Musical Chairs, Or, Between Two Stools PDF Download
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Author: Cecil Gray
Publisher: Random House (UK)
ISBN:
Category : Biography & Autobiography
Languages : en
Pages : 346
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Book Description
"In 1945, feeling old at fifty, the Scottish composer Cecil Gray sat down at his desk in London's Albany to recapture the days of his youth. The result is this ebullient, opinionated, entirely delightful memoir: of childhood holidays and eccentric uncles; of First World War spy scares with D.H. Lawrence in Cornwall and the bohemian splendour of the day - from Café Royal in the twenties to the Fitzrovia bars of the forties, where he caroused with the likes of Augustus John, Constant Lambert and Dylan Thomas, of visits to Italy with Epstein, to Finland with Sibelius, the south of France with the aging Delius..."--Back cover.
Author: Cecil Gray
Publisher: Random House (UK)
ISBN:
Category : Biography & Autobiography
Languages : en
Pages : 346
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Book Description
"In 1945, feeling old at fifty, the Scottish composer Cecil Gray sat down at his desk in London's Albany to recapture the days of his youth. The result is this ebullient, opinionated, entirely delightful memoir: of childhood holidays and eccentric uncles; of First World War spy scares with D.H. Lawrence in Cornwall and the bohemian splendour of the day - from Café Royal in the twenties to the Fitzrovia bars of the forties, where he caroused with the likes of Augustus John, Constant Lambert and Dylan Thomas, of visits to Italy with Epstein, to Finland with Sibelius, the south of France with the aging Delius..."--Back cover.
Author: Stephen Banfield
Publisher: Cambridge University Press
ISBN: 9780521379441
Category : History
Languages : en
Pages : 644
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Book Description
The history of English song from the late nineteenth century to the Second World War.
Author: Frederick Delius
Publisher: Clarendon Press
ISBN: 9780198167068
Category : Biography & Autobiography
Languages : en
Pages : 580
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Book Description
In their often frank writing, the characters and interaction of the two men is highlighted and in their informal and often gossipy way, they illuminate the musical life and many personalities of the time."--Jacket.
Author: Dolores LaChapelle
Publisher: University of North Texas Press
ISBN: 9781574410075
Category : Literary Criticism
Languages : en
Pages : 260
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Book Description
This book will change the way you think about D. H. Lawrence. Critics have tried to define him as a Georgian poet, an imagist, a vitalist, a follower of the French symbolists, a romantic or a transcendentalist, but none of the usual labels fit. The same theme runs through all his work, beginning with his very first novel, The White Peacock, and ending with the last line of his final book, Apocalypse. Always it is nature. He said this over and over again, and no one - especially those who feared the "old ways" of harmonious and balanced living on the earth - understood him.
Author: Nathan Waddell
Publisher: Oxford University Press
ISBN: 0192548646
Category : Literary Criticism
Languages : en
Pages : 263
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Book Description
How and why did the life and music of Ludwig van Beethoven (1770-1827) matter to experimental writers in the early twentieth century? Previous answers to this question have tended to focus on structural analogies between musical works and literary texts, charting the many different ways in which poetry and prose resemble Beethoven's compositions. This book takes a different approach. It focuses on how early twentieth-century writers—chief among them E. M. Forster, Aldous Huxley, Wyndham Lewis, Dorothy Richardson, Rebecca West, and Virginia Woolf—profited from the representational conventions associated in the nineteenth century and beyond with Beethovenian culture. The emphasis of Moonlighting falls for the most part on how modernist writers made use of Beethovenian legend. It is concerned neither with formal similarities between Beethoven's music and modernist writing nor with the music of Beethoven per se, but with certain ways of understanding Beethoven's music which had long before 1900 taken shape as habit, myth, cliché, and fantasy, and with the influence they had on experimental writing up to 1930. Moonlighting suggests that the modernists drew knowingly and creatively on the conventional. It proposes that many of the most experimental works of modernist literature were shaped by a knowing reliance on Beethovenian consensus; in short, that the literary modernists knew Beethovenian legend when they saw it, and that they were eager to use it.
