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The Art of Performance (Hardcover)
Heinrich Schenker; Edited by Heribert Esser; Translated by Irene Schreier Scott
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R4,455
Discovery Miles 44 550
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Ships in 12 - 19 working days
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In this previously unpublished essay Schenker, one of the most influential music theorists of the twentieth century, turned his attention to the performer's role, arguing that the cult of the virtuoso has led to an overemphasis on technical display and discussing specific ways in which performers can better serve the composer's ideas.
Heinrich Schenker ranks among the most important figures in the
development of western music theory in the twentieth century. His
approach to the analysis of music permeates nearly every aspect of
the field and continues to this day to be a topic of great interest
among music theorists, historians, composers and performers. In his
four volume work, Die letzen Sonaten von Beethoven: Kritische
Ausgabe mit Einfuhrung und Erlauterung (The Last Piano Sonatas by
Beethoven: Critical edition with Introduction and Commentary)
Schenker presented editions of Beethoven's Opp. 109, 110, 111 and
101 that were, at the time, unprecedented in their faithfulness to
such authoritative sources as Beethoven's autograph manuscripts. He
included a movement-by-movement and section-by-section discussion
of form and content that grew increasingly penetrating from one
volume to the next as the musical theory for which he is now known
was developed, alongside inspired and detailed suggestions for the
performance of each section of each work. In Beethoven's Last Piano
Sonatas: An Edition, with Elucidation, noted Schenker scholar John
Rothgeb presents the first English language edition and translation
of these important works. Rothgeb builds upon Schenker's text,
adding explanations of certain points in the commentary, references
to corrections and other remarks entered by Schenker in his
personal copies of the volumes, and graphic presentations of
several passages (a practice that became standard in Schenker's own
analytical work later in his career). Making these seminal works
accessible to English speaking scholars and students for the first
time, Beethoven's Last Piano Sonatas is an essential reference for
music theorists, historians, performers, and composers alike.
Heinrich Schenker ranks among the most important figures in the
development of western music theory in the twentieth century. His
approach to the analysis of music permeates nearly every aspect of
the field and continues to this day to be a topic of great interest
among music theorists, historians, composers and performers. In his
four volume work, Die letzen Sonaten von Beethoven: Kritische
Ausgabe mit Einfuhrung und Erlauterung (The Last Piano Sonatas by
Beethoven: Critical edition with Introduction and Commentary)
Schenker presented editions of Beethoven's Opp. 109, 110, 111 and
101 that were, at the time, unprecedented in their faithfulness to
such authoritative sources as Beethoven's autograph manuscripts. He
included a movement-by-movement and section-by-section discussion
of form and content that grew increasingly penetrating from one
volume to the next as the musical theory for which he is now known
was developed, alongside inspired and detailed suggestions for the
performance of each section of each work. In Beethoven's Last Piano
Sonatas: An Edition, with Elucidation, noted Schenker scholar John
Rothgeb presents the first English language edition and translation
of these important works. Rothgeb builds upon Schenker's text,
adding explanations of certain points in the commentary, references
to corrections and other remarks entered by Schenker in his
personal copies of the volumes, and graphic presentations of
several passages (a practice that became standard in Schenker's own
analytical work later in his career). Making these seminal works
accessible to English speaking scholars and students for the first
time, Beethoven's Last Piano Sonatas is an essential reference for
music theorists, historians, performers, and composers alike.
Heinrich Schenker ranks among the most important figures in the
development of western music theory in the twentieth century. His
approach to the analysis of music permeates nearly every aspect of
the field and continues to this day to be a topic of great interest
among music theorists, historians, composers and performers. In his
four volume work, Die letzen Sonaten von Beethoven: Kritische
Ausgabe mit Einfuhrung und Erlauterung (The Last Piano Sonatas by
Beethoven: Critical edition with Introduction and Commentary)
Schenker presented editions of Beethoven's Opp. 109, 110, 111 and
101 that were, at the time, unprecedented in their faithfulness to
such authoritative sources as Beethoven's autograph manuscripts. He
included a movement-by-movement and section-by-section discussion
of form and content that grew increasingly penetrating from one
volume to the next as the musical theory for which he is now known
was developed, alongside inspired and detailed suggestions for the
performance of each section of each work. In Beethoven's Last Piano
Sonatas: An Edition, with Elucidation, noted Schenker scholar John
Rothgeb presents the first English language edition and translation
of these important works. Rothgeb builds upon Schenker's text,
adding explanations of certain points in the commentary, references
to corrections and other remarks entered by Schenker in his
personal copies of the volumes, and graphic presentations of
several passages (a practice that became standard in Schenker's own
analytical work later in his career). Making these seminal works
accessible to English speaking scholars and students for the first
time, Beethoven's Last Piano Sonatas is an essential reference for
music theorists, historians, performers, and composers alike.
Harmony, Heinrich Schenker's first published work, originally
appeared in German in 1906 as New Musical Theories and Phantasies,
by an Artist. Its unusual title indicates what was to be the
rationale of Schenker's lifework, that artistic problems call for
artistic solutions. Schenker's dedication to the formulation of a
complete musical theory above the commonplace theoretical
discussions was, in essence, his quest for a pattern in nature for
music as art. Schenker's theory draws upon a profound understanding
of the works of the masters, and every proposition is illustrated
by a living musical example.
Heinrich Schenker ranks among the most important figures in the
development of western music theory in the twentieth century. His
approach to the analysis of music permeates nearly every aspect of
the field and continues to this day to be a topic of great interest
among music theorists, historians, composers and performers. In his
four volume work, Die letzen Sonaten von Beethoven: Kritische
Ausgabe mit Einfuhrung und Erlauterung (The Last Piano Sonatas by
Beethoven: Critical edition with Introduction and Commentary)
Schenker presented editions of Beethoven's Opp. 109, 110, 111 and
101 that were, at the time, unprecedented in their faithfulness to
such authoritative sources as Beethoven's autograph manuscripts. He
included a movement-by-movement and section-by-section discussion
of form and content that grew increasingly penetrating from one
volume to the next as the musical theory for which he is now known
was developed, alongside inspired and detailed suggestions for the
performance of each section of each work. InBeethoven's Last Piano
Sonatas: An Edition, with Elucidation, noted Schenker scholar John
Rothgeb presents the first English language edition and translation
of these important works. Rothgeb builds upon Schenker's text,
adding explanations of certain points in the commentary, references
to corrections and other remarks entered by Schenker in his
personal copies of the volumes, and graphic presentations of
several passages (a practice that became standard in Schenker's own
analytical work later in his career). Making these seminal works
accessible to English speaking scholars and students for the first
time, Beethoven's Last Piano Sonatas is an essential reference for
music theorists, historians, performers, and composers alike.
The Art of Performance draws on Schenker's experience as a musician and teacher to propose a sharp re-evaluation of how musical compositions are realized in performance. Schenker argues that much of contemporary performance practice is rooted in the nineteenth-century cult of the virtuoso, which has resulted in an overemphasis on technical display. To counter this, he suggests numerous ways to reconnect the composer's intentions and the musician's performance.
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