Nicholas Marston
Biographic Data
| ID | 971081 |
|---|---|
| NAME | Nicholas Marston |
| GIVEN NAMES | Nicholas |
| FAMILY NAME | Marston |
| SIGNATURE | MARSTON N |
| AFFILIATIONS | University of Oxford |
| ORCID | 0000-0001-5046-5920 |
| VERIFIED | Yes |
| TOTAL WORKS | 18 |
| TOTAL CITATIONS | 8 |
| WORKS AS AUTHOR | 18 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1989 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 2 |
The Cambridge Companion to The Magic Flute
Since its premiere in 1791, The Magic Flute has been staged continuously and remains, to this day, Mozart's most-performed opera worldwide. This comprehensive, user-friendly, up-to-date critical guide considers the opera in a variety of contexts to provide a fresh look at a work that has continued to fascinate audiences from Mozart's time to ours. It serves both as an introduction for those encountering the opera for the first time and as a treas…
A Matter of Hono[u]r
The importance to reception history of the first complete cycle of Beethoven’s string quartets, given in London in 1845 by the Beethoven Quartett Society, is securely established. Less well recognized is the significance of the complete edition of the quartets prepared by the cellist Scipion Rousselot and published in London in 1846. This article offers the first close examination of Rousselot’s edition and posits that while its claims for unpara…
Ludwig van Beethoven
For Joseph Kerman, the String Quartet in B flat, Op. 130, was Beethoven’s ‘most dissociated composition’ (The Beethoven Quartets (London, 1967), 321), the antithesis to the paradigm of ‘integration’ represented by the C sharp minor work, Op. 131. Kerman’s concern was with matters of musical design and structure, particularly the ‘special concept of coherence in this work’, one that he found ‘less instinctual than constructed, less direct than ref…
Beethoven and His World
Nur ein Gleichnis’
This article introduces to Schenker scholarship a virtually unknown, unfinished text, ‘Der Weg zum Gleichniss’ (‘The Path to Likeness’). I date it to the decade following 1895, and more specifically to 1902–4: thus, between ‘Der Geist der musikalischen Technik’ and Harmonielehre (1906). ‘Geist’ has for more than thirty years been repeatedly re-examined for its negative account of organicism in music; I show that the ‘Gleichniss’ text both reitera…
Haptic Beethoven
On 10 December 1849, the Viennese War Department official and dedicated collector of manuscripts Aloys Fuchs (1799–1853) wrote in high dudgeon to his Berlin contemporary and fellow collector Friedrich August Grasnick (1798–1877). Grasnick had borrowed from him two of his most important manuscripts, of works by Handel and Bach, and had failed to return them punctually, so that Fuchs now did not have them available to show to others. He blamed hims…
Becoming Heinrich Schenker
‘Music and Music’s laws lay hid in night; God said, Let Schenker be! and all was light.’ No one at all familiar with the writings and opinions of Heinrich Schenker—the eightieth anniversary of whose death (13 January) as well as the posthumous publication of his final theoretical text, Der freie Satz, falls in 2015—would be much surprised were such a self-penned reworking of Alexander Pope’s epitaph for Isaac Newton to be found among his unpublis…
Beethoven's 'Eroica' Sketchbook
Journal Article Beethoven’s ‘Eroica’ Sketchbook: A Critical Edition. Transcribed, edited and commentary by Lewis Lockwood and Alan Gosman Get access Beethoven’s ‘Eroica’ Sketchbook: A Critical Edition. Transcribed, edited and commentary by Lewis Lockwood and Alan Gosman. 2 vols. pp. 428. ( University of Illinois Press, Champaign, Ill. 2013. $200. ISBN 978-0-252-03743-6.) Nicholas Marston Nicholas Marston King’s College, Cambridge Search for other…
The Development of Schenker's Concept of Interruption
This article draws on the rich resources of Heinrich Schenker's Nachlass in the Ernst Oster Collection (New York Public Library) to construct the development of interruption (Unterbrechung), a vital aspect of Schenker's mature understanding of musical form. In §90 of Der freie Satz (1935) Schenker makes a crucial distinction between the structural weight of the two configurations in an interrupted Ursatz, and gives priority to the first one: the …
Schumann
In the ‘Twilight Zone’
Although it has long been known that Beethoven began composing a piano trio in F minor in 1816, scholarly examination of the extant sources for this unfinished project has only recently progressed beyond Nottebohm's brief remarks in the 1880s. The present article reveals the existence of numerous new sources evidently unknown to Nottebohm, including a leaf which forms the continuation of the draft score ( Concept ) of the first movement, the prin…
Autograph (i)
Sketch
William E. Chaplin, Classical Forum
Schubert's Homecoming
This article explores the metaphorical identification of the tonic key as 'home' in relation to the first movement of Schubert's Piano Sonata in B♭, D.960. Rejecting conventional readings whereby a 'foreign' or 'alien' element is ultimately assimilated into the 'home' sphere, it argues that in this movement Schubert succeeds in doing the reverse, rendering the tonic 'unhomely' (unheimlich; 'uncanny') at a critical moment in the recapitulation. Sc…
Creativity, Life and Music
Beethoven's Ninth and Tenth
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Analysing Variations
William E. Chaplin, Classical Forum
Schubert's Homecoming
This article explores the metaphorical identification of the tonic key as 'home' in relation to the first movement of Schubert's Piano Sonata in B♭, D.960. Rejecting conventional readings whereby a 'foreign' or 'alien' element is ultimately assimilated into the 'home' sphere, it argues that in this movement Schubert succeeds in doing the reverse, rendering the tonic 'unhomely' (unheimlich; 'uncanny') at a critical moment in the recapitulation. Sc…
