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Books > Arts & Architecture > Music > Musical instruments & instrumental ensembles > Chamber ensembles
This companion volume to The Courtly Consort Suite in
German-Speaking Europe surveys an area of music neglected by modern
scholars: the consort suites and dance music by musicians working
in the seventeenth-century German towns. Conditions of work in the
German towns are examined in detail, as are the problems posed by
the many untrained travelling players who were often little more
than beggars. The central part of the book explores the
organisation, content and assembly of town suites into carefully
ordered printed collections, which refutes the concept of the
so-called 'classical' suite. The differences between court and town
suites are dealt with alongside the often-ignored variation suite
from the later decades of the seventeenth century and the separate
suite-writing traditions of Leipzig and Hamburg. While the
seventeenth-century keyboard suite has received a good deal of
attention from modern scholars, its often symbiotic relationship
with the consort suite has been ignored. This book aims to redress
the balance and to deal with one very important but often ignored
aspect of seventeenth-century notation: the use of blackened notes,
which are rarely notated in a meaningful way in modern editions,
with important implications for performance.
Dance music at the courts of seventeenth-century Germany is a genre
that is still largely unknown. Dr Michael Robertson sets out to
redress the balance and study the ensemble dance suites that were
played at the German courts between the end of the Thirty Years War
and the early years of the eighteenth century. At many German
courts during this time, it was fashionable to emulate everything
that was French. As part of this process, German musicians visited
Paris throughout the second half of the seventeenth century, and
brought French courtly music back with them on their return. For
the last two decades of the century, this meant the works of
Jean-Baptiste Lully, and his music and its influence spread rapidly
through the courts of Europe. Extracts from Lully's dramatic stage
works were circulated in both published editions and manuscript.
These extracts are considered in some detail, especially in terms
of their relationship to the suite. The nobility also played their
part in this process: French musicians and German players with
specialist knowledge were often hired to coach their German
colleagues in the art of playing in the French manner, the
franzAsischer Art. The book examines the dissemination of dance
music, instrumentation and performance practice, and the
differences between the French and Italian styles. It also studies
the courtly suites before the advent of Lullism and the differences
between the suites of court composers and town musicians. With the
possible exception of Georg Muffat's two Florilegium collections of
suites, much of the dance music of the German Lullists is largely
unknown; court composers such as Cousser, Erlebach, Johann Fischer
and Johann Caspar Ferdinand Fischer all wrote fine collections of
ensemble suites, and these are examined in detail. Examples from
these suites, some published for the first time, are given
throughout the book in order to demonstrate the music's quality and
show that its neglect is completely unjustified.
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 II provides a
comprehensive exploration of the period's rich and varied
repertoire. The lessons in Volume II cover the early
seventeenth-century Italian sonata, music of the French Baroque,
the Galant style, and the sonatas of composers like Schmelzer,
Biber, and Bach. 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 II: A Fifty-Lesson Course will
enhance performances of professional and amateur musicians alike.
A comprehensive and immersive survey of thirty-five Beethoven piano
sonatas "Beethoven piano sonatas accompany every pianist, amateur
or professional for his or her entire life and constitute one of
the most miraculous constants of the human civilization. To help us
around the exciting journey through those masterpieces Jan Marisse
Huizing combines his expertise, knowledge, and above all his
unconditional love for this music."- Alexander Melnikov, pianist
Beethoven's piano sonatas are among the iconic cornerstones of the
classical music repertoire. Jan Marisse Huizing offers an in-depth
study of the sonatas using available autographs, first editions,
recordings, and nearly three hundred musical examples. Digging into
the historical background and historical performance practice, the
book provides illuminating detail on Beethoven's pianism as well as
his characteristics of notation, form and content, "types of
touch," articulation, beaming, pedal indications, character,
rubato, meter, metric constructions, tempo, and metronome marks.
