spacer  
Calendar
Lecturers
Leon Botstein
Excerpts
Bibliography
Media
Schedule
Archives
Stanford Humanities Center
spacer

Bibliography

spacer    

LEON BOTSTEIN:
Selected Bibliography and Discography


Books Written and Edited by Botstein

Music and Modernity. New Haven, CT: Yale University Press (forthcoming).

A History of Listening: How Music Creates Meaning. Basic Books Inc., New Ed., 2005.

Quasi Una Fantasia: Juden und die Musikstadt Wien, ed. Leon Botstein and Werner Hanak. Wien: Wolke Verlag, 2003. English translation: Vienna: Jews and the City of Music, 1870–1938. Vienna: Wolke Verlag, 2004.

The Compleat Brahms, ed. Leon Botstein. New York: W.W. Norton, 1999.

Jefferson’s Children: Education and the Promise of American Culture. New York: Doubleday, 1997.

Judentum und Modernität: Essays zur Rolle der Juden in der Deutschen und Österreichischen Kultur 1848-1938. Böhlau Verlag, 1991. Russian translation: Belveder, 2003. English translation: New Haven, CT: Yale University Press, forthcoming.

Jefferson's Children book cover
The Complete Brahms book cover
A Hisroty of Listening book cover

 

 

 

 

 

 

 

 

Doctoral dissertation: Music and Its Public: Habits of Listening and the Crisis of Musical Modernism in Vienna, 1870-1914 (Austria). Cambridge, MA: Harvard University, 1985.

Editor: The Musical Quarterly, 1992 to present.


Chapters, Articles, and Essays

“Alban Berg and the Memory of Modernism.” In Alban Berg and His World, ed. Christopher Hailey. Princeton, NJ: Princeton University Press, 2010.

“Art and Freedom: A Polemical History.” In Art & Now: Über die Zukunft künstlerischer Produktivitätsstrategien, ed. Gerald Bast, 318–33. Vienna: Springer, 2010.

“Liberating the Pariah: Politics, the Jews, and Hannah Arendt.” In Thinking in Dark Times: Hannah Arendt on Ethics and Politics, ed. Roger Berkowitz, Jeffrey Katz, and Thomas Keenan, 141–74. New York: Fordham University Press, 2010.

“German Jews and Wagner.” In Wagner and His World, ed Thomas Grey, 151–97. Princeton, NJ: Princeton University Press, 2009.

“Beyond Death and Evil: Prokofiev’s Spirituality and Christian Science.” In Prokofiev and His World, ed. Simon Morrison, 530–61. Princeton, NJ: Princeton University Press, 2008.

“Einstein and Music.” In Essays from the Einstein Forum, ed. Susan Neiman and Matthias Cross, 161–75. New Haven, CT: Yale University Press, 2008.

“Freud and Wittgenstein: Language and Human Nature.” Psychoanalytic Psychology 24, no. 4 (2007): 603–22.

“Kunst und Staat am Beispiel der Musik.” In Kunst und Staat. Bleträge zu einem problematischen Verhältnis, ed. Patrick Werkner and Frank Hopfel, 136–47. Vienna: Huter & Roth, 2007.

“Transcending the Enigmas of Biography.” In Elgar and His World, ed. Byron Adams, 365–406. Princeton, NJ: Princeton University Press, 2007.

“Ludwig Boesendorfer: Viennese Traditionalism and Cosmopolitan Modernity in Conflict.” In Festscrhift Otto Biba zum 60. Geburtstag, ed. Ingrid Fuchs, 545–65. Tutzing, Germany: Hans Schneider, 2006.

“A Mirror to the Nineteenth Century: Reflections on Franz Liszt.” In Franz Liszt and His World, ed. Christopher Gibbs and Dana Gooley, 517–65. Princeton, NJ: Princeton University Press, 2006.

“Music in History: The Perils of Method in Reception History.” The Musical Quarterly 89, no. 1 (Spring 2006): 1–16.

