Cover
Title
Copyright
Contents
List of Figures and Tables
List of Musical Examples
Acknowledgments
Introduction. String Chamber Music and Its Audiences in the Nineteenth Century
1. Publishing Chamber Music: Archival Evidence for Chamber Music Production and Consumption
2. “Domesticating” the Foreign in Arrangements of Operas, Folk Songs, and Other Works for Chamber Ensembles
3. Music for Men of Leisure: An Examination of the Domestic String Style
4. Redefining the “Progressive” Style in Responses to Beethoven’s Late Quartets
5. Creating “Progressive” Communities through Programmatic Chamber Music
6. Audience and Style in Brahms’s String Chamber Music
7. The Diversity of Dvořák’s String Quartet Audiences
Appendix 1 J. Strunz, string quartet transcription of no. 18, “Prière” (Prayer), from Meyerbeer’s Robert le Diable
Appendix 2 C. W. Henning, string quartet transcription of no. 8, “Leise, leise, fromme Weise” (Gently, gently, pious words), from Weber’s Der Freischütz
Appendix 3 M. Kässmayer, string quartet arrangement of “Mein Herz ist im Hochland” (My heart is in the Highlands) from Deutsche Lieder, op. 14, no. 4
Notes
Bibliography
Index