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Best known for his keyboard sonatas, the music of Soler shows the influence of Scarlatti without imitating it, including the sounds of Spanish dances and Italian influences. This sonata is a radiantly joyful, merry and mischievous, lively and light musical celebration. It is in 3/8 time, with running 16th notes, ornamentation, and nice dynamic contrasts.
This new series features carefully selected performance repertoire of the great masters from all eras. Each piece is accessible to students and creates a feeling of accomplishment. Diverse in style and expression, each selection features melodic, rhythmic, or harmonic patterning to allow for ease in teaching and memorization. The CD, performed by Valery Lloyd-Watts, provides a powerful auditory tool for musical interpretation. Lloyd-Watts studied at the Conservatory of Music in Toronto and the Royal College of Music in London. She earned a Master of Music degree from the University of Wisconsin, where she studied with Paul Badura-Skoda. She co-authored the text Studying Suzuki Piano: More than Music, which was endorsed by Dr. Suzuki.
This new series features carefully selected performance repertoire of the great masters from all eras. Each piece is accessible to students and creates a feeling of accomplishment. Diverse in style and expression, each selection features melodic, rhythmic, or harmonic patterning to allow for ease in teaching and memorization. The CD, performed by Valery Lloyd-Watts, provides a powerful auditory tool for musical interpretation. Valery Lloyd-Watts studied at the Conservatory of Music in Toronto and the Royal College of Music in London. She earned a Master of Music degree from the University of Wisconsin, where she studied with Paul Badura-Skoda. She co-authored the text Studying Suzuki Piano: More than Music, which was endorsed by Dr. Suzuki.
This collection of essays aims to broaden and update scholarly approaches to Schumann, by considering his works and their reception in the context of various cultural and socio-institutional frameworks, from mid-nineteenth-century politics, through Nazi Germany, to late-twentieth-century popular culture.
An ode to Beethoven's revolutionary masterpiece, his Third Symphony In 1805, the world of music was startled by an avant-garde and explosive new work. Intellectually and emotionally, Beethoven's Third Symphony, the "Eroica," rudely broke the mold of the Viennese Classical symphony and revealed a powerful new expressiveness, both personal and societal. Even the whiff of actual political revolution was woven into the work-it was originally inscribed to Napoleon Bonaparte, a dangerous hero for a composer dependent on conservative royal patronage. With the first two stunning chords of the "Eroica," classical music was transformed. In Beethoven's Eroica, James Hamilton-Paterson reconstructs this great moment in Western culture, the shock of the music and the symphony's long afterlife.
Franz Schubert (1797-1828) is now rightly recognized as one of the greatest and most original composers of the nineteenth century. His keen understanding of poetry and his uncanny ability to translate his profound understanding of human nature into remarkably balanced compositions marks him out from other contemporaries in the field of song. Schubert was one of the first major composers to devote so much time to song and his awareness that this genre was not rated highly in the musical hierarchy did not deter him, throughout a short but resolute and hard-working career, from producing songs that invariably arrest attention and frequently strike a deeply poetic note. Schubert did not emerge as a composer until after his death, but during his short lifetime his genius flowered prolifically and diversely. His reputation was first established among the aristocracy who took the art music of Vienna into their homes, which became places of refuge from the musical mediocrity of popular performance. More than any other composer, Schubert steadily graced Viennese musical life with his songs, piano music and chamber compositions. Throughout his career he experimented constantly with technique and in his final years began experiments with form. The resultant fascinating works were never performed in his lifetime, and only in recent years have the nature of his experiments found scholarly favor. In The Unknown Schubert contributors explore Schubert's radical modernity from a number of perspectives by examining both popular and neglected works. Chapters by renowned scholars describe the historical context of his work, its relation to the dominant artistic discourses of the early nineteenth century, and Schubert's role in the paradigmatic shift to a new perception of song. This valuable book seeks to bring Franz Schubert to life, exploring his early years as a composer of opera, his later years of ill-health when he composed in the shadow of death, and his efforts to reflect i
A great deal of evidence survives about how Brahms and his contemporaries performed his music. But much of this evidence - found in letters, autograph scores, treatises, publications, recordings, and more - has been hard to access, both for musicians and for scholars. This book brings the most important evidence together into one volume. It also includes discussions by leading Brahms scholars of the many issues raised by the evidence. The period spanned by the life of Brahms and the following generation saw a crucial transition in performance style. As a result, modern performance practices differ significantly from those of Brahms's time. By exploring the musical styles and habits of Brahms's era, this book will help musicians and scholars understand Brahms's music better and bring fresh ideas to present-day performance. The value of the book is greatly enhanced by the accompanying CD of historic recordings - including a performance by Brahms himself.
The knowledge that finales are by tradition (and perhaps also necessarily) 'different' from other movements has been around a long time, but this is the first time that the special nature of finales in instrumental music has been examined comprehensively and in detail. Three main types offinale, labelled 'relaxant', 'summative', and 'valedictory', are identified. Each type is studied closely, with a wealth of illustration and analytical commentary covering the entire period from the Renaissance to the present day. The history of finales in five important genres -- suite, sonata,string quartet, symphony, and concerto -- is traced, and the parallels and divergences between these traditions are identified. Several wider issues are mentioned, including narrativity, musical rounding, inter-movement relationships, and the nature of codas. The book ends with a look at thefinales of all Shostakovich's string quartets, in which examples of most of the types may be found.
Extensively revised with new material, the book also includes a study of Imogen Hoist's music and a chronological list of her works, revealing her as a composer of tremendous talent, whose music deserves to be much more familiar.