“Unter Wunderkindern: Mozart in der europäisch-jüdischen Vorstellung.” In Lorenzo da Ponte: Aufbruch in die neue Welt, ed. Werner Hanak, 145–60. Wien: Hatje Cantz, 2006.

“Copland Reconfigured.” In Copland and His World, ed. Judith Tick and Carol J. Oja, 439–83. Princeton, NJ: Princeton University Press, 2005.

“Music, Femininity, and Jewish Identity: The Tradition and Legacy of the Salon.” In Jewish Women and Their Salons: The Power of Conversation, ed. Emily Bilski and Emily Braun, 159–69. New Haven, CT: Yale University Press in association with The Jewish Museum, 2005.

“Listening to Shostakovich.” In Shostakovich and His World, ed. Laurel E. Fay, 355–84. Princeton, NJ: University of Princeton Press, 2004.

“Music of a Century: The Museum Culture and the Politics of Subsidy.” In The Cambridge History of Twentieth-Century Music, ed. Nicholas Cook and Anthony Pople, 40–68. New York: Cambridge University Press, 2004.

“Wagner as Mendelssohn: Reversing Habits and Reclaiming Meaning in the Performance of Mendelssohn’s Music for Orchestra and Chorus.” In The Cambridge Companion to Mendelssohn, ed. Peter Jameson Mercer-Taylor, 251–68. New York: Cambridge University Press, 2004.

“Why Music Matters.” The Musical Quarterly 87, no. 2 (Summer 2004): 177–87.

“The Cultural Politics of Language and Music: Max Brod and Leos Janacek.” In Janacek and His World, ed. Michael Brim Beckerman, 13–54. Princeton, NJ: Princeton University Press, 2003.

“The Future of Conducting.” In The Cambridge Companion to Conducting, ed. José A. Bowen, 286–304. New York: Cambridge University Press, 2003.

“Whose Gustav Mahler? Reception, Interpretation, and History.” In Mahler and His World, ed. Karen Painter, 1–53. Princeton, NJ: Princeton University Press, 2002.

“Beyond the Illusions of Realism: Painting and Debussy’s Break with Tradition.” In Debussy and His World, ed. Jane F. Fulcher, 141–79. Princeton, NJ: Princeton University Press, 2001.

“Neoclassicism, Romanticism, and Emancipation: The Origins of Felix Mendelssohn’s Aesthetic Outlook.” In The Mendelssohn Companion, ed. Douglass Seaton, 1–27. Westport, CT: Greenwood Press, 2001.

“Strauss and Twentieth-Century Modernity: A Reassessment of the Man and His Work.” In Richard Strauss und die Moderne: Bericht über das Internationale Symposium München, 21 bis 23. Juli 1999, ed. Bernd Edelmann, Birgit Lodes, and Reinhold Schlötterer, 113–37. Berlin: Henschel, 2001.

“Is There a Future for the Traditions of Music and Music Teaching in our Colleges and Universities?” In Reflections on American Music: The Twentieth Century and the New Millennium, ed. James Heintze and Michael Saffle, 1–8. Hillsdale, NY: Pendragon Press, 2000.

“Music and Freedom: A Polemical History.” The Paradoxes of Unintended Consequences, ed. Lord Dahrendorf, Yehuda Elkana, Aryeh Neier, William Newton-Smith, and István Rév, 1–19. Budapest: CEU Press, 2000.

“The Search for Meaning in Beethoven: Popularity, Intimacy, and Politics in Historical Perspective.” In Beethoven and His World, ed. Scott Burnham and Michael P. Steinberg, 332–66. Princeton, NJ: Princeton University Press, 2000.

“Sound and Structure in Beethoven’s Orchestral Music.” In Cambridge Companion to Beethoven, ed. Glenn Stanley, 165–85. New York: Cambridge University Press, 2000.

“Brahms and His Audience: The Later Viennese Years, 1875–1897.” In The Cambridge Companion to Brahms, ed. Michael Musgrave, 51–78. New York: Cambridge University Press, 1999.

“Schoenberg and the Audience: Modernism, Music, and Politics in the Twentieth Century.” Schoenberg and His World, ed. Walter Frisch, 19–54. Princeton: NJ: Princeton University Press, 1999.

