|
Books > Arts & Architecture > Music > Musical instruments & instrumental ensembles > Chamber ensembles
In the early seventeenth century, enthusiasm for the violin swept
across Europe-this was an instrument capable of bewitching
virtuosity, with the power to express emotions in a way only before
achieved with the human voice. With this new guide to the Baroque
violin, and its close cousin, the Baroque viola, distinguished
performer and pedagogue Walter Reiter puts this power into the
hands of today's players. Through fifty lessons based on the
Reiter's own highly-renowned course at The Royal Conservatory of
the Hague, The Baroque Violin & Viola, Volume I provides a
comprehensive exploration of the period's rich and varied
repertoire. Volume I covers the basics of choosing a violin,
techniques to produce an ideal sound, and sonatas by Vivaldi and
Corelli. Practical exercises are integrated into each lesson, and
accompanied by rich video demonstrations on the book's companion
website. Brought to life by Reiter's deep insight into key
repertoire based on a lifetime of playing and teaching, The Baroque
Violin & Viola, Volume I: A Fifty-Lesson Course will enhance
performances of professional and amateur musicians alike.
(Amadeus). Performer and scholar Abram Loft wants every chamber
musician to be a strong, collaborative ensemble voice. Here's his
hard-headed advice on choosing colleagues, rehearsing and
performing effectively together, building repertoire, programming,
touring and other facets of the art and business of a chamber music
career. Ranging from hilarious to sobering, this is essential
reading for music lovers, amateur players, students, teachers and
today's many emerging professional ensembles. Recent events in the
field, including some strident litigation, highlight the usefulness
of this veteran's realistic counsel.
Product information not available.
The six string quartets comprising Joseph Haydn's Opus 20
(composed in 1772) are the first works in the genre to have
received consistent critical attention from writers on music. The
twenty-two quartets Haydn wrote before this date, though rarely
discussed by historians and theorists and seldom performed in
public, are nevertheless fundamental to the development of the
quartet and thus inseparable from Opus 20 itself. This thoughtful
discussion provides a basis upon which to study the quartet by
showing how the relationship among the four players can best be
understood as a musical dialogue. A methodology is developed for
analyzing these quartets by focusing on the characteristics of
string instruments that inform not only the style of the music, but
also the materials of the composition. The changing relationships
among the instruments reveal the level of sophistication evident in
Haydn's early works and attest to the affinity these works have
with his later masterpieces. Music scholars and educators will
appreciate the generous musical examples and clear prose that
explains the more detailed analysis of the Opus 20 set.
Internationally renowned scholars and performers present a wide
range of new analytical, historical and critical perspectives on
some of Mozart's most popular chamber music: his sonatas with
violin, keyboard trios and quartets and the quintet with wind
instruments. The chapters trace a broad chronology, from the
childhood works, to the Mannheim and Paris sonatas with keyboard
and violin, and the mature compositions from his Vienna years.
Drawing upon the most recent research, this study serves the
reader, be they a performer, listener or scholar, with a collection
of writings that demonstrate the composer's innovative developments
to generic archetypes and which explore and assess Mozart's
creative response to the opportunities afforded by new and diverse
instrumental combinations. Manners of performance of this music far
removed from our own are revealed, with concluding chapters
considering historically informed practice and the challenges for
modern performers and audiences.
A monumental accomplishment from the age of Enlightenment, the
string quartets of Joseph Haydn hold a central place not only in
the composer's oeuvre, but also in our modern conception of form,
style, and expression in the instrumental music of his day. Here,
renowned music historians Floyd and Margaret Grave present a fresh
perspective on a comprehensive survey of the works. This thorough
and unique analysis offers new insights into the creation of the
quartets, the wealth of musical customs and conventions on which
they draw, the scope of their innovations, and their significance
as reflections of Haydn's artistic personality. Each set of
quartets is characterized in terms of its particular mix of
structural conventions and novelties, stylistic allusions, and its
special points of connection with other opus groups in the series.
Throughout the book, the authors draw attention to the boundless
supply of compositional strategies by which Haydn appears to be
continually rethinking, reevaluating, and refining the quartet's
potentials. They also lucidly describe Haydn's famous penchant for
wit, humor, and compositional artifice, illuminating the unexpected
connections he draws between seemingly unrelated ideas, his irony,
and his lightning bolts of surprise and thwarted expectation.
