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Books > Music > Western music, periods & styles > General
(Piano). Vivaldi's famous set of four violin concertos certainly
ranks among the all-time top ten classical favorites. This Ricordi
edition, especially designed for English-speaking markets, makes
the music available to keyboard players, with new music engravings.
Features include an introduction about the history of The Four
Seasons and translations of the four "explanatory sonnets" written
by the composer about the concertos. Vivaldi's vivid indications
that appear throughout the score have been translated into English.
The Italian-only Ricordi edition for piano (50022190 Le quattro
stagioni) has always been a steady seller in the US. This edition
in English satisfies an obvious and ready appetite for this great
music.
Play Piazzolla is a unique collection of 13 tangos by the
Argentinian master of tango nuevo arranged for easy solo guitar.
(Guitar). A Modern Approach to Classical Guitar is designed for
anyone just learning to play guitar. Written by one of the premier
classical guitarists of our time and based on years of teaching
students of all ages, this revised edition includes many new pieces
and an in-depth introduction to two-part music (thumb-and-fingers
technique) the heart of the classical style Book 1 includes: rest
stroke and free stroke, how to read music, playing in open
position, sharps and flats, basic notes and dotted notes, time
signatures (4/4, 3/4, 2/4), melody with bass accompaniment, solos
and duets, and more
Sam Morgenstern's classic anthology, now thoroughly updated with
new selections and commentary reflecting recent music scholarship.
Contents: Theme from Schindler's List * Jewish Town * Remembrances.
On March 10, 1948, world-renowned composer and pianist Ernst von
Dohnanyi (1877 1960) embarked for the United States, leaving Europe
for good. Only a few years earlier, the seventy-year-old Hungarian
had been a triumphant, internationally admired musician and leading
figure in Hungarian musical life. Fleeing a political smear
campaign that sought to implicate him in intellectual collaboration
with fascism, he reached American shores without a job or a home. A
Wayfaring Stranger presents the final period in Dohnanyi's
exceptional career and uses a range of previously unavailable
material to reexamine commonly held beliefs about the musician and
his unique oeuvre. Offering insights into his life as a teacher,
pianist, and composer, the book also considers the difficulties of
emigre life, the political charges made against him, and the
compositional and aesthetic dilemmas faced by a conservative
artist. To this rich biographical account, Veronika Kusz adds an
in-depth examination of Dohnanyi's late works-in most cases the
first analyses to appear in musicological literature. This
corrective history provides never-before-seen photographs of the
musician's life in the United States and skillfully illustrates
Dohnanyi's impact on European and American music and the culture of
the time.
The popular Trumpet Stars by H.A. VanderCook are now combined in
two collections that are also included on many state contest lists.
Presented in two sets of six titles each (Set 2 - HL04470001), the
pieces range in difficulty from grade 1 to grade 2. Each collection
also includes a demonstration CD with a full performance recording
and accompaniment only recording for each song. (Trumpet: Bob
Clark; Piano: Mari Falcone) Contents: Lyra * Vega * Cygnus *
Antares * Altair * Arcturus
In New York and London during World War I, the performance of
lieder--German art songs--was roundly prohibited, representing as
they did the music and language of the enemy. But as German
musicians returned to the transatlantic circuit in the 1920s, so
too did the songs of Franz Schubert, Hugo Wolf, and Richard
Strauss. Lieder were encountered in a variety of venues and
media--at luxury hotels and on ocean liners, in vaudeville
productions and at Carnegie Hall, and on gramophone recordings,
radio broadcasts, and films. Laura Tunbridge explores the renewed
vitality of this refugee musical form between the world wars,
offering a fresh perspective on a period that was pervaded by
anxieties of displacement. Through richly varied case studies,
Singing in the Age of Anxiety traces how lieder were circulated,
presented, and consumed in metropolitan contexts, shedding new
light on how music facilitated unlikely crossings of nationalist
and internationalist ideologies during the interwar period.
The image of Vienna as a musical city is a familiar one. This book
explores the history of music in Vienna, focussing on three
different epochs, 1700, 1800 and 1900. The image of Vienna as a
musical city is a familiar one. Vienna has long been associated
with many of the most significant composers in Western music - from
Haydn, Mozart, Beethoven and Schubert, through the Strauss family,
Brahms, Bruckner and Wolf, to Mahler, Lehar, Schoenberg and Webern.
Today, venerable institutions like the Vienna Philharmonic
Orchestra, the Staatsoper and the Vienna Boys' Choir, together with
the shared pride of residents and visitors in its musical
inheritance, ensure that the image of a musical city is undimmed.
This book explores the history of music in Vienna, focussing on
three different epochs, 1700, 1800 and 1900, an approach which
allows the very different relationships between music and society
that existed in each of these periods to be distinguished.
Patronage, social function and audience are key considerations, set
within wider political and cultural developments. The volume is
populated by emperors, princes, performers, publishers and writers
as well as composers, and deals with institutional and commercial
characteristics alongside representative individual works. Music in
Vienna focusses on the political and social role of music,
broadening our understanding of the city as a musical capital. It
will appeal to a wide readership, including music historians and
political, cultural and social historians, as well as the
interested general reader. DAVID WYN JONES is Professor of Music at
Cardiff University.
Contents: Elegie * Melodie * Polichinelle * Prelude * Serenade.
Contents: Haydn Sonatas: C major, G major, D major, C# minor, E
minor * Mozart Sonatas: C major (K. 565), F major (K. 280), F major
(K. 332), G major (K. 283), A major (K. 331) * Beethoven Sonatas: G
minor, Op. 49, No. 1; G major, Op. 49, No. 2; G major, Op. 79; E
major, Op. 14, No. 1; G major, Op. 14, No. 2.
"It is hard to think of any music in which the composer is more spontaneous and masterful, and uncompromising in his thought."--Olin Downes, Thompson's International Cyclopedia.These revolutionary works brought a strikingly organic--almost architectural--unity to the symphony that music historians recognized as being far in advance of anything in the classical masters. Planted with seeds of change already evident in the beautiful, dark third symphony, the fourth symphony presented the most individual work in this form that the twentieth century had yet witnessed. Harmonically new, boldly innovative, and structured on a subtle continuity of line, this was a kind of music previously unheard in the concert hall. Austere and intensely concentrated, Sibelius's symphonies of 1907 and 1911 are frequently performed around the world by major orchestras.
Johann Joachim Quantz's On Playing Flute has long been recognized
as one of the most significant and in-depth treatises on
eighteenth-century musical thought, performance practice, and
style. This classic text of Baroque music instruction goes far
beyond an introduction to flute methods by offering a comprehensive
program of studies that is equally applicable to other instruments
and singers.
The work is comprised of three interrelated essays that examine the
education of the solo musician, the art of accompaniment, and forms
and style. Quantz provides detailed treatment of a wide range of
subjects, including phrasing, ornamentation, accent, intensity,
tuning, cadenzas, the role of the concertmaster, stage deportment,
and techniques for playing dance movements. Of special interest is
a table that relates various tempos to the speed of the pulse,
which will help today's musicians solve the challenge of playing
authentic performance tempos in Baroque music. This edition
includes 224 musical examples from Quantz's original text and
features a new introduction by translator Edward R. Reilly that
considers recent scholarship on Quantz's significant role in
eighteenth-century musical activity.
On Playing the Flute vividly conveys the constancy of musical life
over time and remains a valuable guide for contemporary musicians.
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