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Books > Arts & Architecture > Music > Western music, periods & styles > General
George Frederic Handel wrote his most famous oratorio, Messiah, in
a little over three weeks. There is little doubt that this work is
one of the most famous and often performed choral pieces in
history. Handel conducted many performances in his day and there
never seemed to have been a period when the work was not played.
This is a duet for tuba and trumpet.
ELeading TonesE is a glimpse into several aspects of the musical
world. There are portions devoted to Leonard Slatkin's life as a
musician and conductor portraits of some of the outstanding artists
with whom he has worked as well as anecdotes and stories both
personal and professional. Much of the book discusses elements of
the industry that are troubling and difficult during this first
part of the 21st century. Auditions critics fiscal concerns and
labor negotiations are all matters that today's conductors must be
aware of and this book provides helpful suggested solutions.
ELeading TonesE is intended not only for musicians but also for the
music lover who wishes to know more about what goes into being a
conductor.
Domenico Cimarosa's Three Sonatas (No.12, No.23 and No.29) have
been arranged here for solo guitar by Julian Bream. Originally
written for harpsichord, they feature expressive melodies
characteristic of the Neapolitan style.
Why do so many of us listen to classical music, and how can you get
the most from listening to it? In this unpretentious and
instructive book, internationally celebrated conductor and teacher
John Mauceri brings to bear his lifetime of experience and profound
knowledge. A protege of Leonard Bernstein and an artist who has
performed and recorded all over the world, Mauceri is the guide par
excellence to the joys of classical music. Mauceri illuminates our
understanding of what it is we hear when we listen; how each piece
bears the traces of its history; and how the concert experience
allows us constantly to discover music anew. 'Wonderful' Marilyn
Horne 'This delightful book is not so much the opening of a door as
an affectionate hand on the arm, guiding the reader with enthusiasm
and intelligence into a world of beauty' Stephen Hough
(BH Piano). Six sonatas by prominent Boosey & Hawkes composers,
including: Sonata (Bartok) * Sonata (Bernstein) * Piano Sonata
(Copland) * Sonata No. 1, Op. 22 (Ginastera) * Sonata No. 3, Op. 28
(Prokofiev) * and Sonata (Stravinsky). Accessible to the advanced
high school and college level pianist.
Featuring all 29 pieces from the album Lang Lang Piano Book, this
is a collection of the most significant pieces from Lang Lang's
personal musical journey. It is beautifully presented as a high-end
cased book, featuring marbled endpapers, page-finder ribbon and
sewn binding. It includes exclusive photographs, comments from Lang
Lang on every piece and an edition of Fur Elise annotated with Lang
Lang's own performance notes. This is a book for all pianists to
treasure and revisit again and again.
Mozart's music has enthralled listeners for centuries. In this brilliant biography, acclaimed historian Paul Johnson draws upon his expert knowledge of the era and Mozart's own private letters to conjure Wolfgang Amadeus Mozart's life and times in rich detail.
Johnson charts Mozart's life from age three through to his later years - when he penned "The Marriage of Figaro and Don Giovanni." Along the way, Johnson challenges some of the popular myths that cloud Mozart's image: his allegedly tempestuous personal relationships and supposedly bitter rivalry with Salieri, as well as the notion that he was desperately impoverished when he died.
The result - a bold, invigorating portrait of one of the most popular and influential composers of all time - is a welcome addition to Johnson's extraordinary body of work and makes a perfect gift for classical music lovers and fans of biographies.
Expression and truth are traditional opposites in Western thought:
expression supposedly refers to states of mind, truth to states of
affairs. "Expression and Truth" rejects this opposition and
proposes fluid new models of expression, truth, and knowledge with
broad application to the humanities. These models derive from five
theses that connect expression to description, cognition, the
presence and absence of speech, and the conjunction of address and
reply. The theses are linked by a concentration on musical
expression, regarded as the ideal case of expression in general,
and by fresh readings of Ludwig WittgensteinOCOs scattered but
important remarks about music. The result is a new conception of
expression as a primary means of knowing, acting on, and forming
the world.Recent years have seen the return of the claim that
musicOCOs power resides in its ineffability. In "Expression and
Truth," Lawrence Kramer presents his most elaborate response to
this claim. Drawing on philosophers such as Wittgenstein and on
close analyses of nineteenth-century compositions, Kramer
demonstrates how music operates as a medium for articulating
cultural meanings and that music matters too profoundly to be
cordoned off from the kinds of critical readings typically brought
to the other arts. A tour-de-force by one of musicologyOCOs most
influential thinkers.OCoSusan McClary, "Desire and Pleasure in
Seventeenth-Century Music."
The Castrato is a nuanced exploration of why innumerable boys were
castrated for singing between the mid-sixteenth and late-nineteenth
centuries. It shows that the entire foundation of Western classical
singing, culminating in bel canto, was birthed from an unlikely and
historically unique set of desires, public and private, aesthetic,
economic, and political. In Italy, castration for singing was
understood through the lens of Catholic blood sacrifice as
expressed in idioms of offering and renunciation and,
paradoxically, in satire, verbal abuse, and even the symbolism of
the castrato's comic cousin Pulcinella. Sacrifice in turn was
inseparable from the system of patriarchy - involving teachers,
patrons, colleagues, and relatives - whereby castrated males were
produced not as nonmen, as often thought nowadays, but as idealized
males. Yet what captivated audiences and composers - from Cavalli
and Pergolesi to Handel, Mozart, and Rossini - were the
extraordinary capacities of castrato voices, a phenomenon
ultimately unsettled by Enlightenment morality. Although the
castrati failed to survive, their musicality and vocality have
persisted long past their literal demise.
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