Approaching the quartets from a variety of vantage points, the
authors correct many prevailing assumptions about convention,
innovation, and developing compositional technique in the music of
Haydn and his contemporaries.
Going beyond traditional modes of study, The String Quartets of
Joseph Haydn blends historical analysis and factual information
with critical appraisal in a way that will engage all
Haydnenthusiasts.
This book deals with all the well-know piano, violin, and cello
concertos and is illustrated with a wealth of musical examples.
"This practical, comprehesive, and well-organized book by an
experienced conductor and educator is the very first to concentrate
on this type of performing group and its special needs. . . .
Valuable appendixes give IRS rulings, suggested auditioning
material, addresses of publishers and rental libraries, and more."
Library Journal
for SATB or SSA and string orchestra, with optional organ Set of
parts for John Rutter's much-loved Nativity Carol, one of the
composer's earliest pieces. The string accompaniment is compatible
with both SATB and SSA versions of Nativity Carol, and this set
includes the following string parts: 4 x vln I, 4 x vln II, 3 x
vla, 2 x vc, 1 x db.
for SATB and piano (with opt bass and drums) Optional parts for
bass and drum set enliven this joyous arrangement for choir and
piano of a traditional spiritual. Propelled by a light swing tempo,
the mood grows more and more euphoric with each succeeding stanza
of text, and the uplifting music surges towards an opulent
conclusion.
for SATB and four-piece ensemble (piccolo, oboe, harp, organ)
Four-piece chamber ensemble accompaniment to Rutter's vibrant
carol. Pack includes full score and set of parts. Compatible with
the original mixed voices version, as well as the upper voices and
unison versions, available separately and in John Rutter Carols,
Carols for Choirs 2, Carols for Choirs 4, and 100 Carols for
Choirs. Not compatible with the abridged arrangement of this carol
by Kenneth Pont.
for SATB and four-piece ensemble (flute, oboe, harp, organ)
Four-piece chamber ensemble accompaniment to Rutter's uplifting
carol. Pack includes full score and set of parts.
for SATB and four-piece ensemble (flute, oboe, harp, piano)
Four-piece chamber ensemble accompaniment to Rutter's arrangement
in 2/2 time. Pack includes full score and set of parts. Compatible
with the mixed voices leaflet, as well as the versions in in 100
Carols for Choirs and Carols for Choirs 3.
Though individual pieces from the late fifteenth century are widely
accepted as being written for instruments rather than voices, they
are traditionally considered as exceptions within the context of a
mainstream of vocal polyphony. After a rigorous examination of the
criteria by which music of this period may be judged to be
instrumental, Dr Jon Banks isolates all such pieces and establishes
them as an explicit genre alongside the more commonly recognized
vocal forms of the period. The distribution of these pieces in the
manuscript and early printed sources of the time demonstrate how
central instrumental consorts were to musical experience in Italy
at this time. Banks also explores the social background to Italian
music-making, and particularly the changing status of
instrumentalists with respect to other musicians. Convincing
evidence is put forward in particular for the lute ensemble to be a
likely performance context for many of the surviving sources. The
book is not intended to be a prescriptive account for the role of
instruments in late medieval music, but instead restores an
impressive but largely overlooked consort repertory to its rightful
place in the history of music.
Set against the vivid background of 1920s Sydney, A Distant
Prospect is an intimate, hilarious and ultimately deeply moving
coming-of-age adventure told with a touch of poetry by a
quintessentially Irish narrator.
Vaughan Williams's famous romance for solo violin and orchestra is
given new life in this beautiful arrangement, which features the
original solo line as part of a string sextet. Perfect as a
rehearsal tool in preparation for a larger-scale orchestral
concert, the arrangement is also ideal for performance in a chamber
recital.
Vaughan Williams's famous romance for solo violin and orchestra is
given new life in this beautiful arrangement, which features the
original solo line as part of a string sextet. Perfect as a
rehearsal tool in preparation for a larger-scale orchestral
concert, the arrangement is also ideal for performance in a chamber
recital.
|
|