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A Prefatory Note

A Prefatory Note ROBERT S. WINTER Whose Schubert? A Prefatory Note This issue marks a major moment of transition for 19th-Century Music. We are fortunate to be able to welcome three new members to our editorial panel, but our gain is not absolute. The new arrivals coincide with the departure of James Hepokoski, who is stepping down as coeditor after fourteen years of outstanding service. They have been highly eventful years both for the journal and for the profession of musicology, and everyone involved owes Jim a debt of gratitude. For me personally, he has been an extraordinary collaborator in both breadth and depth. His ability to challenge, stimulate, and provoke fruitful dialogue is reflected on every page the journal has published. Countless authors have benefited from his sure and rigorous editorial hand. The encomiums could continue, but we have something better to offer. As the best way to say hail and farewell, we asked the soon-to-be past editor to give us an article, preferably a major one. He responded with the comprehensive study of Strauss’s Till Eulenspiegel that begins this transitional issue. The article needs no introduction; I will let it speak for itself, except to say that it exhibits all of the many strengths we have come to expect of its author, and with a verve quite in keeping with its subject. The other articles in this issue are by our incoming associate editors: Keith Chapin, Berthold Hoeckner, and Margaret Notley. And just as Jim Hepokoski’s article demonstrates what we’ll be missing, these articles by our new collaborators show what we’ll be gaining. They give sure testimony that the journal will continue the tradition of intellectual vigor and adventure that Jim has done so much to promote. Each of these articles examines a topic of prime importance from a revealing new perspective: Schumann’s Dichterliebe (Hoeckner), E. T. A. Hoffmann’s music criticism (Chapin), and the current state of Bruckner studies (Notley). Together with the other old hands at the journal, Pat McCreless, Elaine Sisman, and Ruth Solie, I look forward to new partners and changing times. Lawrence Kramer http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png 19th-Century Music University of California Press

A Prefatory Note

Kramer, Lawrence
19th-Century Music , Volume 30 (1) – Jul 1, 2006
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Publisher
University of California Press
Copyright
Copyright © by the University of California Press
ISSN
0148-2076
eISSN
1533-8606
DOI
10.1525/ncm.2006.30.1.003
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Abstract

ROBERT S. WINTER Whose Schubert? A Prefatory Note This issue marks a major moment of transition for 19th-Century Music. We are fortunate to be able to welcome three new members to our editorial panel, but our gain is not absolute. The new arrivals coincide with the departure of James Hepokoski, who is stepping down as coeditor after fourteen years of outstanding service. They have been highly eventful years both for the journal and for the profession of musicology, and everyone involved owes Jim a debt of gratitude. For me personally, he has been an extraordinary collaborator in both breadth and depth. His ability to challenge, stimulate, and provoke fruitful dialogue is reflected on every page the journal has published. Countless authors have benefited from his sure and rigorous editorial hand. The encomiums could continue, but we have something better to offer. As the best way to say hail and farewell, we asked the soon-to-be past editor to give us an article, preferably a major one. He responded with the comprehensive study of Strauss’s Till Eulenspiegel that begins this transitional issue. The article needs no introduction; I will let it speak for itself, except to say that it exhibits all of the many strengths we have come to expect of its author, and with a verve quite in keeping with its subject. The other articles in this issue are by our incoming associate editors: Keith Chapin, Berthold Hoeckner, and Margaret Notley. And just as Jim Hepokoski’s article demonstrates what we’ll be missing, these articles by our new collaborators show what we’ll be gaining. They give sure testimony that the journal will continue the tradition of intellectual vigor and adventure that Jim has done so much to promote. Each of these articles examines a topic of prime importance from a revealing new perspective: Schumann’s Dichterliebe (Hoeckner), E. T. A. Hoffmann’s music criticism (Chapin), and the current state of Bruckner studies (Notley). Together with the other old hands at the journal, Pat McCreless, Elaine Sisman, and Ruth Solie, I look forward to new partners and changing times. Lawrence Kramer

Journal

19th-Century Music – University of California Press

Published: Jul 1, 2006

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