Orchestral music; Beethoven, Ludwig van (1770-1827); Mozart, Wolfgang Amadeus (1756-1791); 19th century music; Interpretation studies; Wagner, Richard (1813-1883)
WaltonChristopher (2020), Bonn, in Opera
, 71(4), 480-482.
WaltonChristopher (2020), Gender and sexuality, Cambridge UP, Cambridge, 232-244.
WaltonChristopher (2020), In Wagner's footsteps, in The Wagner Journal
, 14(2), 55-56.
WaltonChristopher (2020), A place in the pantheon, in The Wagner Journal
, 14(1), 94-96.
WaltonChristopher (2020), Family and upbringing, Cambridge UP, New York, 3-10.
WaltonChris (2020), Lock her up!, in Opera
, 71(12), 1415-1420.
WaltonChristopher (2020), Wagner, Berlioz and the origins of "Über das Dirigieren", in The Wagner Journal
, 14(3), 49-57.
MoorChristoph (2019), »Ein so erklärtes Lieblingsstück der hiesigen Kunstfreunde«. Die Rezeptionsgeschichte der Jupiter-Sinfonie in Beethovens Wien, in Gartmann Thomas, Allenbach Daniel (ed.), Argus, Schliengen, 195-204.
WaltonChris (2019), Leonore, Isolde, Lulu: the strange afterlife of Beethoven’s ‘Immortal Beloved., in The Musical Times
, 160(1947), 43-53.
WaltonChris (2019), Manhandling Mahler, in Opera
, 12(70), 1524-1529.
WaltonChristopher (2019), Meiningen, Das Schloss Dürande, in Opera
, 72(2), 1412-1413.
WaltonChristopher (2019), Not Richard and Famous, in The Wagner Journal
, 13(2), 83-85.
MoorChristoph (2019), Richard Wagner und seine Nachfolger in der zentraleuropäischen Dirigiertradition., in www.musikforschung.de
WaltonChristopher (2019), Solothurn, Giovanna D'Arco, in Opera
, 71(2), 208.
WaltonChristopher (2019), Von innen und von außen. Beethovens Neunte Sinfonie und die ›Wagner’sche‹ Dirigiertradition, in Allenbach Daniel, Gartmann Thomas (ed.), Argus, Schliengen, 218-237.
WaltonChris (2018), A newly found portrait of Richard Wagner's Dresden Soprano Louise Corrodi., in Marinkovic Sonja, Stojanović-Novičić Dragana (ed.), Faculty of Music, Belgrad, 239-246.
Walton Christopher (2018), Richard Flury and the Politics of the Unpolitical., in New Sound International Journal of Music
, 50, 42-49.
Walton Christopher, Schüler Nico, Cobussen Marcel (2018), Virtual. Panel Discussion., in New Sound International Journal of Music
, 50, 17-23.
Walton Christopher (2018), Vom Vergessen und Erinnern in Südafrika., in Schweizer Musikzeitung
, (3), 15-17.
Walton Christopher (2017), Das Engagement eines "Unpolitischen"., in Schweizer Musikzeitung
, 2017(4), 12-13.
Walton Christopher (2017), Richard Flury - ein Schweizer Romantiker.
, Zentralbibliothek Solothurn, Solothurn.
Walton Chris (2017), Richard Flury - The Life and Music of a Swiss Romantic.
, Toccata Press, London.
Walton Chris, Germann M. (2016), Hermann Hesse und Othmar Schoeck: Der Briefwechsel.
, Kulturkommission Kanton Schwyz, Schwyz.
Walton Chris (2016), Look & learn. Review of A. Whittall: The Wagner Style: close readings and critical perspectives., in The Musical Times
, 157(1935), 112-113.
Walton Chris (2016), Mad mothers, fractious fathers and fractured cowbells: Richard Strauss reconsidered., in The Musical Time
, 157(1934), 19-44.
WaltonChris (2016), Othmar Schoeck und der Besuch aus Porlock, in Schweizerische Musikzeitung
, (7/8), 4-6.
Walton Chris (2016), Sexo no, gracias, somos alémanes., in Teatro Real Madrd (ed.), Eigenverlag, Madrid, 13-24.
Hampe Michael (2016), The crafty art of opera.
, The Boydell Press, Woodbridge.
Walton Chris (2015), Something of the night. Review of S. Muller: Nagemusiek., in The Musical Times
, 156(1933), 116-118.
Richard Wagner published the first major treatise on conducting and interpretation in 1869, the result of his nearly forty years of conducting experience. His ideas on how to interpret the core Classical and early Romantic orchestral repertoire were declared the benchmark by subsequent generations of conductors. He was thus the originator of a conducting tradition by which those who came after him defined themselves and their art - starting with Wagner's student Hans von Bülow and progressing from him to Arthur Nikisch, Felix Weingartner, Gustav Mahler, Richard Strauss, Wilhelm Furtwängler and beyond. No other conductor of the 19th century had any comparable impact.This research project into the interpretation of orchestral music in the late 19th and 20th centuries thus begins with Wagner as the acknowledged originator of the Austro-German tradition. This tradition can be said to have come to a definitive end only with the rise of historically informed performance practice ("HIPP") in the 1960s, with its declared endeavour to return to "authentic" performance practices of the pre-Romantic era. For this reason, the present project ends with the last generation before the emergence of HIPP. It thus stretches from roughly 1850 to 1970, offering us a more or less unified corpus of material from within a clearly identifiable tradition. Scholars of the history of conducting long concentrated on writings, reviews, editions and historical recordings for their information. But arguably the most significant body of source material remained ignored for many years: the scores and parts annotated by conductors for their own use in rehearsal and concert. Such materials were until recently not even collected and catalogued separately by libraries. The present project will investigate precisely these annotated performing materials in which conductors indicated how they intended to perform a work. These annotations can range from technical matters, such as bowing instructions, to dynamics, expression marks, tempo modifications and even verbal clues as to the desired interpretation. The project will focus on those works of the Classical and early Romantic canon that were the object of Wagner’s particular attention, and about which he left more or less detailed performing instructions. These are also works that have remained at the core of the orchestral repertoire since his time - Haydn’s Symphony No. 104, Mozart’s symphonies Nos. 39-41, Carl Maria von Weber’s overture to Der Freischütz and the symphonies Nos. 3, 5, 7 and 9 by Beethoven. The project will comprise two linked parts: one (by the applicant) will trace how the conducting precepts of Richard Wagner can be discerned in the annotated scores and interpretations of his successors, focussing on the abovementioned repertoire and examining its continuities and discontinuities; the other (by the doctoral candidate) will focus on a specific work, Mozart’s "Jupiter" Symphony, tracing the specifics of its interpretation during the chosen period and using it also as a means to compare the "Wagnerian" tradition with other extant and emerging traditions both inside and outside Central Europe. Both parts of the project will use annotated performing materials as their primary sources, but will also draw on contemporary texts such as reviews by contemporary music critics, instructive editions and historical recordings to complement and complete these sources where necessary.