“The Consequences of Presumed Innocence: The Nineteenth-Century Reception of Joseph Haydn.” In Haydn Studies, ed. W. Dean Sutcliffe, 1–34. New York: Cambridge University Press, 1998.

“Gustav Mahler’s Vienna.” In The Mahler Companion, ed. Donald Mitchell and Andrew Nicholson, 6–38. New York: Oxford University Press, 1999.

“Music as the Language of Psychological Realism: Tchaikovsky and Russian Art.” In Tchaikovsky and His World, ed. Leslie Kearney, 99–144. Princeton, NJ: Princeton University Press, 1998.

“The Demise of Philosophical Listening: Haydn in the 19th Century.” In Haydn and His World, ed. Elaine Sisman, 255–85. Princeton, NJ: Princeton University Press, 1997.

“Music and the Critique of Culture: Arnold Schoenberg, Heinrich Schenker, and the Emergence of Modernism in Fin‑de‑Siècle Vienna.” In Constructive Dissonance: Arnold Schoenberg and Transformations of Twentieth‑Century Culture, ed. Juliane Brand and Christopher Hailey, 3–22. Berkeley: University of California Press, 1997.

On Conducting.” The Musical Quarterly 81, no. 1 (Spring 1997): 1–12.

“Realism Transformed: Franz Schubert and Vienna.” In The Cambridge Companion to Schubert, ed. Christopher H. Gibbs, 15–35. New York: Cambridge University Press, 1997.

“Innovation and Nostalgia: Ives, Mahler, and the Origins of Twentieth-Century Modernism.” In Charles Ives and His World, ed. J. Peter Burkholder, 35–74. Princeton, NJ: Princeton University Press, 1996.

“Out of Hungary: Bartók, Modernism, and the Cultural Politics of Twentieth-Century Music.” In Bartók and His World, ed. Peter Laki, 3–63. Princeton, NJ: Princeton University Press, 1995.

“Egon Schiele and Arnold Schönberg: The Cultural Politics of Aesthetic Innovation in Vienna, 1890–1918.” In Egon Schiele: Art, Sexuality, and Viennese Modernism, ed. Patrick Werkner. Palo Alto, CA: Sposs, 1994.

“History, Rhetoric, and the Self: Robert Schumann and Music Making in German-Speaking Europe, 1800–1860.” In Schumann and His World, ed. R. Larry Todd, 3–46. Princeton, NJ: Princeton University Press, 1994.

“Nineteenth-Century Mozart: The Fin-de-Siècle Mozart Revival.” In On Mozart, ed. James M. Morris, 204–26. New York: Cambridge University Press, 1994.

“Patrons and Publics of the Quartets: Music, Culture, and Society in Beethoven’s Vienna.” In The Beethoven Quartet Companion, ed. Robert S. Winter and Robert Martin, 77–109. Berkeley: University of California Press, 1994.

“Aesthetics and Ideology in the Fin-de-Siècle Mozart Revival.” Current Musicology 51 (1993): 5–25.

“Reversing the Critical Tradition: Innovation, Modernity, and Ideology in the Work and Career of Antonin Dvorak.” In Dvorak and His World, ed. Michael Beckerman, 11–55. Princeton, NJ: Princeton University Press, 1993. Czech translation by Jarmila Burghausera in Hudební veda 31, April 1994.

“Arnold Schoenberg: Language, Modernism and Jewish Identity.” In Austrians and Jews in the Twentieth Century: From Franz Joseph to Waldheim, ed. Robert S. Wistrich, 162–83. New York: St. Martin's Press, 1992.

“The Enigmas of Richard Strauss: A Revisionist View.” In Richard Strauss and His World, ed. Bryan Gilliam, 3–32. Princeton, NJ: Princeton University Press, 1992.

“Listening Through Reading: Writing On Music and the Concert Audience in the Late 19th Century.” Nineteenth-Century Music 16, no. 2. (Fall 1992): 129–45.

