter van Tour (Carlo Cotumaccis Regole and Lessons)

Nikhil Hogan Show 2024-06-13 | Carlo Cotumacci Vol. 1
wessmans.com/Article/202424----regole-e-principj-di-sonarelezzioni-di-partimenti-vol-1-teori

Carlo Cotumacci Vol. 2
wessmans.com/Article/202425----regole-e-principj-di-sonarelezzioni-di-partimenti-vol-2-teori

Carlo Cotumacci Vol. 1&2
wessmans.com/Article/202424P----regole-e-principj-di-sonarelezzioni-di-partimenti-vol-1-2-teori

Peter's website: https://vantour.se

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Rossini (feat. William Rothstein)

Nikhil Hogan Show 2024-06-13 | Full interview: youtu.be/mdbqs9pPJJs

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The 16th-century modal compositional influence on Verdis Anvil Chorus (feat. William Rothstein)

Nikhil Hogan Show 2024-06-11 | Full interview: youtu.be/mdbqs9pPJJs

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Why did influential German musicians attack Italian music? (feat. William Rothstein)

Nikhil Hogan Show 2024-05-21 | Full interview: youtu.be/mdbqs9pPJJs

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Conservatory students play Rachmaninoff but cant figure out Twinkle, Twinkle, Little Star

Nikhil Hogan Show 2024-04-25 | An excerpt from my interview with Sietze de Vries (Ep. 144).

Full interview here:
youtube.com/watch?v=yNOaI9ahQVE

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Talking about Accompaniment and Sightreading (feat. William Rothstein)

Nikhil Hogan Show 2024-03-21 | Full interview: youtu.be/mdbqs9pPJJs

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Were the Italians serious composers like the Germans? (feat. William Rothstein)

Nikhil Hogan Show 2024-03-13 | Full interview: youtu.be/mdbqs9pPJJs

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Even good students arent learning with modern harmony courses in universities #musiceducation

Nikhil Hogan Show 2024-03-13 | Professor Job IJzerman, the author of "Harmony, Counterpoint, Partimento", relates a real-world example of encountering a good student at the Conservatory of Amsterdam who was passing her exams well and yet could not understand harmony.

Full interview: youtu.be/_fYIQ0O0YnY

The three-fold model for change in modal theory (feat. Michael R. Dodds)

Nikhil Hogan Show 2024-03-05 | Full interview: youtu.be/dsD3PGbhJXE

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The only subject about which every modal theorist agrees

Buttstett & Fux vs Mattheson - the polemic over church modes (feat. Michael R. Dodds)

Nikhil Hogan Show 2024-03-03 | Full interview: youtu.be/dsD3PGbhJXE

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Carl Dahlhaus Presentism vs. Bernhard Meiers Historicism in the debate over modes

Why did conservative Catholic musicians reject sharps and flats? (feat. Michael R. Dodds)

185: Michael R. Dodds (From Modes to Keys in Early Modern Music Theory)

Nikhil Hogan Show 2024-03-01 | I speak to Professor Michael R. Dodds about his new book, "From Modes to Keys in Early Modern Music Theory", published by Oxford University Press.

"From Modes to Keys in Early Modern Music Theory" provides the first comprehensive study of the transition from the Renaissance modes to the major and minor keys of 18th-century music history. It proposes a model for the transition from modes to keys, illuminating the shift from vocal to keyboard ways of conceptualizing tonal space, and offers an in-depth survey of Western European music theory from the Middle Ages to 1800."

Michael R. Dodds is Associate Professor of Music History at the University of North Carolina School of the Arts. His callings as scholar, artist, and teacher are united by a life-long fascination with the conceptualization of tonal structures, especially in the contexts of sacred music. The story of Dodds as an artist is the subject of the 2023 documentary Blessed Unrest: A Composer's Awakening.

Readers can access the first chapter for free here: academic.oup.com/book/55156/chapter/424075219.

Readers may also use code AAFLYG6 for a 30% discount on the OUP website: global.oup.com/academic/product/from-modes-to-keys-in-early-modern-music-theory-9780199338153?cc=us&lang=en&#.

From Professor Dodds:
"The second chapter, “A Brief Introduction to Modal Systems,” will be especially helpful for readers new to modal theory.

Interested viewers can also watch Blessed Unrest, a one-hour award-winning inspirational documentary by Bonnemaison about my story as a composer, including my childhood and youth in the Amazon and studies in musicology at the Eastman School, for $5 here: vimeo.com/ondemand/blessedunrest/792696588. The film also features Tony-winning actor Rosemary Harris and is framed by the metaphor of the labyrinth that also culminates my book—incredibly beautifully filmed.

I would very much welcome hearing from your audience with questions or comments!"

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🖥 For lessons, great in-depth articles, and resources on historic music pedagogy, visit the Hogan School of Music website:
► hoganschoolofmusic.com

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Is there a best school of thought regarding analyzing musical form? (feat. Thomas W. Posen)

Nikhil Hogan Show 2024-03-01 | Full interview: youtu.be/FQxvlt44w1M

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Kirnbergers influence on Beethoven (feat. Thomas W. Posen)

Beethovens understanding of passing chords (feat. Thomas W. Posen)

Has Beethoven ever described his own compositional process? (feat. Thomas W. Posen)

Abbé Voglers influence on Beethoven (feat. Thomas W. Posen)

184: Thomas W. Posen (Windows into Beethoven’s Lessons in Bonn: Kirnberger and Vogler)

Nikhil Hogan Show 2024-02-28 | I chat with Professor Thomas W. Posen about his recent article: "Windows into Beethoven’s Lessons in Bonn: Kirnberger’s Die wahren Grundsätze zum Gebrauch der Harmonie (1773) and Vogler’s Gründe der Kuhrpfälzischen Tonschule in Beyspielen (1776/1778)"