Author: Helen Sword
Publisher: University of Michigan Press
ISBN: 9780472105946
Category : Literary Criticism
Languages : en
Pages : 298
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Book Description
Investigates the development of a gendered poetics of inspiration in the modernist period
Author: Jeremy Dibble
Publisher: Boydell & Brewer
ISBN: 1783275774
Category : Music
Languages : en
Pages : 565
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Book Description
This book examines Delius''s individual approaches to genre, form, harmony, orchestration and literary texts which gave the composer''s musical style such a unique voice.Frederick Delius'' (1862-1934) music has proved impervious to analytical definition. Delius''s approaches to genre, form, harmony, orchestration and literary texts are all highly individual, not to say eccentric in their deliberate aim to avoid conformity. Rarely does Delius follow a conventional line, and though one can readily point to important influences, the larger Gestalt of each work has a syntax and coherence for which conventional analytical methods are mostly inadequate. Delius''s musical style has also defied one of the most essential critical tools of his musical epoque - that of national identity. His style bears no relation either to the Victorian or Edwardian aesthetic of British music spearheaded by Parry, Stanford and Elgar before the First World War, nor to the more overtly nationalist, folk-song-orientated pastoralism of post-war Britain in such composers as Vaughan Williams and Holst. In contrast, Delius acknowledged himself a ''stateless'' individual and considered that his music refused to belong to any national school or movement. To test these claims, the book explores a number of important factors. Delius''s musical education at the Leipzig Conservatorium and the works he produced there. Delius''s musical voice, notably his harmonic and melodic style and the close structural relationship between these two factors. The book also explores the question of Delius and ''genre'' in which the investigation of form is central, especially in opera, the symphonic poem, the choral work (where words are seminal to the creation of structural design) and the sonata and concerto (to which Delius brought his own individual solution). Other significant factors are Delius''s cosmopolitan use of texts, operatic plots and picturesque impressions, his relationship to Nietzsche''s writings and the genre of dance, and the role of his ''earlier'' works (1888-1896) in which it is possible to plot a course of stylistic change with reference to the influences of Grieg, Sinding, Florent Schmitt, Wagner, Strauss and Debussy.r Britain in such composers as Vaughan Williams and Holst. In contrast, Delius acknowledged himself a ''stateless'' individual and considered that his music refused to belong to any national school or movement. To test these claims, the book explores a number of important factors. Delius''s musical education at the Leipzig Conservatorium and the works he produced there. Delius''s musical voice, notably his harmonic and melodic style and the close structural relationship between these two factors. The book also explores the question of Delius and ''genre'' in which the investigation of form is central, especially in opera, the symphonic poem, the choral work (where words are seminal to the creation of structural design) and the sonata and concerto (to which Delius brought his own individual solution). Other significant factors are Delius''s cosmopolitan use of texts, operatic plots and picturesque impressions, his relationship to Nietzsche''s writings and the genre of dance, and the role of his ''earlier'' works (1888-1896) in which it is possible to plot a course of stylistic change with reference to the influences of Grieg, Sinding, Florent Schmitt, Wagner, Strauss and Debussy.-1896) in which it is possible to plot a course of stylistic change with reference to the influences of Grieg, Sinding, Florent Schmitt, Wagner, Strauss and Debussy.r Britain in such composers as Vaughan Williams and Holst. In contrast, Delius acknowledged himself a ''stateless'' individual and considered that his music refused to belong to any national school or movement. To test these claims, the book explores a number of important factors. Delius''s musical education at the Leipzig Conservatorium and the works he produced there. Delius''s musical voice, notably his harmonic and melodic style and the close structural relationship between these two factors. The book also explores the question of Delius and ''genre'' in which the investigation of form is central, especially in opera, the symphonic poem, the choral work (where words are seminal to the creation of structural design) and the sonata and concerto (to which Delius brought his own individual solution). Other significant factors are Delius''s cosmopolitan use of texts, operatic plots and picturesque impressions, his relationship to Nietzsche''s writings and the genre of dance, and the role of his ''earlier'' works (1888-1896) in which it is possible to plot a course of stylistic change with reference to the influences of Grieg, Sinding, Florent Schmitt, Wagner, Strauss and Debussy.r Britain in such composers as Vaughan Williams and Holst. In contrast, Delius acknowledged himself a ''stateless'' individual and considered that his music refused to belong to any national school or movement. To test these claims, the book explores a number of important factors. Delius''s musical education at the Leipzig Conservatorium