Ernst Kurth: Selected Writings
“Ernst Kurth: Selected Writings” by Ernst Kurth, published by Cambridge University Press on July 26, 1991, is an annotated collection that features translations from Kurth’s significant works, including “Grundlagen des linearen Kontrapunkts” (1917), “Romantische Harmonik und ihre Krise in Wagners ‘Tristan’” (1920), and “Bruckner” (1925). This edition, comprising 235 pages, offers insights into Kurth’s pioneering studies on the music of notable composers such as J. S. Bach, Wagner, and Bruckner, providing a valuable resource for those interested in music history and theory.
Readers will find an extensive introductory essay by Professor Rothfarb that contextualizes Kurth’s writings within the early twentieth-century cultural renewal movements and the intellectual developments of the time, including phenomenology, aesthetics, and psychology. The annotations and commentaries enhance the understanding of Kurth’s contributions to music theory, allowing contemporary music historians and theorists to engage with the complexities of his work and its relevance to the study of music. This edition serves as a comprehensive exploration of Kurth’s influence on music criticism and theory.
Official synopsis Publisher
This book provides a selection of annotated translations from Ernst Kurth’s three best-known publications: Grundlagen des linearen Kontrapunkts (1917), Romantische Harmonik und ihre Krise in Wagners ‘Tristan’ (1920), and Bruckner (1925). Kurth’s contemporaries considered these books to be pioneering studies in the music of J. S. Bach, Wagner and Bruckner. Professor Rothfarb’s extensive introductory essay discusses the intellectual and socio-cultural environment in which Kurth was writing, referring to aspects of the early twentieth-century cultural renewal movements and to intellectual developments of the day in phenomenology, aesthetics and psychology. By reading Kurth against the cultural-intellectual background provided in the essay and commentaries, today’s music historians and theorists can round out their picture of music theory in the early twentieth century.
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