Article Abstract: "Beethoven’s lessons in Vienna with Haydn, Albrechtsberger, and Salieri are well known, but considerably less has been written about his earlier studies in Bonn. This article examines what Beethoven may have learned from two treatises that Gustav Nottebohm (1873) connected to Beethoven’s Bonn manuscripts: Johann Philipp Kirnberger’s Die wahren Grundsätze zum Gebrauch der Harmonie (1773) and Georg Joseph Vogler’s Gründe der Kuhrpfälzischen Tonschule in Beyspielen (1776, revised in 1778). I corroborate the evidence that links these treatises to Beethoven, analyze and categorize their contents, and suggest some parallels between materials in these treatises and Beethoven’s Bonn works including his “Elector” piano sonatas (WoO 47; 1783) and his two unusual preludes for piano or organ (op. 39; 1789, published in 1803).

From what we know of Beethoven’s studies in Vienna, several pillars of standard eighteenth-century musical education are missing: the study of solfeggio, thoroughbass, and harmony. This article makes the case that Beethoven encountered this training in Bonn. From Kirnberger’s Grundsätze, he would have learned about the fundamental bass, harmonic function and progression, and the principles of prolongation. In Vogler’s book, he would have encountered solfeggio exercises, common thoroughbass patterns including the Rule of the Octave, invertible sequences, diminution patterns, modulations schemes to every key, the fundamental bass, and more. Although these two treatises were not the only books Beethoven likely studied in Bonn, they offer probable windows into his formative lessons in music theory, improvisation, and composition."

thomasposen.com

Article link: mtosmt.org/issues/mto.23.29.4/mto.23.29.4.posen.html

Dissertation link, "Analyzing Beethoven’s eroica sketches: A form-functional perspective on the first-movement exposition":
escholarship.mcgill.ca/concern/theses/rf55zf13f

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Hanon vs Czerny (feat. Tibor Szász)

Nikhil Hogan Show 2024-02-28 | Full interview: youtube.com/watch?v=O8UnUqJ3qM4
@TiborSzasz48

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Most pianists dont know that in Chopins time, they did not have accents (feat. Tibor Szász)

Nikhil Hogan Show 2024-02-28 | Full interview: youtu.be/O8UnUqJ3qM4
@TiborSzasz48

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Chopins Fantaisie Op. 49 was originally titled Ab not F minor (feat. Tibor Szász)

Why dont pianists accompany symphonies anymore like they used to? (feat. Tibor Szász)

Everyone plays the opening to Mozarts Fantaisie K.475 wrong and its become a different piece

183: Tibor Szász (Decoding Mozarts Fantaisie K. 475 with IL FILO)

Nikhil Hogan Show 2024-02-27 | In this episode, I talk to Professor of Piano at the University of Music in Freiburg, Tibor Szász, about the completely misunderstood and mistakenly performed introductory theme at the beginning of the Mozart Fantaisie K. 475, which begins with a "unique type of three-voiced polyphony with complex voice crossings." Professor Szász uses a "reverse il filo type procedure" to unlock the correct performance practice of the piece, creating a completely new piece in the process. We discuss all this and more topics, in this episode.

Link to article:
https://mozartstudies.edituramediamusica.ro/index.php/for-readers/current-issue

@TiborSzasz48

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Classical improvisation on Cello: Variations on basso di Passacaglia in F (feat. Giovanna Barbati)

Nikhil Hogan Show 2024-02-14 | Full interview: youtube.com/watch?v=HoPrMAJiayE

@GiovannaBarbati
giovannabarbati.wixsite.com/giovannabarbati

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Partimento for the Cello (feat. Giovanna Barbati)

Nikhil Hogan Show 2024-02-14 | Full interview: youtu.be/HoPrMAJiayE

@GiovannaBarbati
giovannabarbati.wixsite.com/giovannabarbati

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Demonstration applying Suprianis diminution techniques (feat. Giovanna Barbati)

Analyzing Bachs Cello Suite No. 1 in G without modern harmonic analysis

Nikhil Hogan Show 2024-02-06 | Full interview: youtu.be/HoPrMAJiayE

@GiovannaBarbati
giovannabarbati.wixsite.com/giovannabarbati

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Step by step Classical improvisation tutorial on Green Sleeves (feat. Giovanna Barbati)

Nikhil Hogan Show 2024-02-06 | Full interview: youtube.com/watch?v=HoPrMAJiayE

@GiovannaBarbati
giovannabarbati.wixsite.com/giovannabarbati

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182: Giovanna Barbati (Partimento and Improvisation on the Cello)

Nikhil Hogan Show 2024-02-02 | Today I speak to cellist and viola da gamba player Giovanna Barbati, whose repertoire extends from early to contemporary music and who has a special interest in improvisation. She appears frequently as a soloist, she plays her own music and has given the first performance of a number of works for solo cello. She has recently recorded the complete works for cello by Francesco Supriani (Da Vinci CD) with the ensemble Les amies Partimentistes.

We discuss improvisation upon a ground, Francesco Supriani's diminution technique works, partimento and the cello, music theory/composition, and more!

@GiovannaBarbati
giovannabarbati.wixsite.com/giovannabarbati

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People doing free counterpoint at the same time on a Cantus Firmus (feat. Tim Braithwaite)

Nikhil Hogan Show 2024-02-02 | Full interview: youtu.be/_zJT0ZXPFw0

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Do world-class modern concert performers not think about harmony at all? #classicalmusic

Nikhil Hogan Show 2024-02-02 | Professor Job IJzerman, author of "Harmony, Counterpoint, Partimento", shares an interesting anecdote involving a world-class concert performer who specializes in early music.

From Episode 114: Job IJzerman (Harmony, Counterpoint, Partimento)