and the works he produced there. Delius''s musical voice, notably his harmonic and melodic style and the close structural relationship between these two factors. The book also explores the question of Delius and ''genre'' in which the investigation of form is central, especially in opera, the symphonic poem, the choral work (where words are seminal to the creation of structural design) and the sonata and concerto (to which Delius brought his own individual solution). Other significant factors are Delius''s cosmopolitan use of texts, operatic plots and picturesque impressions, his relationship to Nietzsche''s writings and the genre of dance, and the role of his ''earlier'' works (1888-1896) in which it is possible to plot a course of stylistic change with reference to the influences of Grieg, Sinding, Florent Schmitt, Wagner, Strauss and Debussy.-1896) in which it is possible to plot a course of stylistic change with reference to the influences of Grieg, Sinding, Florent Schmitt, Wagner, Strauss and Debussy.-1896) in which it is possible to plot a course of stylistic change with reference to the influences of Grieg, Sinding, Florent Schmitt, Wagner, Strauss and Debussy.r Britain in such composers as Vaughan Williams and Holst. In contrast, Delius acknowledged himself a ''stateless'' individual and considered that his music refused to belong to any national school or movement. To test these claims, the book explores a number of important factors. Delius''s musical education at the Leipzig Conservatorium and the works he produced there. Delius''s musical voice, notably his harmonic and melodic style and the close structural relationship between these two factors. The book also explores the question of Delius and ''genre'' in which the investigation of form is central, especially in opera, the symphonic poem, the choral work (where words are seminal to the creation of structural design) and the sonata and concerto (to which Delius brought his own individual solution). Other significant factors are Delius''s cosmopolitan use of texts, operatic plots and picturesque impressions, his relationship to Nietzsche''s writings and the genre of dance, and the role of his ''earlier'' works (1888-1896) in which it is possible to plot a course of stylistic change with reference to the influences of Grieg, Sinding, Florent Schmitt, Wagner, Strauss and Debussy.-1896) in which it is possible to plot a course of stylistic change with reference to the influences of Grieg, Sinding, Florent Schmitt, Wagner, Strauss and Debussy. use of texts, operatic plots and picturesque impressions, his relationship to Nietzsche''s writings and the genre of dance, and the role of his ''earlier'' works (1888-1896) in which it is possible to plot a course of stylistic change with reference to the influences of Grieg, Sinding, Florent Schmitt, Wagner, Strauss and Debussy.-1896) in which it is possible to plot a course of stylistic change with reference to the influences of Grieg, Sinding, Florent Schmitt, Wagner, Strauss and Debussy.
Author: Paul Rapoport
Publisher: Routledge
ISBN: 1351548204
Category : Music
Languages : en
Pages : 529
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Book Description
Kaikhosru Shapurji Sorabji (1892-1988) was an unusual legend in his own lifetime: a Parsi composer and critic living in England whose compositions are of such length and difficulty that he felt compelled to ban public performances of them. This book, the first devoted to Sorabji, explores his life and character, his music, his articles and letters. It both presents the legend accurately and dispels its exaggerated aspects. The portrait which emerges is not of a crank or eccentric but of a highly original and accomplished musical thinker whom recent performances and recordings confirm as unique and important. Most of the contributors knew Sorabji personally. They have all written about or performed his music, gaining international recognition for their work. Generous quotation of Sorabji's published and unpublished music and prose assists in bringing him and his work strikingly to life. The book also contains the most complete and accurate register of his work ever published.
Author: Galya Diment
Publisher: McGill-Queen's Press - MQUP
ISBN: 0773538992
Category : Biography & Autobiography
Languages : en
Pages : 452
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Book Description
A Russian Jew of Bloomsbury looks at the remarkable influence that an outsider had on the tightly knit circle of Britain's cultural elite. Among Koteliansky's friends were Katherine Mansfield, Leonard and Virginia Woolf, Mark Gertler, Lady Ottoline Morrell, H.G. Wells, and Dilys Powell. But it was his close and turbulent friendship with D.H. Lawrence that proved to be Koteliansky's lasting legacy. In a lively and vibrant narrative, Galya Diment shows how, despite Kot's determination, he could never escape the dark aspects of his past or overcome the streak of anti-Semitism that ran through British society, including the hearts and minds of many of his famous literary friends.
Author: Peter Edgerly Firchow
Publisher: CUA Press
ISBN: 0813215331
Category : History
Languages : en
Pages : 302
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Book Description
Building upon his earlier book The Death of the German Cousin (1986), renowned author Peter Edgerly Firchow focuses Strange Meetings on major modern British writers from Eliot to Auden and explores the development of British conceptions and misconceptions of Germany and Germans from 1910 to 1960.
