Professor of Music History
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. 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 was 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 was editor of the College Music Symposium 2008-2013.
He has written program notes and lectured for Carnegie Hall and Lincoln Center. 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 a guest professor at the Free University, Berlin 2010-2011. Stanley joined the University of Connecticut in 1990, after teaching at Columbia University and McGill University. At UConn he advises undergraduate minors in music; he coordinates the undergraduate concentration in music history. He has won received several grants for course development in the honors program and the general education curriculum.
Current (2013) research projects focus on Beethoven’s opera Fidelio, music journalism during the Third Reich, and cultural historicism in nineteenth-century Germany.
Recent and Forthcoming Publications
“Charles Rosen in Retrospect,” Nineteenth-Century Music Review. Forthcoming, 2014.
“Schubert hearing Don Giovanni: Mozartian Death Music in the “Unfinished” Symphony,” in Schubert’s Late Music in History and Theory . Ed. Lorraine Byrne-Bodley. Cambridge UK, Cambridge University Press. Forthcoming 2014.
“A Life with Goethe: Wagner’s Engagement with Faust in Words and Music,” in Goethe’s Faust and the Music. Ed. Lorraine Byrne Bodley. Cambridge: Cambridge University Press. Accepted for Publication.
–“Konzert-Ouvertüre: Meersstille und gluckliche Fahrt.” In Das Mendelssohn Handbuch .Ed. Matthias Geuting and Wolf Konold. Laaber: Laaber Verlag. Forthcoming, 2014.
–“Konzert Ouvertüre: Die Hebriden.” In Das Mendelssohn Handbuch. Ed. Matthias Geuting and Wolf Konold. Laaber: Laaber Verlag. Forthcoming, 2014.
“Mendelssohn’s “authentic” Handel in Context: German Approaches to Translation and Art and Architectural Restoration in the Early Nineteenth Century,” Mendelssohn, the Organ, and the Music of the Past: Constructing Historical Legacies. Ed. Juergen Thym. Rochester: University of Rochester Press. Forthcoming, 2014.
„Naturgewalt und himmlische Klaenge: das Orchester Im deutschen Oratorium des 19. Jahrhunderts,“ in Festschrift für Helmut Loos. Ed. Stefan Keym. Stuttgartt: Steiner Verlag. Forthcoming, 2015.
–“Fidelio im Wandel der Zeit: Deutungen im Schriftum und in der Regie.” In Das Beethoven-Handbuch, vol. 4, Die Vokal- und Bühnenmusik. Ed. . Birgit Lodes and Armin Raab. Laaber: Laaber Verlag, forthcoming in 2014.
–Arnold Schering: Nazi Musikologe? Dokumentation und Analyse,“ Archiv für Musikwissenschaft 2013
–“Warum strich Beethoven die Stimme der Flöte im ersten Takt der Symphonie: Zur Beethovens Orchestrierung in geschichtlichem Zusammenhang,” in Das Beethoven-Handbuch . Ed. Albrecht Riethmueller und Rainer Cadenbach. Laaber: Laaber Verlag, 2012.
–Beethoven’s Rondos for the Piano.” In Proceedings of the Warsaw Easter Beethoven Festival, 2009-2011. Ed. M. Tomasewski. Cracow, 2012.
–“Serse.” In Das Händel Handbuch vol. 2, Die Opern. Ed. Arnold Jacobshagen. Laaber: Laaber Verlag, 2010.
–“Fidelio Rescued: New Texts for a ‘bad’ Singspiel.” In Proceedings of the Warsaw Easter Beethoven Festival, 2006-2008 . Ed. M. Tomasewski. Cracow 2010.
— “Mendelssohn and Beethoven: A Reappraisal.” In Proceedings of the Warsaw Easter Beethoven Festival, 2006-2008, ed. M. Tomasewski. Cracow, 2010.