The Development of Schenker's Concept of Interruption
This article draws on the rich resources of Heinrich Schenker's Nachlass in the Ernst Oster Collection (New York Public Library) to construct the development of interruption (Unterbrechung), a vital aspect of Schenker's mature understanding of musical form. In §90 of Der freie Satz (1935) Schenker makes a crucial distinction between the structural weight of the two configurations in an interrupted Ursatz, and gives priority to the first one: the …
Analysing Variations
Analysing Variations
Beethoven's Ninth and Tenth
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Creativity, Life and Music
Schubert's Homecoming
This article explores the metaphorical identification of the tonic key as 'home' in relation to the first movement of Schubert's Piano Sonata in B♭, D.960. Rejecting conventional readings whereby a 'foreign' or 'alien' element is ultimately assimilated into the 'home' sphere, it argues that in this movement Schubert succeeds in doing the reverse, rendering the tonic 'unhomely' (unheimlich; 'uncanny') at a critical moment in the recapitulation. Sc…
Autograph (i)
Sketch
William E. Chaplin, Classical Forum
In the ‘Twilight Zone’
Although it has long been known that Beethoven began composing a piano trio in F minor in 1816, scholarly examination of the extant sources for this unfinished project has only recently progressed beyond Nottebohm's brief remarks in the 1880s. The present article reveals the existence of numerous new sources evidently unknown to Nottebohm, including a leaf which forms the continuation of the draft score ( Concept ) of the first movement, the prin…
Schumann
The Development of Schenker's Concept of Interruption
This article draws on the rich resources of Heinrich Schenker's Nachlass in the Ernst Oster Collection (New York Public Library) to construct the development of interruption (Unterbrechung), a vital aspect of Schenker's mature understanding of musical form. In §90 of Der freie Satz (1935) Schenker makes a crucial distinction between the structural weight of the two configurations in an interrupted Ursatz, and gives priority to the first one: the …
Beethoven's 'Eroica' Sketchbook
Journal Article Beethoven’s ‘Eroica’ Sketchbook: A Critical Edition. Transcribed, edited and commentary by Lewis Lockwood and Alan Gosman Get access Beethoven’s ‘Eroica’ Sketchbook: A Critical Edition. Transcribed, edited and commentary by Lewis Lockwood and Alan Gosman. 2 vols. pp. 428. ( University of Illinois Press, Champaign, Ill. 2013. $200. ISBN 978-0-252-03743-6.) Nicholas Marston Nicholas Marston King’s College, Cambridge Search for other…
Becoming Heinrich Schenker
‘Music and Music’s laws lay hid in night; God said, Let Schenker be! and all was light.’ No one at all familiar with the writings and opinions of Heinrich Schenker—the eightieth anniversary of whose death (13 January) as well as the posthumous publication of his final theoretical text, Der freie Satz, falls in 2015—would be much surprised were such a self-penned reworking of Alexander Pope’s epitaph for Isaac Newton to be found among his unpublis…
Haptic Beethoven
On 10 December 1849, the Viennese War Department official and dedicated collector of manuscripts Aloys Fuchs (1799–1853) wrote in high dudgeon to his Berlin contemporary and fellow collector Friedrich August Grasnick (1798–1877). Grasnick had borrowed from him two of his most important manuscripts, of works by Handel and Bach, and had failed to return them punctually, so that Fuchs now did not have them available to show to others. He blamed hims…
Nur ein Gleichnis’
This article introduces to Schenker scholarship a virtually unknown, unfinished text, ‘Der Weg zum Gleichniss’ (‘The Path to Likeness’). I date it to the decade following 1895, and more specifically to 1902–4: thus, between ‘Der Geist der musikalischen Technik’ and Harmonielehre (1906). ‘Geist’ has for more than thirty years been repeatedly re-examined for its negative account of organicism in music; I show that the ‘Gleichniss’ text both reitera…
Beethoven and His World
The Cambridge Companion to The Magic Flute
Since its premiere in 1791, The Magic Flute has been staged continuously and remains, to this day, Mozart's most-performed opera worldwide. This comprehensive, user-friendly, up-to-date critical guide considers the opera in a variety of contexts to provide a fresh look at a work that has continued to fascinate audiences from Mozart's time to ours. It serves both as an introduction for those encountering the opera for the first time and as a treas…
A Matter of Hono[u]r
The importance to reception history of the first complete cycle of Beethoven’s string quartets, given in London in 1845 by the Beethoven Quartett Society, is securely established. Less well recognized is the significance of the complete edition of the quartets prepared by the cellist Scipion Rousselot and published in London in 1846. This article offers the first close examination of Rousselot’s edition and posits that while its claims for unpara…
Ludwig van Beethoven
For Joseph Kerman, the String Quartet in B flat, Op. 130, was Beethoven’s ‘most dissociated composition’ (The Beethoven Quartets (London, 1967), 321), the antithesis to the paradigm of ‘integration’ represented by the C sharp minor work, Op. 131. Kerman’s concern was with matters of musical design and structure, particularly the ‘special concept of coherence in this work’, one that he found ‘less instinctual than constructed, less direct than ref…
Art (16 works) · Musicology and Musical Analysis (16 works) · Literature (10 works) · Art history (9 works) · History (7 works) · Diverse Musicological Studies (6 works) · Music Technology and Sound Studies (6 works) · Computer Science (5 works) · Musical (5 works) · Philosophy (5 works)