A recent exhibition of major works by the Pre-Raphaelite painters at the National Gallery in Washington, D.C. brings into focus the close relationship between painting, poetry and music which existed throughout much of the 19th century.

Fin-de Siècle Vienna’s ‘Second Generation’ Art and Music In his opus, ‘Der Mann ohne Eigenschaften’ (The Man without Qualities) the Austrian writer Robert Musil, considered by many the Marcel Proust of Fin-de-Siècle Vienna, stated that Austria’s intellectuals, artists and writers

Gustav Klimt started his career as architectural decorator just as the Ringstrasse program of monumental building entered its final phase – in fact, he had been hired to decorate the interior staircase of the Fine Arts Museum. He subsequently became

Ravel’s composition ‘La Valse’, written at the close of World War I, can be seen as a parable of the violent death of 19th century Vienna – with “the waltz, long a symbol of gay Vienna, becoming in the composer’s

Frederic Rzewski “The People United Will Never Be Defeated” (1975) Stephen Drury, piano J. S. Bach Goldberg Variations BWV988 (1741) Glenn Gould, piano (1955) Beethoven 33 Variations in C major on a Waltz by Diabelli, Op. 120, “Diabelli Variations” (1819)

Canción de Jinete Córdoba Lejana y sola. Jaca negra, luna grande, Y aceitunas en mi alforja. Aunque sepa los caminos yo nunca llegaré a Córdoba Por el llano, por el viento Jaca negra, luna roja. La muerte me está mirando

With the nationalist revival in the 19th century, the different regions of Spain saw a diverse musical development, from the Basque-language choirs in the north, to the melting pot in Castile, León and Aragon, where Roman, Visigoths, French, Italian and

Enrique Granados : Goyescas Book I Miguel Llobet : Romanza Francisco Tárrega : Capricho Arabe Felipe Pedrell : Courante Isaac Albéniz : Piano Concerto No. 1 in A minor, Op. 78, “Concierto fantastico” Spain, at the time of Goya’s birth