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• Contents
• Preface
• Acknowledgments
• Part One: Paris
• Chapter One. Chabanon and Chastellux on Music and Language, 1764–73
• Chapter Two. Lacépède, Critical Contemporary of Chabanon: Divergent Perspectives in the Music Tre
• Chapter Three. French Revolutionary Perspectives on Chabanon’s De la Musique of 1785
• Chapter Four. Classic and Romantic: Berlioz’s “Aperçu” (1830) and Musical Modernity in Paris
• Chapter Five. Chrétien Urhan and Beethoven’s Ninth Symphony in Paris, 1838
• Chapter Six. Literary and Musical Aspects of the Hero’s Romance in Berlioz’s Benvenuto Cellini,
• Chapter Seven. “The Harmony of Opposites”: Characterizing Cellini’s Apprentice
• Part Two: Boston and New York
• Chapter Eight. Margaret Fuller on Musical Life in Boston and in New York, 1841–46
• Chapter Nine. American Writers on Beethoven, 1838–49: Dwight, Fuller, Cranch, Story
• Chapter Ten. Fink, Hach, and Dwight’s Beethoven in 1843–44
• Chapter Eleven. Dwight, Transatlantic Connections, and the American Premiere of Beethoven’s Ninth
• Chapter Twelve. Presenting Berlioz’s Music in New York, 1846–90: Carl Bergmann, Theodore Thomas,
• Bibliography
• Index