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Books > Arts & Architecture > Music > Western music, periods & styles > Classical music (c 1750 to c 1830)
Three volumes in the acclaimed Notes On series about the life and
key works of the world's greatest composers.
This new collection of Albéniz's piano gems joins the composer's Ibéria and España, the classic Dover edition already in its ninth printing. Here is a new gathering of brilliant keyboard music steeped in the lyric and rhythmic spirit of Spain. Contents: Suite española; Six spanish dances; The seasons; Rapsodia española and Rapsodia cubana; Mallorca; Zortzico (Basque Dance); the Third Suite Antigua (Minuetto and Gavotta); and the brilliant La Vega. Dover Original compilation of authoritative early editions.
The Anthology of Baroque Keyboard Music is paired with the DVD
Performance Practices in Baroque Keyboard Music for a comprehensive
look at the literature and performing conventions of the Baroque
era. The comb binding creates a lay-flat book that is perfect for
study and performance. On the DVD, Dr. Hinson performs music from
the Anthology, and relates invaluable information on basic touches,
articulations, dynamics and ornamentation that will help the
performer create a more historically-informed performance. Also on
this DVD is a lecture on the history of Baroque dance and the
relationship between dance and music, with nine of the most popular
court dances performed to Dr. Hinson's keyboard accompaniment by
dancers in Baroque costume.
(E.B. Marks). 51 songs, including music from Casino Paradise,
Dynamite Tonite, Greatshot, The Wind in the Willows, Ancient
Cabaret, Minicabs, Songs to Dance, and songs not from a show, set,
or cycle ("Lime Jello Marshmallow Cottage Cheese Surprise" and
more). With notes on the songs, manuscript facsimiles, and composer
comments. Includes several first editions and first-time
transpositions. There are different songlists for the High Voice
and Medium/Low Voice editions.
This ambitious study offers a panoramic survey of musical thought
in the eighteenth century and, at the same time, a close analysis
of the important theoretical topics of the period. The result is
the most comprehensive account ever given of the theory behind the
music of late Baroque and early Classical composers from Bach to
Beethoven. While giving preeminent theorists their due, Joel Lester
also examines the works of over one hundred eighteenth- and
seventeenth-century writers to show how prominent theories were
received and applied in actual teaching situations. Beginning with
the influence of Zarlino and seventeenth-century theorists, Lester
goes on to focus on central traditions emerging from definitive
works in the early eighteenth century: species counterpoint in the
writings of Fux; thoroughbass as presented by Niedt and Heinichen;
Rameau's harmonic theories and Mattheson's views on melodic
structure. The author traces the development and interactions of
these traditions over the remainder of the century, through the
writings of Albrechtsberger, C. P. E. Bach, Kirnberger, Koch,
Marpurg, Martini, Nichelmann, Riepel, and many others. This
historical overview is leavened throughout with accounts of
individual composers grappling with theoretical issues - Haydn's
careful study of Fux's treatise, Mozart's instructions on harmony
to his composition students, Beethoven's own student exercises. The
links between various theoretical traditions, the pervasive
influence of Rameau's harmonic thinking, and the harmonic theories
of Koch are just some of the numerous topics given their first full
treatment here. Many of the theorists Lester cites are either
unknown or often misunderstoodtoday. By bringing their
contributions to light and placing them within the context of
theoretical tradition, Lester offers a fresh perspective, one that
will inform and enhance any future study of this magnificent era in
Western music.
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