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Author:
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ISBN: 9789790014008
Category :
Languages : en
Pages :
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Author:
Publisher:
ISBN: 9789790014008
Category :
Languages : en
Pages :
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Author:
Publisher: Edition Peters
ISBN:
Category : Music
Languages : en
Pages : 64
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Author: Felix Mendelssohn
Publisher: Alfred Music
ISBN: 9781457487750
Category : Music
Languages : en
Pages : 64
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Book Description
A quartet for Piano, Violin, Viola, and Cello expertly composed by Felix Mendelssohn.
Author: Gabriel Fauré
Publisher: Courier Corporation
ISBN: 0486286061
Category : Music
Languages : en
Pages : 259
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Book Description
Authoritative editions of 3 great chamber works: Piano Quartet No. 1 in C Minor, Op. 15; Piano Quartet No. 2 in G Minor, Op. 45; and Piano Quintet No. 1 in D Minor, Op. 89.
Author: Gabriel Fauré
Publisher:
ISBN:
Category : Piano quartets
Languages : en
Pages : 2
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Author: Gabriel Fauré
Publisher:
ISBN:
Category : Piano quartets
Languages : en
Pages : 160
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Book Description
Looking back in 1922, Fauré noted that "The fact of the matter is that before 1870 I would not have dreamt of composing a sonata or a quartet. At that time a young musician had no chance of getting such works performed. It was only after Saint-Saëns had founded the National Music Society in 1871, the chief function of which was to perform the works of young composers, that I set to work." The encouragement given to French composers by the Société Nationale de Musique can hardly be overestimated; with his mentor, Saint-Saëns, Fauré joined Franck, d'Indy, Duparc, Lalo, and Massenet, among others, in the establishment of this concert organization which helped break the stranglehold of opera upon French musical life. But Fauré's sanguine remark about "setting to work" overlooks the "indolence" with which he reproached himself frequently in his youth -- his First Violin Sonata was not begun until 1875, and the First Piano Quartet not until the year after, to be completed in 1879. Meanwhile -- apart from a discarded Symphony in F -- he had been finding his way stylistically in the intimate purlieu of the mélodie. It is also misleading to say (as is often done) that there was no chamber music in France before the Société Nationale -- Alkan, Franchomme, Louise Farrenc, Lalo, Castillon, and Saint-Saëns himself all made notable contributions to the genre well before the founding of the SNM. Nevertheless, that venerable organization brought focus to French soul-searching, helping to embed chamber and symphonic music in the cultural mainstream. There are a number of remarkable things about Fauré's First Piano Quartet which mark it as a prominent turning point. One notes first the complete assurance in his shapely handling of sonata form, fastidious craft in a coruscating dialogue of parts, the richness and indelible personality of its deftly worked melodic material, and unfailingly adept writing for piano. Worth noting, too, is the combination of a highly refined personal style with compelling high spirits. Above all, his First Piano Quartet strikes persuasively not merely the urbane (the epithet which clings to Fauré), but the urban tone which George Bernard Shaw made explicit when he noted that "From Mozart I learned the art of saying important things conversationally." Romanticism and its doleful heroics are left behind in this work, as are the frivolous, the formulaic, and the balletic. The first movement holds one through its fluent melding of energy and lyricism. The Scherzo surprises with blithe, pizzicato pricked, perpetuum mobile fantasy. The great Adagio demonstrates that profound passion is not incompatible with balance and classical purity of line. And a soaring Allegro molto caps all with a gracefully poised major/minor shimmer of gaiety. Fauré was at the piano for the first performance of the First Piano Quartet with the Société Nationale on February 11, 1880. Responding to criticism from colleagues, he revised the finale. Thus, the work attained its final form only in 1883. - Adrian Corleonis at allmusic.com
Author: Gabriel Fauré
Publisher:
ISBN:
Category :
Languages : en
Pages : 84
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Book Description
Author: R. Larry Todd
Publisher: OUP USA
ISBN: 0195180801
Category : Biography & Autobiography
Languages : en
Pages : 455
