Music In Willa Cathers Fiction

Music is everywhere in Willa Cather's fiction: as a subject, in the background, slyly commenting on the action, connecting characters to a distant world, or revealing their interior worlds. Not merely incidental or ornamental, though, music is intrinsic to Cather's work, a distinctive quality of her creation and expression, and it is in this light that Richard Giannone considers Cather's art. Music in Willa Cather's Fiction is the definitive study of its subject. The first work to examine the complex thematic and structural forms that music acquires in Cather's narratives, Giannone's book uses this musical approach as a way of seeing into the author's artistic sensibility, the evolution of her art, and her total achievement. ø Progressing chronologically, Giannone shows how Cather's view and use of music changed over time. From what her early journalistic pieces on music and musicians reveal about her attitude and anticipate in her later work, Giannone moves to Cather's early stories to identify the trend of some of her artistic choices, the direction of her stylistic development, and the complication of her moral interest as these are manifested in musical references. In her novels and later stories, he emphasizes the contribution of music to the individual work, as well as the allusions and connections that sound throughout her oeuvre.

Throughout her fiction, Willa Cather mentioned forty-seven operas. References to opera appear in all but three of her twelve novels and in roughly half of her short stories. Despite a dearth of musical education, Cather produced astute writing about the genre beginning in her earliest criticism and continuing throughout her career. She counted opera stars among her close friends, and according to Edith Lewis, her companion throughout adulthood, the two women frequently visited the theater, even in the early days, when purchasing tickets to attend performances proved a financial sacrifice. Melding cultural history with thoughtful readings of her works and discussions of opera’s complex place in turn-of-the-century America, David McKay Powell’s Cather and Opera offers the first book-length study of what drew the writer so powerfully and repeatedly to the art form. With close attention to Cather’s fiction and criticism, Powell posits that at the heart of both her work and the operatic corpus dwells an innate tension between high artistic ideals and popular acceptance, often figured as a clash between compositional integrity and raw, personal emotion. Considering her connection to opera in both historical and intertextual terms, Cather and Opera investigates what operatic references mean in Cather’s writing, along with what the opera represented to her throughout her life.

The second novel in Willa Cather’s Great Plains trilogy, is a lyrical coming-of-age story charting the struggles of an artists life. 'Lingers long in the memory' Joyce Carol Oates Thea Kronberg, gifted with a beautiful voice, defies her humble beginnings in Colorado and finds success far from her small hometown. But her achievements come with painful drawbacks. As the distance between Thea and her roots increases, she must fight to find her inner strength and reach her full potential. WITH AN INTRODUCTION BY PENELOPE LIVELY

The Song of the Lark Willa Cather The Song of the Lark is the third novel by American author Willa Cather, written in 1915. It is generally considered to be the second novel in Cather's Prairie Trilogy, following O Pioneers! (1913) and preceding My Antonia (1918). The book tells the story of a talented artist born in a small town in Colorado who discovers and develops her singing voice. Her story is told against the backdrop of the burgeoning American West in which she was born in a town along the rail line, of fast-growing Chicago near the turn of the twentieth century, and of the audience for singers of her skills in the US compared to Europe. Thea Kronborg grows up, learning herself, her strengths and her talent, until she reaches success. The title comes from a painting of the same name by Jules Breton in 1884 and part of the collection of the Art Institute of Chicago.

A novelist and short-story writer, Willa Cather is today widely regarded as one of the foremost American authors of the twentieth century. Particularly renowned for the memorable women she created for such works as My Antonia and O Pioneers!, she pens the portrait of another formidable character in The Song of the Lark. This, her third novel, traces the struggle of the woman as artist in an era when a woman's role was far more rigidly defined than it is today. The prototype for the main character as a child and adolescent was Cather herself, while a leading Wagnerian soprano at the Metropolitan Opera (Olive Fremstad) became the model for Thea Kronborg, the singer who defies the limitations placed on women of her time and social station to become an international opera star. A coming-of-age-novel, important for the issues of gender and class that it explores, The Song of the Lark is one of Cather's most popular and lyrical works. Book jacket.

