George Bernard Shaw - Bernard Shaw on Music
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A collection of critical writings on music from the Nobel Prizewinning playwright behind Saint Joan and Man and Superman.
The Critical Shaw: On Music is a comprehensive selection of renowned Irish playwright and Nobel Laureate Bernard Shaws extensive writings on a wide range of musical topics. Still recognized as one of Great Britains most important music critics, Shaw enriched Londons musical scene for some twenty years with his provocative, original, and penetrating reviews, before giving up music criticism to concentrate his talents on playwriting. His vast critical output encompassed opera, operetta, vocal and orchestral performance, musical theater, and oratorios, and took in major composers and performers as well as many long since forgotten names. Frequently embellished by his controversial political and social opinions, and delving as well into the nature of music criticism itself, Shaws reviews continue to stimulate and surprise, their depth and range setting standards that are rarely, if ever, matched today. Included in this edition is a previously unpublished draft on voice training prepared by Shaw for Vandeleur Lee, his mothers singing teacher.
The Critical Shaw series brings together, in five volumes and from a wide range of sources, selections from Bernard Shaws voluminous writings on topics that exercised him for the whole of his professional career: Literature, Music, Politics, Religion, and Theater. The volumes are edited by leading Shaw scholars, and all include an introduction, a chronology of Shaws life and works, annotated texts, and a bibliography. The series editor is L.W. Conolly, literary adviser to the Shaw Estate and former president of the International Shaw Society.George Bernard Shaw: author's other books
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The Critical Shaw
on Music
edited by Brigitte Bogar and Christopher Innes
The Critical Shaw: On Music
General Editors Preface and Chronology 2016 by L.W. Conolly
Introduction and editorial material 2016 by Brigitte Bogar and Christopher Innes
How To Become a Musical Critic 1894 by the Estate of Bernard Shaw
Some Instruments and How to Play Them 1889 by the Estate of Bernard Shaw
Fine Strokes of Comedy 1893 by the Estate of Bernard Shaw
Mozarts Finality 1891 by the Estate of Bernard Shaw
The Religion of the Pianoforte 1894 by the Estate of Bernard Shaw
Men and Women of the Day 1877 by the Estate of Bernard Shaw
Vocalists of the Season columns 1877 by the Estate of Bernard Shaw
Madame Nilsson 1885 by the Estate of Bernard Shaw
Goodbye, Patti 1889 by the Estate of Bernard Shaw
The Passing of Trebelli 1892 by the Estate of Bernard Shaw
Pauline 1876 by the Estate of Bernard Shaw
English Opera 1876 by the Estate of Bernard Shaw
Bach and Don Pasquale 1877 by the Estate of Bernard Shaw
Opera and Empty Bravado 1877 by the Estate of Bernard Shaw
On Opera in Translation 1877 by the Estate of Bernard Shaw
Opera in Italian 1879; by the Estate of Bernard Shaw
Palmy Days at the Opera 1886; by the Estate of Bernard Shaw
The Don Giovanni Centenary 1887 by the Estate of Bernard Shaw
Jean De Reszkes Romeo 1889 by the Estate of Bernard Shaw
Trovatore and the Huguenots 1890 by the Estate of Bernard Shaw
Signor Lagos Opera Season 1890 by the Estate of Bernard Shaw
Jack-Acting 1890 by the Estate of Bernard Shaw
A Non-Mozartian Don 1891 by the Estate of Bernard Shaw
Incognita 1892 by the Estate of Bernard Shaw
The Third Act of Ernani 1892 by the Estate of Bernard Shaw
Verdis Falstaff 1893 by the Estate of Bernard Shaw
Utopian Gilbert and Sullivan 1893 by the Estate of Bernard Shaw
Half a Century Behind 1893 by the Estate of Bernard Shaw
Born-Again Italian Opera 1894 by the Estate of Bernard Shaw
La Navarraise 1894 by the Estate of Bernard Shaw
German Opera at Drury Lane 1894 by the Estate of Bernard Shaw
The Wagner Festival 1877 by the Estate of Bernard Shaw
Wagner at Covent Garden Theatre 1877 by the Estate of Bernard Shaw
A Butchered Lohengrin 1889 by the Estate of Bernard Shaw
Bassetto at Bayreuth 1889 by the Estate of Bernard Shaw
Siegfried at Covent Garden 1892 by the Estate of Bernard Shaw
Wagners Theories 1894 by the Estate of Bernard Shaw
The Redemption at the Crystal Palace 1886 by the Estate of Bernard Shaw
Parrys Judith 1888; by the Estate of Bernard Shaw
Miss Smyths Decorative Instinct 1893 by the Estate of Bernard Shaw
The Most Utter Failure Ever Achieved 1893 by the Estate of Bernard Shaw
Amateur Opera at Londonderry House 1882 by the Estate of Bernard Shaw
The 789th Performance of Dorothy 1889 by the Estate of Bernard Shaw
Mozart and Haydn with Strings 1876 by the Estate of Bernard Shaw
Herr Richter and His Blue Ribbon 1885 by the Estate of Bernard Shaw
Crystal Palace Variety 1888 by the Estate of Bernard Shaw
The Grieg Concert 1889 by the Estate of Bernard Shaw
Circenses 1890 by the Estate of Bernard Shaw
Review of Arthur Barracloughs Observations on the Physical Education of the Vocal Organs 1877 by the Estate of Bernard Shaw
A Typical Popular Vocalist 1877 by the Estate of Bernard Shaw
Unsigned review of J. P. Sandlands How to Develop General Vocal Power 1886 by the Estate of Bernard Shaw
Specialists in Singing 1892 by the Estate of Bernard Shaw
All rights reserved. No part of this book may be used or reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without permission in writing from the publisher, except by a reviewer who may quote brief passages in a review.
