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Originally published in German as Interpreting Mozart on the
Keyboard in 1957, this definitive work on the performance of
Mozart's works has greatly influenced students and scholars of
keyboard literature and of Mozart. Now, in a completely updated and
revised edition, this book includes the last half century of
scholarship on Mozart's music, addressing the elements of
performance and problems that may occur in performing Mozart's
works on modern instruments.
Paul Badura-Skoda is considered to be one of the great pianists of
his generation, as well as an important scholar who has created
definitive editions of many of the works of the Viennese masters,
most notably Wolfgang Amedeus Mozart. With his wife, the noted
musicologist Eva Badyra-Skoda, he wrote the highly influential
Interpreting Mozart on the Keyboard, first published in German in
1957, then in English and Japanese in 1962 and 1963, respectively.
Long out of print, this important work has never been updated to
reflect the last half-century of scholarship on Mozart's music.
Now, the husband and wife team have tackled this project, producing
an entirely new text that will serve students and scholars of
keyboard literature and of the great composer.
The ever-increasing number of performances of Bach's music is a
sign of its enduring vitality. But perhaps no other composer is
subject to such a wide diversity of interpretation--assessing the
merits of these many interpretations and unravelling the sources
and documents on which they are based can be extremely difficult
for the modern performer. In this important book, Paul Badura-Skoda
draws on forty years of studying and performing Bach to present
startling new insights into many different aspects of Bach's music.
He looks at rhythm, tempo, articulation, and dynamics; examines the
instruments for which Bach's music was intended, and considers
problems of sonority. He then discusses ornamentation in depth,
analyzing each of the signs and symbols used by Bach, and argues
that much of Bach's ornamentation in current performance is
monotonous and fails to reflect the actual Baroque style. Sometimes
contentious, always stimulating, Badura-Skoda's book conveys a
passion for an informed interpretation of Bach's music based on a
recognition and respect for Bach's actual intentions. Copiously
illustrated with musical examples, the book will take its place as
a standard work for all students and performers of Bach's
ever-popular keyboard music.
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