Bøker av Lorraine Byrne Bodley

Lorraine Byrne Bodley illuminates the story of Schubert's life, from his early years at the Vienna Stadtkonvikt to the battle with syphilis that led to his early death. Reconsidering best-loved works and neglected repertoire and sources, Bodley offers a compelling portrait of one of the nineteenth century's most beloved?and elusive?composers.

Sedirse Bodley is one of the best-known senior figures of contemporary music in Ireland. This book seeks to examine his engagement with the poetry of Micheal O'Siadhail and the making of these song cycles. It assesses the joint contribution to Irish art song and seeks to understand its roots in and departure from European tradition.This apograph is the first publication of Bodley's O'Siadhail song cycles and is the first book to explore the composer's lyrical modernity from a number of perspectives. Lorraine Byrne Bodley's insightful introduction describes in detail the development and essence of Bodley's musical thinking, the European influences he absorbed which linger in these cycles, and the importance of his work as a composer of Irish art song. She asks an array of questions: Does song play a new role in twentieth-century music or was this the age, as many have insisted, that bears witness to the «death of song»? How does contemporary Irish art song inscribe individual concerns and mirror the influence of dominant social trends through its music and its texts? She demonstrates that the answers to such questions illuminate the context in which these cycles were created, and how they were valued and viewed. Through a blend of close analysis of Bodley's songs and wide-ranging engagement with both poetry and music, this book sheds new light on Bodley's integral part in fashioning Irish art song. It analyses the way Bodley's song has been harnessed both to legitimate and to challenge national art song. And it identifies elements of Bodley's musical style which are shaped by European tradition.Beyond such musico-poetic analysis, Lorraine Byrne Bodley's reading of the threefold roles of continuity, gradual change, and revolution opens up a «braided history» of Irish art song, where song is not an aesthetic given but a means to understanding the changing patterns of life. She argues convincingly that an understanding of the way in which Irish society has perceived song in recent centuries is available through a consideration of song as social document, and in her appraisal of Bodley's O'Siadhail settings she considers the importance of these song cycles as a reflection of Ireland's rich cultural history.

Goethe's Faust, a work which has attracted the attention of composers since the late eighteenth century and played a vital role in the evolution of vocal, operatic and instrumental repertoire in the nineteenth century, hashad a seminal impact in musical realms.That Goethe's poetry has proved pivotal for the development of the nineteenth-century Lied has long been acknowledged. Less acknowledged is the seminal impact in musical realms of Goethe's Faust, a work which has attractedthe attention of composers since the late eighteenth century and played a vital role in the evolution of vocal, operatic and instrumental repertoire in the nineteenth century. While Goethe longed to have Faust set to musicand considered only Mozart and perhaps Meyerbeer as being equal to the task, by the end of his life he had abandoned hope that he would live to witness a musical setting of his text. Despite this, a floodtide of musical interpretations of Goethe's Faust came into existence from Beethoven to Schubert, Schumann to Wagner and Mahler, and Gounod to Berlioz; and a broad trajectory can be traced from Zelter's colourful description of the first setting ofGoethe's Faust to Alfred Schnittke's Faust opera (1993). This book explores the musical origins of Goethe's Faust and the musical dimensions of its legacy. It uncovers the musical furore caused by Goethe's Faust and considers why his polemical text has resonated so strongly with composers. Bringing together leading musicologists and Germanists, the book addresses a wide range of issues including reception history, the performative challenges of writing music for Faust, the impact of the legend on composers' conceptual thinking, and the ways in which it has been used by composers to engage with other contemporary intellectual concepts. Constituting the richest examination to date of the musicality of language and form in Goethe's Faust and its musical rendering from the eighteenth to twenty-first centuries, the book will appeal to music, literary and Goethe scholars and students alike. LORRAINE BYRNE BODLEY is Senior Lecturer in Musicology at Maynooth University and President of the Society for Musicology in Ireland. Contributors: Mark Austin, Lorraine Byrne Bodley, NicholasBoyle, John Michael Cooper, Siobhan Donovan, Osman Durrani, Mark Fitzgerald, John Guthrie, Heather Hadlock, Julian Horton, Ursula Kramer, Waltraud Meierhofer, Eftychia Papanikolaou, David Robb, Christopher Ruth, Glenn Stanley, Martin Swales, J. M. Tudor