A. Peter Brown (1943–2003) was Professor of Musicology and Department Chair at the Indiana University Jacobs School of Music. He authored more than 80 published articles and reviews and was known for his scholarship on Joseph Haydn.

• VOLUME III PART B: GREAT BRITAIN, RUSSIA, FRANCESection Four — The British SymphonyChapter Fourteen — The Symphony in Great Britain: From Potter to ElgarThe Symphonic Milieu from ca. 1800 to ca. 1850Cipriani PotterWilliam Sterndale BennettThe Symphonic Milieu from ca. 1850 to 1912Charles Villiers StanfordC. Hubert H. ParryEdward ElgarConclusion: The British SymphonyBibliographic OverviewSection Five — The Russian SymphonyChapter Fifteen — The Symphony in Russia: From Glinka to RachmaninoffThe Symphonic MilieuThe Seeds of the Russian Symphony: Mikhail GlinkaNikolay Rimsky-KorsakovAleksandr BorodinPyotr Il'yich TchaikovskyMily BalakirevVasily Sergeyevich KalinnikovSerge RachmaninoffConclusion: What Makes a Symphony Russian?Bibliographic OverviewSection Six — The French Symphony Chapter Sixteen — The French Symphony after Berlioz: From the Second Empire to the First World WarIntroduction: The Symphony in Mid-CenturyCharles GounodGeorges BizetCamille Saint-SaënsBetween Saint-Saëns's Second and Third: The "Revival" of Instrumental Music after 1870Camille Saint-Saëns (continued)French Symphonies after 1885: Classical and Romantic CampsÉdouard LaloCésar FranckErnest ChaussonPaul DukasVincent d'IndyBetween the Mountain Air and d'Indy's Second: The Symphony at the Turn of the CenturyVincent d'Indy (continued)Guy RopartzCharles TournemireThree Symphonists from the ConservatoireAlbéric MagnardConclusionBibliographic OverviewIndex

"This third volume of a set that, completed, would be the most exhaustive study to date of the symphony in the Western tradition shares with its predecessors—The First Golden Age of the Viennese Symphony (CH, Apr'03, 40-4510), The Second Golden Age . . . (CH, Mar'04, 41-3953)—a brilliance of detail. It is divided into two parts: all of part A and two-thirds of part B are the work of the late Brown, whose untimely death leaves the fate of the volumes that would complete the survey uncertain. Like earlier volumes, this one includes complete analyses of each symphony, details of first performances, and rich bibliographic resources. Brown discusses formal and technical detail, placing each work in context. He analyzes the works of Franz Berwald, Joseph Joachim Raff, Mikhail Glinka, and other relative unknowns, as well as calling the reader's attention to, for example, the influence of Felix Mendelssohn as a mentor and Sergei Rachmaninoff as a contrapuntalist.Written with both scholarly appeal and wry good humor, this volume uncovers a rich world of previously underappreciated masterpieces. Serious students of music—including conductors, performers, and avid listeners—will find this both informative and readable. Summing Up: Highly recommended. Upper-division undergraduates through faculty and professionals; general readers."—M. Neil, Augustana College, Choice, September 2008"ChoiceChoice"—M. Neil, Augustana College, ChoiceChoice, September 2008"This work is highly recommended for all larger public and academic libraries, and smaller libraries with specialized music collections. . . . conductors, musicologists, and others connected with symphonic music would certainly benefit from having these volumes in their libraries."—Robert L. Wick, American Reference Books Annual"ChoiceChoiceSeptember 2008"—M. Neil, Augustana College"A surprising aspect of the 20th century musical historiography is that some of the central repertoires of Western art music remain unexplored in broad-based treatments. . .Fortunately, within the 1980s and 1990s a sufficient number of the more obscure symphonies has been made available in editions and reprints so that a measured and reasonable overview can be constructed."—from the introduction

A. Peter Brown (1943–2003) was Professor of Musicology and Department Chair at the Indiana University Jacobs School of Music. He authored more than 80 published articles and reviews and was known for his scholarship on Joseph Haydn.

• VOLUME III PART B: GREAT BRITAIN, RUSSIA, FRANCESection Four — The British SymphonyChapter Fourteen — The Symphony in Great Britain: From Potter to ElgarThe Symphonic Milieu from ca. 1800 to ca. 1850Cipriani PotterWilliam Sterndale BennettThe Symphonic Milieu from ca. 1850 to 1912Charles Villiers StanfordC. Hubert H. ParryEdward ElgarConclusion: The British SymphonyBibliographic OverviewSection Five — The Russian SymphonyChapter Fifteen — The Symphony in Russia: From Glinka to RachmaninoffThe Symphonic MilieuThe Seeds of the Russian Symphony: Mikhail GlinkaNikolay Rimsky-KorsakovAleksandr BorodinPyotr Il'yich TchaikovskyMily BalakirevVasily Sergeyevich KalinnikovSerge RachmaninoffConclusion: What Makes a Symphony Russian?Bibliographic OverviewSection Six — The French Symphony Chapter Sixteen — The French Symphony after Berlioz: From the Second Empire to the First World WarIntroduction: The Symphony in Mid-CenturyCharles GounodGeorges BizetCamille Saint-SaënsBetween Saint-Saëns's Second and Third: The "Revival" of Instrumental Music after 1870Camille Saint-Saëns (continued)French Symphonies after 1885: Classical and Romantic CampsÉdouard LaloCésar FranckErnest ChaussonPaul DukasVincent d'IndyBetween the Mountain Air and d'Indy's Second: The Symphony at the Turn of the CenturyVincent d'Indy (continued)Guy RopartzCharles TournemireThree Symphonists from the ConservatoireAlbéric MagnardConclusionBibliographic OverviewIndex

