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A choral piece for SATB voicing, composed by Ludwig van Beethoven.
Most histories of nineteenth-century music portray 'the people' merely as an audience, a passive spectator to the music performed around it. Yet, in this reappraisal of choral singing and public culture, Minor shows how a burgeoning German bourgeoisie sang of its own collective aspirations, mediated through the voice of celebrity composers. As both performer and idealized community, the chorus embodied the possibilities and limitations of a participatory, national identity. Starting with the many public festivals at which the chorus was a featured participant, Minor's account of the music written for these occasions breaks new ground not only by taking seriously these often-neglected works, but also by showing how the contested ideals of German nationhood suffused the music itself. In situating both music and festive culture within the milieu of German bourgeois liberals, this study uncovers new connections between music and politics during a century that sought to redefine both spheres.
2 vols in 1.
Beethoven's 'Choral' Fantasy was first performed at the famous benefit concert on 22 December 1808 which also saw the premieres of the Fifth and Sixth Symphonies and the Fourth Piano Concerto. Scored, unusually, for solo piano, chorus and orchestra - the work was designed to unite all the performers in that concert in one work. Vocal Score with piano reduction of the orchestral accompaniment.
Part of Tovey's Essays in Musical Analysis, Concertos and Choral Works, companion volume to Symphonies and other Orchestral Works, contains some of Tovey's most important essays on Bach, Beethoven, Dvorak, Mozart, and Brahms. These writings are known for their clarity and wit, and are considered among the best of any classical music writing.
This volume contains two of Beethoven's most unusual, highly innovative and original works: the Concerto in C Major, Op. 56, for piano, violin, cello and orchestra; and the Fantasia in C Minor, Op. 80, for piano, chorus and orchestra. To this day, the "Triple Concerto" remains part of a rare breed in the literature--a fascinating symphonic framework of interaction between the classical orchestra and a trio of intimately interdependent soloists. The work remains a favorite vehicle of the great Beethoven specialists, with numerous recordings by legendary performers. The "Choral Fantasy" is a rarity in the Beethoven canon of ensemble music, uniting the virtuoso display of a semi-improvisational solo piano with the vocal and instrumental richness of chorus and orchestra. Said to have been composed under great time pressure, the Fantasy concludes with an extensive choral setting of a text by an unknown poet: "Schmeichelnd hold und lieblich klingen" ("Flatteringly lovely and fair are the sounds of our life’s harmonies...Accept gladly the gifts of beautiful art..."). Reprinted from the authoritative Breitkopf & Härtel editions, this volume offers musicians and music lovers an inexpensive, high-quality full score of two exceptional works.