Packed with anecdotes, quotations, and considerable new
information, the book will inspire all involved with these
masterworks, playing a fortepiano or modern Grand, giving the sense
of the composer sitting beside them as he translates his
inspiration and ideas into his notation.
for chamber orchestra The instrumentation for this work is the same
as Bach's Brandenburg Concerto No.5. The Suite is made up of six
movements ranging from a 'Bach-like Aria' to a 'Richard
Rodgers-style Waltz'. Rutter's own style comes through most
strongly in the final Rondeau with its characteristically
forward-driving rhythms and beautiful melodic lines. Evoking an
'antique' spirit, each movement is based on a Baroque or Classical
style.
for SATB and four-piece ensemble Four-piece chamber ensemble
accompaniment to Rutter's classic anthem. Pack includes full score
and set of parts. Compatible with the SA, SATB, and TTBB vocal
scores.
for SATB and four-piece ensemble (flute, oboe, harp, organ)
Four-piece chamber ensemble accompaniment to Rutter's lively
harvest anthem. Pack includes full score and set of parts.
Compatible with both the English-only and dual-language vocal
score.
These books are to be used with the corresponding volumes of the
Suzuki Piano School to produce duet or duo versions of the pieces
in the original series. Volume 1 titles include: Allegro * Chant
Arabe * Christmas Day Secrets * Clair de Lune * French Children's
Song * Go Tell Aunt Rhody * Goodbye to Winter * The Honeybee *
London Bridge * Long, Long Ago * Lightly Row (Alberti Bass) *
Little Playmates * Mary Had a Little Lamb * Musette * Twinkle,
Twinkle, Little Star Variations and more.
Complete, authoritative scores of two Romantic symphonic masterpieces show extra-musical themes of "program music"-and intuitive genius, Shakespearean passion of Berlioz. Includes Symphonie Fantastique "program." Breitkopf & Härtel, Leipzig, 1900-1910 edition.
In Making Light Raymond Knapp traces the musical legacy of German
Idealism as it led to the declining prestige of composers such as
Haydn while influencing the development of American popular music
in the nineteenth century. Knapp identifies in Haydn and in early
popular American musical cultures such as minstrelsy and operetta a
strain of high camp-a mode of engagement that relishes both the
superficial and serious aspects of an aesthetic experience-that
runs antithetical to German Idealism's musical paradigms. By
considering the disservice done to Haydn by German Idealism
alongside the emergence of musical camp in American popular music,
Knapp outlines a common ground: a humanistically based aesthetic of
shared pleasure that points to ways in which camp receptive modes
might rejuvenate the original appeal of Haydn's music that has
mostly eluded audiences. In so doing, Knapp remaps the
historiographical modes and systems of critical evaluation that
dominate musicology while troubling the divide between serious and
popular music.
The Guarneri Quartet is fabled for its unique longevity and high-spirited virtuosity. Here is its story from the inside--a story filled with drama, humor, danger, compassion, and, of course, glorious music.
A player who studies and performs the exalted string-quartet repertoire has opted for a very special life. Arnold Steinhardt, tracing his own development as a student, orchestra player, and budding young soloist, gives a touching account of how he and his intrepid colleagues were converted to chamber music despite the daunting odds against success. And he reveals, as no one has before, the intensely difficult process by which--on the battlefield of daily three-hour rehearsals--four individualists master and then overcome the confining demands of ensemble playing.
How do four instrumentalists with strong individual tastes and
temperaments manage to forge a distinctive approach to the music
they play? This extraordinary book ushers readers into the workshop
of one of the world's most accomplished string quartets. In rich
and probing conversations with their longtime friend and
musicologist and conductor David Blum, the members of the Guarneri
String Quartet, both individually as a group, tell what it is like
to play together.
Danny Elfman's Piano Quartet comprises thematic variations for
piano and string trio cast in five movements: Ein Ding,
Kinderspott, Duett fur Vier, Ruhig and Die Wolfsjungen. The idea
behind the work stems from a familiar children's playground taunt
which can be heard in the second movement. The work playfully
cycles through a variety of moods and textures, from the agitated
intensity of the first movement so reminiscent of the composer's
iconic film music, through to the delicate Adagio, all culminating
in Elfman's energetic and impassioned finale.
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