“Strauss and the Viennese Critics (1896–1924): Reviews by Gustav Schoenaich, Robert Hirschfeld, Guido Adler, Max Kalbeck, Julius Korngold, and Karl Kraus.” In Richard Strauss and His World, ed. Bryan Gilliam, 311–71. Princeton, NJ: Princeton University Press, 1992.

“The Aesthetics of Assimilation and Affirmation: Reconstructing the Career of Felix Mendelssohn.” In Mendelssohn and His World, ed. R. Larry Todd, 5–42. Princeton, NJ: Princeton University Press, 1991.

“Brahms and Nineteenth-Century Painting.” Nineteenth-Century Music 14, no. 2 (Fall 1990): 154–68.

“Time and Memory: Concert Life, Science, and Music in Brahms’s Vienna.” In Brahms and His World, ed. Walter Frisch, 3–22. Princeton, NJ: Princeton University Press, 1990.

“Between Aesthetics and History.” Nineteenth-Century Music 13, no. 2 (Fall 1989): 168–78.

“Language, Music, and Politics.” The State of the Language, vol. 2, ed. Christopher Ricks and Leonard Michaels, 367–80. Berkeley: University of California Press, 1989.

“Music and Its Public: Vienna l848-l898.” In Pre-Modern Art of Vienna: l848‑l898, ed. Leon Botstein and Linda Weintraub, 55–65. Detroit, MI: Wayne State University Press, 1987.

“Wagner and Our Century.” Nineteenth-Century Music 11, no. 1 (Summer 1987): 92–104.

“A Pyrrhic Victory for Scholarship? The New Grove Dictionary of Music and Musicians — A Review Essay.” Perspectives of New Music 7 (Winter–Spring 1983): 568–91. A shorter version, “Orpheus in Academe,” appeared in Harper’s (June 1981): 72–76.

“The Jew as Pariah: Hannah Arendt’s Political Philosophy,” Dialectical Anthropology 8 (October 1983): 47–73. A shorter version, “Liberating the Pariah: Politics, the Jews, and Hannah Arendt,” appeared in Salmagundi (Spring–Summer 1983): 73–106.

“Wisdom Reconsidered: Robert Maynard Hutchins’ The Higher Learning in America Revisited.” In Philosophy for Education, ed. Seymour Fox, 17–38. Atlantic Highlands, NJ: Humanities Press, 1983.

“Stefan Zweig and the Illusion of the Jewish European.” Jewish Social Studies 44, no. l (Winter 1982): 63–84. A revised version appeared in Stefan Zweig: The World of Yesterday’s Humanist Today, ed. Marion Sonnenfeld. Albany, NY: SUNY Press, 1983.

“Outside In: Music on Language.” In The State of the Language, ed. Leonard Michaels and Christopher Ricks, 343–61. Berkeley: University of California Press, 1980.


Recordings

Bruno Walter. Symphony No. 1. NDR Symphony Orchestra. CPO 2009.

John Foulds. A World Requiem. BBC Symphony Orchestra. Chandos 2008.
Listen to this recording (Available to the Stanford community only from the Naxos Music Library).

Paul Dukas. Ariane et Barbe-Bleue. BBC Symphony Orchestra. Telarc 2007.

Ernest Chausson. Le roi Arthus. BBC Symphony Orchestra. Telarc 2005.

Aaron Copland, Roger Sessions, George Perle, and Bernard Rands. Works by Copland, Sessions, Perle, and Rands. American Symphony Orchestra. New World Records 2005.

Ernst von Dohnányi. Concertino for Harp and Chamber Orchestra, Op. 45; Sextet in C Major, Op. 37; Six Pieces for Piano, Op. 41. American Symphony Orchestra with Sara Cutler and Todd Crow. Arabesque 2004.
Listen to this recording (Available to the Stanford community only from the Naxos Music Library).

Gavriil Popov and Dimitri Shostakovich. Symphony No. 1, Op. 7; Tasso Theme and Variations, Op. 3. London Symphony Orchestra. Telarc 2004. Nominated for a 2006 Grammy Award in the category of Best Orchestral Performance.
Listen to excerpts from this recording.

