The marked strength of nineteenth-century studies within the Faculty derives from a combination of breadth and shared interests. Important national traditions are well represented, including the Russian (Marina Frolova-Walker), Italian (Stefano Castelvecchi), French (Benjamin Walton) and Austro-German (Nicholas Cook, Martin Ennis and Nicholas Marston). Individual composers studied, meanwhile, include Robert Schumann (Marston), Gioachino Rossini (Castelvecchi and Walton), Frederic Chopin (John Rink), Johannes Brahms (Ennis) and Ludwig van Beethoven (Cook and Marston). Such lists, however, only offer a partial indication of the Faculty’s strengths across a full range of current approaches to nineteenth-century music. Issues of editing and performance, for example, have been explored both by Castelvecchi, in his critical editions of Verdi and Rossini, and by Rink, in his editions of the Chopin piano concertos, his work on improvisation, and also in his major online project bringing together the first editions of Chopin. A wide variety of analytical approaches to the instrumental music of the period have been pursued in different ways by Marston, Rink and Cook. Meanwhile, a set of broader cultural questions, concerning reception, social history, musical nationalism and canon formation, have been broached in different but complementary ways by Cook in his work on Beethoven, by Frolova-Walker in her work on nineteenth-century Russian opera, and by Walton in his work on the reception of Rossini in Paris and on the translocation of opera beyond Europe during the first half of the century. They have recently been joined by Dr David Trippett, who's latest project 'Sound and materialism in the nineteenth century' examines how a scientific-materialist conception of sound was formed alongside a dominant culture of romantic idealism during the century.
Postdoctoral and affiliated researchers