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Book Description
Fanny Hensel (1805-1847) was an extraordinary musician and astute observer of European culture. Previously she was known mainly as the granddaughter of philosopher Moses Mendelssohn and the sister of composer Felix Mendelssohn Bartholdy, yet Hensel is now recognized as the leading woman composer of the nineteenth century. She produced well over four hundred compositions and excelled in short, lyrical piano pieces and songs of epigrammatic intensity, but the expressive range of her art also accommodated challenging virtuoso piano and chamber works, orchestral music, and cantatas written in imitation of J.S. Bach. Her gender and position in society restricted her from opportunities afforded her brother, however, who himself quickly rose to an international career of the first rank. Hensel's own sphere of influence revolved around her Berlin residence, where she directed concerts that attracted such celebrities as Franz Liszt, Clara Schumann, Clara Novello, and her brother Felix. In this semi-public space, shared with exclusive audiences drawn from the elite of Berlin society, Hensel found her own voice as pianist, conductor and composer. For much of her life, she composed for her own pleasure, and her brother ranked her songs among the very best examples of the genre. Felix silently incorporated several of the songs into his own early publications, while a few other songs were published anonymously. Hensel began releasing her works under her own name in 1847, only to die of a stroke as the first reviews of her music began to appear. Tragically, the vast majority of her music was forgotten for a century and a half before its recent rediscovery. Renowned Mendelssohn scholar R. Larry Todd now offers a compelling, full account of Hensel's life and music, her extraordinary relationship with her brother, her position in one of Berlin's most eminent families, and her courageous struggle to define her own public voice as a composer [Publisher description].
Author: David Lee Brodbeck
Publisher: U of Nebraska Press
ISBN: 9780803212879
Category : Music
Languages : en
Pages : 268
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Book Description
The eight essays in Brahms Studies 2 provide a rich sampling of contemporary Brahms research. In his examination of editions of Brahms?s music, George Bozarth questions the popular notion that most of the composer?s music already exists in reliable critical editions. Daniel Beller-McKenna reconsiders the younger Brahms?s involvement in musical politics at midcentury. The cantata Rinaldo is the centerpiece of Carol Hess?s consideration of Brahms?s music as autobiographical statement. Heather Platt?s exploration of the twentieth-century reception of Brahms?s Lieder reveals that advocates of Hugo Wolf?s aesthetics have shaped the discourse concerning the composer?s songs and calls for an approach more clearly based on Brahms?s aesthetics. In his examination of the rise of the ?great symphony? as a critical category that carried with it a nearly impossible standard to meet, Walter Frisch provides a rich context in which to understand Brahms?s well-known early struggle with the genre. Kenneth Hull suggests that Brahms used ironic allusions to Bach and Beethoven in the tragic Fourth Symphony in order to subvert the enduring assumption that a minor-key symphony will end triumphantly in the major mode. Peter H. Smith examines Brahms?s late style by concentrating on Neapolitan tonal relations in the Clarinet Sonata in F Minor. Finally, David Brodbeck delineates the complex evolution of Brahms?s reception of Mendels-sohn?s music.
Author: Bruno Monsaingeon
Publisher: Princeton University Press
ISBN: 0691095493
Category : Biography & Autobiography
Languages : en
Pages : 465
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Book Description
"Sviatoslav Richter was a dazzling performer but an intensely private man. Though world famous and revered by classical music lovers everywhere, he guarded himself and his thoughts as carefully as his talent. Fascinated, author and filmmaker Bruno Monsaingeon tried vainly for years to interview the enigmatic pianist. Richter eventually yielded, granting Monsaingeon hours of taped conversation, unlimited access to his diaries and notebooks, and, ultimately his friendship. This book is the product of that friendship. It offers readers the sizable pleasure of lingering in the thoughts and words of one of the most important pianists of the twentieth century. Sviatoslav Richter belongs on the shelves of everyone with a classical music collection and will also appeal to lovers of autobiography and admirers of Russian musical culture." -- Back cover
