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Ferruccio Busoni’s Duettino concertante for two pianos, four hands, is based on Mozart's Finale of Concerto No. 19 in F Major, K. 459, for piano and orchestra. Edited by the dynamic piano duo team of Anderson & Roe, this work is a brilliant example of Busoni’s prowess as a transcriber as it retains the lightness and clarity of Mozart’s textures while utilizing the resources of the modern piano. Metronome marks are editorial and ornaments are realized in footnotes. Fingerings, dynamics, and articulation have been supplemented by the editors. Two copies required.
Larry Sitsky, professor emeritus at The Australian National University, is an internationally known composer, pianist, scholar, and teacher. His books are fundamental reference works on subjects such as Australian piano music, the 20th-century avant-garde, the piano music of Anton Rubinstein, the early 20th-century Russian avant-garde, and the classical reproducing piano roll. The Compleat Busoni is the result of Sitsky’s lifelong focus on the composer Ferruccio Busoni. Over three volumes, Sitsky surveys Busoni’s vast output, provides an ending to the unfinished opera Dr. Faust, and presents definitive realisations of the Fantasia Contrappuntistica in two-piano and orchestral versions. New insights into Busoni’s style and aesthetics are an integral aspect of this work.
Ferruccio Busoni's conception of the musical work derives from his multiple roles as performer, aesthetician, editor, composer, arranger, and intellectual. Drawing on unpublished scores, manuscripts, sketches and documents from the Staatsbibliothek in Berlin, concert programs from a private collection in Berkeley, acoustic recordings, information about Busoni's intellectual interests gleaned from an auction catalogue featuring the contents of his extensive library, and the published aesthetic writings, letters, and compositions, the present study offers the first comprehensive account of Busoni's work concept. By establishing connections between his ideas and his musical practice, it explores and clarifies the reasoning behind his idiosyncratic compositional style, a style characterized by a blurring of boundaries between original and borrowed material. Polystylistic mixtures of the old and new and a distinctive performance style, in which Busoni creatively altered and embellished existing texts, exemplify his practice in an age in thrall to Werktreue, when originality of idea was prized above all else.
In the 1960s, a young American president helped initiate the civil rights movement, captured the imagination of a nation with the establishment of the Peace Corps, launched the space age, nurtured the birth of the computer/digital age, and began the escalation of a war in Southeast Asia that exacted a horrific toll on the lives and emotions of his countrymen. Sheltered by the foothills of the White Mountains from the world events swirling around it, Dartmouth College resplendently approached 1969—the 200th anniversary of its founding as a school for Native Americans. As the smallest of the Ivy League schools, it was known for its dedication to a rigorous undergraduate education, its isolation from urban centers and sports prowess, and the intriguing manifestations of its all-male culture. In Days of Splendor, Hours like Dreams, author and 1967 Dartmouth College graduate Charles “Chuck” A. Hobbie offers a detailed, frank, and unpretentious memoir. Hobbie remembers the splendor and the fullness of his undergraduate days in the last decade of Dartmouth’s all-male culture. He recounts the minutiae of his courses; friendships with classmates; his dates; and the faculty; academic, social, musical, and sporting events; the extraordinary beauty of the college’s location; and his evolving affection for the remarkable school where hours passed like dreams.