Reinhold Glière. Symphony No. 3, Op. 42, “Il´ya Murometz.” London Symphony Orchestra. Telarc 2003.

Franz Liszt. Eine Symphonie zu Dantes Divina Commedia; Tasso, Lamento e Trionfo. London Symphony Orchestra. Telarc 2003.

Richard Strauss. Die Ägyptische Helena. American Symphony Orchestra with Deborah Voigt. Telarc 2003.

Max Reger. Music of Max Reger: Reger and Romanticism. London Philharmonic Orchestra. Telarc 2002.

Ernst Toch. Piano Concerto No. 1, Op. 38; Peter Pan, A Fairy Tale for Orchestra, Op. 76; Pinocchio, A Merry Overture; Big Ben, Variation Fantasy on the Westminster Chimes, Op. 62. NDR Symphony Orchestra with Todd Crow. New World Records 2002.

Béla Bartók. Concerto for Orchestra; Four Orchestral Pieces; Hungarian Peasant Songs. London Philharmonic Orchestra. Telarc 2001.

Richard Strauss. Die Liebe der Danae. American Symphony Orchestra. Telarc 2001.

George Szell, Robert Heger, Hans von Bülow, and Felix Weingartner. Original Music by Legendary Conductors. National Philharmonic of Lithuania. Arabesque 2001.

Karol Szymanowski. Concert Overture; Symphony No. 2; Songs of the Infatuated Muezzin; Slopiewnie. London Philharmonic Orchestra. Telarc 2000.

Peter Ilyich Tchaikovsky, John Knowles Paine, Charles T. Griffes, Charles Ives, and John Philip Sousa. The American Russian Youth Orchestra in Concert. Town Hall Records 2000.

Max Bruch. Odysseus, Op. 41. Hanover Radio Symphony Orchestra. Koch International Classics 1999.

Karl Amadeus Hartmann. Symphonies No. 1 and No. 6; Miserae. London Philharmonic Orchestra with Jard van Nes. Telarc 1999.

Anton Bruckner. Symphony No. 5 in B-flat Major: Schalk Edition (1894). London Philharmonic Orchestra. Telarc 1998. Listen to an excerpt from this recording.

Ernst von Dohnányi. Symphony No. 1 in D Minor, Op. 9. London Philharmonic Orchestra. Telarc 1998.

Feliz Mendelssohn-Bartholdy. Paulus Oratorio, Op. 36. Royal Scottish National Orchestra and Chorus. Arabesque 1998.

Remigius Merkelys. Existence. Track 5 on Symphony Music: Lithuanian New Music Series. Lithuanian National Symphony Orchestra 1997.

Franz Schubert. Franz Schubert: Orchestrated. American Symphony Orchestra. Koch International Classics 1995.

Johannes Brahms. Serenade No. 1. Chelsea Chamber Ensemble and American Symphony Orchestra. Vanguard Classics 1994.

Robert Starer, Richard Wernick, and Richard Wilson. Cello Concerto; Viola Concerto; Piano Concerto. Pro Arte Chamber Orchestra of Boston. Composers Recordings 1994.

Richard Wilson and Meyer Kupferman. Concerto for Bassoon and Chamber Orchestra; Suite for Small Orchestra; Clarinet Concerto. Pro Arte Chamber Orchestra of Boston. Composers Recordings 1994.

Joseph Joachim. Violin Concerto in Hungarian Style; Overture to Hamlet; Overture to Heinrich IV. London Philharmonic Orchestra with Elmer Oliviera. Innovative Music Productions 1992; Carlton Classics 1997.

Meyer Kupferman. Kazuko Hayami Plays Meyer Kupferman. Hudson Valley Philharmonic with Zazuko Hayami. Soundspell 1988, 1995.


Stanford University Libraries & Academic Information Resources ©2011.


ARCHIVES || CALENDAR || LECTURERS || STANFORD HUMANITIES CENTER

Top of Page || Home Page || Stanford University Libraries || Stanford University