Electronic edition published 2016 by RosettaBooks
Cover design by David Ter-Avanesyan / Ter33Design
Cover illustration by Shutterstock / ghenadie
ISBN (EPUB): 9780795346897
ISBN (Kindle): 9780795347689
www.RosettaBooks.com
Bernard Shaw is not the household name he once was, but in the 1920s and 1930s he was certainly the worlds most famous English-language playwright, and arguably one of the most famous people in the world. His plays were internationally performed and acclaimed, his views on matters great and small were relentlessly solicited by the media, he was pursued by paparazzi long before the word was even invented, the biggest names in politics, the arts, entertainment, even sportsGandhi, Nehru, Churchill, Rodin, Twain, Wells, Lawrence of Arabia, Elgar, Einstein, Garbo, Chaplin, Stalin, Tunney and many morewelcomed his company, and his correspondents in the tens of thousands of letters he wrote during his long lifetime constitute a veritable whos who of world culture and politics. And Shaw remains the only person ever to have been awarded both a Nobel Prize and an Oscar.
Shaws reputation rests securely not just on his plays, a dozen or so of which have come to be recognized as classicsMan and Superman, Major Barbara, Pygmalion, and Saint Joan perhaps now the most familiar of thembut also on his early work as a music, art, literary, and theater critic, and on his lifelong political activism. After he moved to London from his native Dublin in 1876, and after completing five novels, he established himself as one of Londons most controversial, feared, and admired critics, and while he eventually retired from earning his living as a critic in order to focus on playwriting, he continued to lecture and write about cultural and other issuesreligion, for examplewith scorching intelligence. As for politics, his early commitment to Socialism, and his later expressed admiration for Communism and contempt for Capitalism, meant that while his views were relentlessly refuted by the establishment press they could rarely be ignoredhardly surprising given the logic and passion that underpinned them.
Winston Churchill once declared Shaw to be the greatest living master of letters in the English-speaking world, and the selections from Shaws reviews, essays, speeches, and correspondence contained in the five volumes of this Critical Shaw series provide abundant evidence to validate Churchills high regard. Shaw wroteand spokevoluminously, and his complete works on the topics covered by this seriesLiterature, Music, Religion, Theater, and Politicswould fill many more than five volumes. The topics reflect Shaws deepest interests and they inspired some of his most brilliant nondramatic writing. The selections in each volume give a comprehensive and representative survey of his thinking, and show him to be not just the great rhetorician that Churchill and others acknowledged, but also one of the great public intellectuals of the twentieth century.
Leonard Conolly
Robinson College, Cambridge
December 2015
by Brigitte Bogar
The published edition of Bernard Shaws complete music criticism adds up to three volumes totaling 2,289 pages [originally edited by Dan H. Laurence, London: Bodley Head, 1981]. Volume III also includes occasional pieces he wrote up into the 1940s. This edition focuses solely on Shaws reviews between 1876 and 1898the era he focuses specifically on writing criticism for music columns in newspapers and journalsas well as publishing for the first time notes he wrote on the vocal training in 1882. We are designing the selection here to mirror Shaws various focuses, to highlight his musical ideas, but also to include his wider range of general artistic commentary and show his political attitudes, which are a recurrent aspect of his reviews.
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