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First Published in 1995. This title is volume 4 in a series comprising nearly 300 romances and mélodies, most of which were composed during the 40 years that saw a blossoming of the romantic spirit in all the arts in France. The composers represented in this volume were of a rather serious turn of musical mind and many of the songs presented seem to have enjoyed the more sheltered success of the private recital to which the critics may not have been invited.
A multidisciplinary index covering the journal literature of the arts and humanities. It fully covers 1,144 of the world's leading arts and humanities journals, and it indexes individually selected, relevant items from over 6,800 major science and social science journals.
W HAT I H A V E attempted in this book is a survey of song; the kind of song which one finds variously described as 'concert', 'art', or sometimes even 'classical song'. 'Concert song' seems the most useful, certainly the least inexact or misleading, of some descriptions, especially since 'art song' sounds primly off putting, and 'classical song' really ought to be used only to refer to songs written during the classical period, i. e. the 18th century. Concert song clearly means the kind of songs one hears sung at concerts or recitals. Addressing myself to the general music-lover who, though he possesses no special knowledge of the song literature, is never theless interested enough in songs and their singers to attend recitals of Lieder or of songs in various languages, I have naturally confined myself to that period of time in which the vast majority of these songs was composed, though not necessarily only to those composers whose songs have survived to be remembered in recital programmes today. I suppose this to be roughly the three centuries covered by the years 1650-1950, though most of the songs we, as audiences, know and love were composed in the middle of this period, in other words in the 19th century.
The Life of Berlioz situates the celebrated French musician in the vibrant and highly politicized musical culture of the periods of the Bourbon Restoration, July Monarchy, Second Republic, and Second Empire in which he lived and worked as composer, conductor, concert manager, and writer. The author of the Symphonie fantastique was indeed possessed of a fertile and fantastical imagination; but the common image of Berlioz as a misunderstood and mistreated genius obscures both the solidity of his work as a musical architect and the reality of his position as one sometimes favored by those in power. Berlioz is the quintessential romantic composer by dint of the conspicuous intermingling of art and life that marks his musical and literary output. Studying this away from the subjective sentimentality that can still mar studies of the composer in France, serves only to enhance the uncommon radiance of his music and uncommon esprit of his art.
In España: Six Album Leaves, Op. 165, Albéniz magically transports the listener to colorful locations, each with its own special Spanish flavor. These musical "postcards" are not particularly difficult to play, and are somewhere between the late intermediate and early advanced levels. This edition aids in interpretation through added fingerings, pedal and indications for subtle changes in tempo, which are integral to the performance of Spanish music. Dr. Kuehl-White studied in Barcelona with legendary Spanish pianist Alicia de Larrocha, who provided a tremendous legacy regarding the performance practice traditions of Albéniz’s music. España was initially published with many errors and omissions. Over the years, editors have produced new editions with some corrections, but little interpretive assistance. This edition not only contains numerous corrections, but also aids in interpretation through various additions in the score. Titles: * Prélude * Tango * Malagueña * Serenata * Capricho Catalán * Zortzico