Glenn Stanley
Professor of Music (History)
(860) 486-2478
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Glenn Stanley is a music historian specializing in the music of the classic and romantic periods in German-speaking Europe. He has published extensively in American, British, and German journals and books with special emphasis on Beethoven and nineteenth-century choral music. He also writes on questions of aesthetics, methodology, and music criticism and contributed three articles to the revised New Grove Dictionary of Music and Musicians in these areas. He edited volumes 3 and 7 of Beethoven Forum, a scholarly yearbook, and also edited the Cambridge Companion to Beethoven. He is the book-review editor for 19th-century Music and a member of the editorial boards of Beethoven Forum and the Journal of the American Musicological Society. He writes program notes for Carnegie Hall on a regular basis. He has organized international conferences on Beethoven at UConn (1993) and at Carnegie Hall (1996). In 1997 he was Fulbright Senior Scholar at the Humboldt University in Berlin and in the academic year 2001-2002 taught at the University of Salzburg.
Stanley joined the University of Connecticut in 1990, after teaching at Columbia University and McGill University. At UConn he is the Honors Advisor for the Music Department, Coordinator of the Undergraduate Concentration in Music History, and the School of Fine Arts delegate on the Honors Program Board of Directors. Current projects include the chapter on Parsifal for the Cambridge Companion to Wagner and essays on Beethoven’s orchestration techniques and the reception of Fidelio for the multi-volume Beethoven-Handbuch, which will be published by the Laaber-Verlag in Germany.
Selected Publications
Article: “Naturgewalt und himmlische Klänge: zur Funktion der Instrumentalmusik im deutschen Oratorium des 19. Jahrhundert” in the Report on the International Conferrence on the Romantic Oratorio, Weimar Germany, November 2002,forthcoming in 2004.
Book Chapter: “The Music for Piano and for Organ of Felix Mendelssohn,” in The Cambridge Companion to Mendelssohn, ed. Peter Mercer-Taylor (Cambridge University Press, forthcoming in 2004)
Book Chapter: “Parsifal: Kunstreligion in Wagner’s Theory and Practice,” in The Cambridge Companion to Wagner, ed. Thomas Grey (Cambridge University Press, forthcoming in 2004)
Article: “Einzelwerk als Gattungskritik: Mozarts Rondo in A moll, KV 511” forthcoming in Mozart-Jahrbuch 200, forthcoming in 2003.
Article: “Musikgeschichtsschreibung im geteilten Deutschland nach der Stunde Null: Auseinandersetzung mit der jüngsten Vergangenheit? Neue Impulse? Flucht ins Unverfängliche?” in Report on the International Conference: Deutsche Leitkultur Musik.Geschichte und Musikgeschichte nach 1945. Berlin, June 2002, forthcoming in 2004.
Article: “Arnold Scherings Bach: Symbol eines Zeitalters“ in Bach-Jahrbuch 87 (2001): 99-116.
Article: Arnold Schering, The Eroica, A Homer Symphony? A Translation and Commentary, in Current Musicology 69 (Spring 2000): 68-96.
Book Chapter: “Voices and Their Rhythms in the First Movement of Beethoven’s Piano Sonata Op. 109: Some Thoughts on the Performance and Analysis of a Late-Style Work,” in Beethoven and His World, Ed. Scott Burnham and Michael P. Steinberg (Princeton U. Press, 2000), pp. 88-124.
Three articles for The New Grove Dictionary of Music and Musicians 2nd Ed. (2000):
“Music Historiography” Vol. 17, pp. 547-561
“German Music Criticism” Vol. 6, pp. 673-77
“Historical Methodology” Vol. 17, pp. 492-95
Book Chapter: “Beethoven: Musical Activist and Thinker,” in The Cambridge Companion to Beethoven, ed. Glenn Stanley (Cambridge University Press, 1999), pp. 14-31
Book Chapter: “Some Thoughts on Biography and a Chronology of Beethoven’s Life and Music,” in ”in The Cambridge Companion to Beethoven ed. Glenn Stanley (Cambridge University Press, 1999), pp. 3-13
Article: “Ein Pläydoer für eine historische Hermeneutik, oder Parsifal, Ein 'Oratorium der Erlösung',” in Bericht über den Internationalen Kongreß der Gesellschaft für Musikforschung, “Musik als Text,” Freiburg, September 1993 Vol. 2, Freie Referate, hg. v. Hermann Danuser und Tobias Plebuch (Kassel: Bärenreiter, 1998), pp. 373-75.
Article: Genre Aesthetics and Function: Beethoven's Piano Sonatas in Their Cultural Context,” Beethoven Forum 6 (1997), pp. 1-29.
Review Essay: Scott Burnham, Beethoven Hero (Princeton University Press, 1995) JAMS51 (1997), pp. 10-29.
Review Essay: William Kinderman, Beethoven (University of California Press, 1995) Current Musicology 60-61 (1997), pp. 66-72.
Book Chapter: “The Religious Music of Franz Schubert,” in The Cambridge Companion to Schubert, ” ed. Christopher Gibbs, (Cambridge: Cambridge University Press, 1997), pp. 207-23.
Article: “The ´wirklich gantz neue Manier´ and the Path to It: Beethoven´s Variations for Piano, 1783-1802,” Beethoven Forum 3 (1994), pp. 53-81.
Article: “'Mozarts Messias' und 'Mendelssohns Israel in Ägypten': zur Frühgeschichte der Aufführungspraxis Historischer Musik” in Bericht des Internationalen Gewandhaus Symposiums, Leipzig October 1992(Leipzig, 1993), pp. 112-21.
Article: “The second-act Finale to Mozart's Don Giovanni: Structural Coherence and Dramatic Intensification,” in Bericht über den Internationalen Mozart-Kongreß, Salzburg, 1991 (Mozart Jahrbuch, 1991), pp. 879-87.
Review Essay: “Carl Dahlhaus: Beethoven und seine Zeit (Laaber-Verlag, 1987),” The International Review of the Aesthetics and Sociology of Music22 (1991), pp. 203-16.
Article: “Religious Propriety versus Artistic Truth: The Debate between Friedrich Rochlitz and Louis Spohr about the Representation of Christ in Des Heilands letzte Stunden,” Acta Musicologica, 61 (1989), pp. 66-83.
Dissertation: The Oratorio in Prussia and Protestant Germany, Ann Arbor: UMI Press, 1988.
Article: “Bach's Erbe: The Chorale in the German Oratorio of the Early Nineteenth Century,” 19th-Century Music 11 (1987), pp. 121-150.