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Author: Michael Talbot
Publisher: Oxford Monographs on Music
ISBN: 9780198166955
Category : Language Arts & Disciplines
Languages : en
Pages : 272
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Book Description
The knowledge that finales are by tradition (and perhaps also necessarily) 'different' from other movements has been around a long time, but this is the first time that the special nature of finales in instrumental music has been examined comprehensively and in detail. Three main types offinale, labelled 'relaxant', 'summative', and 'valedictory', are identified. Each type is studied closely, with a wealth of illustration and analytical commentary covering the entire period from the Renaissance to the present day. The history of finales in five important genres -- suite, sonata,string quartet, symphony, and concerto -- is traced, and the parallels and divergences between these traditions are identified. Several wider issues are mentioned, including narrativity, musical rounding, inter-movement relationships, and the nature of codas. The book ends with a look at thefinales of all Shostakovich's string quartets, in which examples of most of the types may be found.
Author: Michael Talbot
Publisher: Oxford Monographs on Music
ISBN: 9780198166955
Category : Language Arts & Disciplines
Languages : en
Pages : 272
Get Book Here
Book Description
The knowledge that finales are by tradition (and perhaps also necessarily) 'different' from other movements has been around a long time, but this is the first time that the special nature of finales in instrumental music has been examined comprehensively and in detail. Three main types offinale, labelled 'relaxant', 'summative', and 'valedictory', are identified. Each type is studied closely, with a wealth of illustration and analytical commentary covering the entire period from the Renaissance to the present day. The history of finales in five important genres -- suite, sonata,string quartet, symphony, and concerto -- is traced, and the parallels and divergences between these traditions are identified. Several wider issues are mentioned, including narrativity, musical rounding, inter-movement relationships, and the nature of codas. The book ends with a look at thefinales of all Shostakovich's string quartets, in which examples of most of the types may be found.
Author: Carl Philipp Emanuel Bach
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 216
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Book Description
Author: Ivan March
Publisher: Penguin Group
ISBN:
Category : Music
Languages : en
Pages : 1618
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Book Description
Regarded as the standard guide to classical music on CD, the 2002/3 edition of The Penguin Guide to Compact Discs has a new wider trim size to allow for even more updates. This guide takes into account the many hundreds of new and reissued CDs that have appeared in recent years while also including all the highlights from the back catalog. Arranged by composer, the guide lists all major recordings from each work-from remastered vintage recordings to the latest releases-with evaluations of interpretation and performance by the authors, as well as assessments of recording accuracy and advice on the best buys for cost and quality. This essential reference work is designed to help select the very best recorded classical music available today.
Author: Carl Philipp Emanuel Bach
Publisher:
ISBN:
Category : Concertos (Flute with string orchestra)
Languages : en
Pages : 114
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Book Description
Author:
Publisher:
ISBN:
Category :
Languages : en
Pages : 946
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Book Description
Author: Tony Reed
Publisher:
ISBN:
Category : Orchestral music
Languages : en
Pages : 428
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Book Description
Author:
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 350
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Book Description
Author:
Publisher:
ISBN:
Category : Compact discs
Languages : en
Pages : 1612
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Book Description
Author:
Publisher:
ISBN:
Category : Compact discs
Languages : en
Pages : 590
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Book Description
Author:
Publisher: Scarecrow Press
ISBN: 0810883309
Category : Music
Languages : en
Pages : 427
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Book Description
In Dramaturgical Leaves: Essays about Musical Works for the Stage and Queries about the Stage, Its Composers and Performers, the third volume in Janita R. Hall-Swadley’s The Collected Writings of Franz Liszt, Liszt heralds his admiration for early nineteenth-century opera and musical stage works. He honors Gluck, the musical prophet, as the cultivator of dramatic truth in the Romantic opera Orpheus, expounds on Beethoven’s harmonic inventions and innovative treatment of form in Fidelio, and argues for the latter’s incidental music to Goethe’s Egmont as the epitome of music organicism, a complete unity of words and tone. He also comments on Weber’s Euryanthe as offering the most progressive musical characterizations and declamation—even more so than his popular work Der Freischütz—and on how both works prefigure Wagner’s music dramas; awards Mendelssohn, whose genius Liszt ranks only slightly less than Beethoven’s, top honors for creating in Midsummer’s Night Dream the highest standards of music poetry; suggests how Scribe and Meyerbeer’s Robert the Devil paints a mental image of art’s eternal flames, where poet and musician share equal space in the development of music tragedy; reveals how the poetic deficiencies in the libretto to Schubert’s Alfonso and Estrella are too easily overlooked because of the music’s melodic and lyrical supremacy; and offers in contrast Auber’s Mute from Portici, a remarkable text by many historically picturesque musical motives that are universal and nationalistic at the same time. Finally Liszt offers an early gender study in music in his essay about Bellini’s Montague and Capulet (as well as its impact on nineteenth-century audiences), a look at Boieldieu’s White Lady as a sublime depiction of literary music, and Donizetti’s Favorite as colored with a special type of imagery, a laterna magica, in Liszt’s hand. The beloved soprano Pauline Viardot-Garcia receives special attention in an essay devoted entirely to her, and Liszt proffers a critique of entr’acte music as a pointless tradition that dethrones music and insults the artist and composer by making music a “palate cleanser.” This volume includes a detailed discussion about what it meant to be patronized by Liszt and how his support—financial, literary, and musical—helped shape many a music career. It also offers commentary on how gender in opera was sometimes obscured not only for dramatic interest but also as part of the process of outlining a nation’s identity,as well as a thorough study of Liszt’s concepts of Gestalt theory, the Archetype, and his musical Weltanschauung (his musical "world view"), all revealing his contribution to 19th-century music philosophy as it relates to opera. Finally, a historical review of entr’acte music is presented—how it began and how it developed—to clarify Liszt’s stance against it, making this volume a necessary read for music historians, serious musicians, and music connoisseurs alike.