"This third volume of a set that, completed, would be the most exhaustive study to date of the symphony in the Western tradition shares with its predecessors—The First Golden Age of the Viennese Symphony (CH, Apr'03, 40-4510), The Second Golden Age . . . (CH, Mar'04, 41-3953)—a brilliance of detail. It is divided into two parts: all of part A and two-thirds of part B are the work of the late Brown, whose untimely death leaves the fate of the volumes that would complete the survey uncertain. Like earlier volumes, this one includes complete analyses of each symphony, details of first performances, and rich bibliographic resources. Brown discusses formal and technical detail, placing each work in context. He analyzes the works of Franz Berwald, Joseph Joachim Raff, Mikhail Glinka, and other relative unknowns, as well as calling the reader's attention to, for example, the influence of Felix Mendelssohn as a mentor and Sergei Rachmaninoff as a contrapuntalist.Written with both scholarly appeal and wry good humor, this volume uncovers a rich world of previously underappreciated masterpieces. Serious students of music—including conductors, performers, and avid listeners—will find this both informative and readable. Summing Up: Highly recommended. Upper-division undergraduates through faculty and professionals; general readers."—M. Neil, Augustana College, Choice, September 2008"ChoiceChoice"—M. Neil, Augustana College, ChoiceChoice, September 2008"This work is highly recommended for all larger public and academic libraries, and smaller libraries with specialized music collections. . . . conductors, musicologists, and others connected with symphonic music would certainly benefit from having these volumes in their libraries."—Robert L. Wick, American Reference Books Annual"ChoiceChoiceSeptember 2008"—M. Neil, Augustana College"A surprising aspect of the 20th century musical historiography is that some of the central repertoires of Western art music remain unexplored in broad-based treatments. . .Fortunately, within the 1980s and 1990s a sufficient number of the more obscure symphonies has been made available in editions and reprints so that a measured and reasonable overview can be constructed."—from the introduction

A. Peter Brown (1943–2003) was Professor of Musicology and Department Chair at the Indiana University Jacobs School of Music. He authored more than 80 published articles and reviews and was known for his scholarship on Joseph Haydn.

• VOLUME III PART B: GREAT BRITAIN, RUSSIA, FRANCESection Four — The British SymphonyChapter Fourteen — The Symphony in Great Britain: From Potter to ElgarThe Symphonic Milieu from ca. 1800 to ca. 1850Cipriani PotterWilliam Sterndale BennettThe Symphonic Milieu from ca. 1850 to 1912Charles Villiers StanfordC. Hubert H. ParryEdward ElgarConclusion: The British SymphonyBibliographic OverviewSection Five — The Russian SymphonyChapter Fifteen — The Symphony in Russia: From Glinka to RachmaninoffThe Symphonic MilieuThe Seeds of the Russian Symphony: Mikhail GlinkaNikolay Rimsky-KorsakovAleksandr BorodinPyotr Il'yich TchaikovskyMily BalakirevVasily Sergeyevich KalinnikovSerge RachmaninoffConclusion: What Makes a Symphony Russian?Bibliographic OverviewSection Six — The French Symphony Chapter Sixteen — The French Symphony after Berlioz: From the Second Empire to the First World WarIntroduction: The Symphony in Mid-CenturyCharles GounodGeorges BizetCamille Saint-SaënsBetween Saint-Saëns's Second and Third: The "Revival" of Instrumental Music after 1870Camille Saint-Saëns (continued)French Symphonies after 1885: Classical and Romantic CampsÉdouard LaloCésar FranckErnest ChaussonPaul DukasVincent d'IndyBetween the Mountain Air and d'Indy's Second: The Symphony at the Turn of the CenturyVincent d'Indy (continued)Guy RopartzCharles TournemireThree Symphonists from the ConservatoireAlbéric MagnardConclusionBibliographic OverviewIndex

"This third volume of a set that, completed, would be the most exhaustive study to date of the symphony in the Western tradition shares with its predecessors—The First Golden Age of the Viennese Symphony (CH, Apr'03, 40-4510), The Second Golden Age . . . (CH, Mar'04, 41-3953)—a brilliance of detail. It is divided into two parts: all of part A and two-thirds of part B are the work of the late Brown, whose untimely death leaves the fate of the volumes that would complete the survey uncertain. Like earlier volumes, this one includes complete analyses of each symphony, details of first performances, and rich bibliographic resources. Brown discusses formal and technical detail, placing each work in context. He analyzes the works of Franz Berwald, Joseph Joachim Raff, Mikhail Glinka, and other relative unknowns, as well as calling the reader's attention to, for example, the influence of Felix Mendelssohn as a mentor and Sergei Rachmaninoff as a contrapuntalist.Written with both scholarly appeal and wry good humor, this volume uncovers a rich world of previously underappreciated masterpieces. Serious students of music—including conductors, performers, and avid listeners—will find this both informative and readable. Summing Up: Highly recommended. Upper-division undergraduates through faculty and professionals; general readers."—M. Neil, Augustana College, Choice, September 2008"ChoiceChoice"—M. Neil, Augustana College, ChoiceChoice, September 2008"This work is highly recommended for all larger public and academic libraries, and smaller libraries with specialized music collections. . . . conductors, musicologists, and others connected with symphonic music would certainly benefit from having these volumes in their libraries."—Robert L. Wick, American Reference Books Annual"ChoiceChoiceSeptember 2008"—M. Neil, Augustana College"A surprising aspect of the 20th century musical historiography is that some of the central repertoires of Western art music remain unexplored in broad-based treatments. . .Fortunately, within the 1980s and 1990s a sufficient number of the more obscure symphonies has been made available in editions and reprints so that a measured and reasonable overview can be constructed."—from the introduction