Born in a small Colorado town, Thea Kronborg’s aspirations to be a famed musician makes it difficult for her to fit in. With the reputation of being different and strange, Thea has a challenging time getting along with her siblings and peers, though her mother and Aunt are supportive of her dreams. When Thea’s piano instructor is run out of town over a scandal, Thea takes over his business at age fifteen. She is also forced by her father to play the organ at their church because he believes this new devotion to a job would make her less pious. Despite her new jobs and outlet for her musical ability, Thea feels unsatisfied in Colorado, but when tragedy strikes, she finally gets an opportunity to chase her dreams. After the death of a local conductor that had been enamored by her, Thea inherits enough money to pursue a formal music education in Chicago. During her piano training, and with the help of some of her Chicago friends and mentors, Thea realizes that she has an impressive singing voice. After feeling inspired by a visit to the orchestra, Thea decides to pursue a career as an opera singer. With a new dream and drive, Thea struggles to achieve her goals without compromising her values and independence. Willa Cather’s The Song of the Lark breaks the conventions of its time with the depiction of an independent woman protagonist with aspirations outside of the home. Cather also challenged the typical depiction of small-town country life by presenting realities such as the common uniformity and intolerance sometimes expressed within rural communities. The Song of the Lark remains to be a fascinating look into 19th century rural life, with an unadulterated view on the journey of an artist. This edition of The Song of the Lark by Willa Cather is accommodating to a contemporary audience with a modern font and stunning new cover design.

My Antonia is a novel by an American writer Willa Cather. It is the final book of the "prairie trilogy" of novels, preceded by O Pioneers! and The Song of the Lark. The novel tells the stories of an orphaned boy from Virginia, Jim Burden, and Antonia Shimerda, the daughter of Bohemian immigrants. They are both became pioneers and settled in Nebraska in the end of the 19th century. The first year in the very new place leaves strong impressions in both children, affecting them lifelong. The narrator and the main character of the novel My Antonia, Jim grows up in Black Hawk, Nebraska from age 10 Eventually, he becomes a successful lawyer and moves to New York City.

First published in 1926, this book is Willa Cather's sparest and most dramatic novel, a dark and prescient portrait of a marriage that subverts our oldest notions about the nature of domestic happiness. As a young woman, Myra Henshawe gave up a fortune to marry for love--a boldly romantic gesture that became a legend in her family. But this worldly, sarcastic, and perhaps even wicked woman may have been made for something greater than love. In her portrait of Myra and in her exquisitely nuanced depiction of her marriage, Cather shows the evolution of a human spirit as it comes to bridle against the constraints of ordinary happiness and seek an otherwordly fulfillment. My Mortal Enemy is a work whose drama and intensely moral imagination make it unforgettable.

Why buy our paperbacks? Standard Font size of 10 for all books High Quality Paper Fulfilled by Amazon Expedited shipping 30 Days Money Back Guarantee BEWARE of Low-quality sellers Don't buy cheap paperbacks just to save a few dollars. Most of them use low-quality papers & binding. Their pages fall off easily. Some of them even use very small font size of 6 or less to increase their profit margin. It makes their books completely unreadable. How is this book unique? Unabridged (100% Original content) Font adjustments & biography included Illustrated About The Song of the Lark By Willa Cather The Song of the Lark is the third novel by American author Willa Cather, written in 1915. It is generally considered to be the second novel in Cather's Prairie Trilogy, following O Pioneers! (1913) and preceding My �ntonia (1918). The book tells the story of a talented artist born in a small town in Colorado who discovers and develops her singing voice. Her story is told against the backdrop of the burgeoning American West in which she was born in a town along the rail line, of fast-growing Chicago near the turn of the twentieth century, and of the audience for singers of her skills in the US compared to Europe. Thea Kronborg grows up, learning herself, her strengths and her talent, until she reaches success. The title comes from a painting of the same name by Jules Breton in 1884 and part of the collection of the Art Institute of Chicago.