Orchestration

In this dissertation, I argue that listeners’ ability to apprehend the expressive power and stylistic signature of late eighteenth- and early ninteenth-century music lies as much in its sonority (timbre and chord spacing) as in the traditional syntactic parameters (of harmony, r…

In the twenty-first century, knowledge of Gustav Mahler’s work as a conductor is largely limited to his work in the German romantic repertory, with particular affinities for the symphonies of Beethoven and the operas of Wagner, alongside his advocacy of his own music. But a clos…