| Preface |
|
ix | |
| INTRODUCTION |
|
1 | |
| 1 STATUS: 'YOU ARE A GOD-MAN, THE TRUE ARTIST BY GOD'S GRACE' |
|
7 | |
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The Musician as Slave and Servant |
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|
7 | |
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Handel, Haydn and the Liberation of the Musician |
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|
17 | |
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Mozart, Beethoven and the Perils of the Public Sphere |
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|
30 | |
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Rossini, Paganini, Liszt—the Musician as Charismatic Hero |
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|
45 | |
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Richard Wagner and the Apotheosis of the Musician |
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|
57 | |
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The Triumph of the Musician in the Modern World |
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|
60 | |
| 2 PURPOSE: 'MUSIC IS THE MOST ROMANTIC OF ALL THE ARTS' |
|
73 | |
|
Louis XIV and the Assertion of Power |
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|
73 | |
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Opera and the Representation of Social Status |
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|
78 | |
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Bach, Handel and the Worship of God |
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|
82 | |
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Concerts and the Public Sphere |
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|
85 | |
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The Secularisation of Society, the Sacralisation of Music |
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|
89 | |
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|
91 | |
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Beethoven as Hero and Genius |
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|
98 | |
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|
101 | |
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|
104 | |
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The Invention of Classical Music |
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|
111 | |
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|
114 | |
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|
117 | |
| 3 PLACES AND SPACES: FROM PALACE TO STADIUM |
|
122 | |
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Churches and Opera Houses |
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|
122 | |
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Concerts in Pubs and Palaces |
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|
131 | |
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Concert Halls and the Sacralisation of Music |
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|
134 | |
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|
139 | |
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Two Ways of Elevating Music—Bayreuth and Paris |
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|
147 | |
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The Democratisation of Musical Space |
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|
153 | |
|
Places and Spaces for the Masses |
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|
163 | |
| 4 TECHNOLOGY: FROM STRADIVARIUS TO STRATOCASTER |
|
173 | |
|
Musical Gas and Other Inventions |
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|
173 | |
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Pianos for the Middle Classes |
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|
180 | |
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Valves, Keys and Saxophones |
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|
188 | |
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|
197 | |
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|
204 | |
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The Electrification of Youth Culture |
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|
209 | |
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The Triumph of Technology |
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|
224 | |
| 5 LIBERATION: NATION, PEOPLE, SEX |
|
231 | |
|
National Pride and Prejudice |
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|
231 | |
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Rule Britannia? Aux Armes, Citoyens! |
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|
240 | |
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|
264 | |
|
Deutschland, Deutschland fiber Alles |
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|
272 | |
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From the Woods and Meadows of Bohemia |
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|
285 | |
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|
292 | |
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|
300 | |
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|
311 | |
| CONCLUSION |
|
325 | |
| Chronology |
|
332 | |
| Further Reading |
|
343 | |
| Notes |
|
353 | |
| Illustration Credits |
|
401 | |
| Index |
|
405 | |