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Volume I of Beethoven's Symphonies (Nos. 1-5) as transcribed for piano solo by Franz Liszt. Contents: * Opus 21, C Major * Opus 36, D Major * Opus 55, E-Flat Major * Opus 60, B-Flat Major * Opus 67, C Minor
A major step in the rediscovery of one of the towering composers of the twentieth century; this brings to Schmidt's music the scholarship it so richly merits. Franz Schmidt is increasingly being recognised as a major composer. His music covers symphonies, quartets, opera and oratorio, and works and organ. In all of these genres he proves himself a master of large-scale symphonic form and one of the most substantial lyric geniuses of all time. Schmidt spent most of his life in Austria [he died in Vienna in 1939] where his importance was universally agreed. Here, Harold Truscott, the outstanding authorityon Schmidt in the English-speaking world, examines the orchestral works, taking the reader and listener through each of these mighty scores. Introduced by the `Personal Recollections' of Hans Keller, who knew Schmidt well in pre-World-War-II Vienna, the book also features the first-ever translation into English of Schmidt's Autobiographical Sketch, where the composer tells of his early childhood in Hungary, his teenage years near Vienna and his life as acellist in the Vienna Philharmonic. HAROLD TRUSCOTT is a composer and writer. He was Principal Lecturer in Music at Huddersfield Polytechnic and has performed widely as a pianist in recital, broadcast and concert work.
Using one of the most famous works in classical music—Beethoven’s Fifth Symphony—here is the perfect way to introduce a young child to the world of classical music. This charming and interactive picture book with its panel of 19 sound buttons is like a ticket to a concert hall, taking readers on a journey from the exciting first moment when the musicians begin tuning up to the end of the first movement (attention newcomers: don’t clap yet!). At each step of the way, readers learn the basics of classical music and the orchestra: What is a conductor? What is a symphony? Who was Beethoven? The different aspects of music: melody, harmony, tempo, theme. And the families of instruments—strings, woodwinds, brass, and percussion. But the best part is that every critical idea is illustrated in gorgeous sound. The sound panel allows readers to hear the different parts of the symphony and voices of the music—the famous beginning of the Fifth, what a clarinet sounds like, the difference between a violin and a viola, what a melody is, and what harmony is. Kids will want to match their voices to the A note that tunes the orchestra, dance to the rhythmic passages—and, of course, sing along to da-da-da-daah!
Central to the repertoire of Western art music since the 18th century, the symphony has come to be regarded as one of the ultimate compositional challenges. In his five-volume series The Symphonic Repertoire, the late A. Peter Brown explores the symphony from its 18th-century beginnings to the end of the 20th century. In Volume 1, The Eighteenth-Century Symphony, 22 of Brown's former students and colleagues collaborate to complete the work that he began on this critical period of development in symphonic history. The work follows Brown's outline, is organized by country, and focuses on major composers. It includes a four-chapter overview and concludes with a reframing of the symphonic narrative. Contributors address issues of historiography, the status of research, and questions of attribution and stylistic traits, and provide background material on the musical context of composition and early performances. The volume features a CD of recordings from the Bloomington Early Music Festival Orchestra, highlighting the largely unavailable repertoire discussed in the book.
Volume I of Beethoven's Symphonies (Nos. 1-5) as transcribed for piano solo by Franz Liszt. 204 pages. Contents: Opus 21, C Major * Opus 36, D Major * Opus 55, E-Flat Major * Opus 60, B-Flat Major * Opus 67, C Minor.
Exploding the assumption that black women's only important musical contributions have been in folk, jazz, and pop Helen Walker-Hill's unique study provides a carefully researched examination of the history and scope of musical composition by African American women composers from the nineteenth and twentieth centuries. Focusing on the effect of race, gender, and class, From Spirituals to Symphonies notes the important role played by individual personalities and circumstances in shaping this underappreciated category of American art. The study also provides in-depth exploration of the backgrounds, experiences, and musical compositions of eight African American women including Margaret Bonds, Undine Smith Moore, and Julia Perry, who combined the techniques of Western art music with their own cultural traditions and individual gifts. Despite having gained national and international recognition during their lifetimes, the contributions of many of these women are today forgotten.
"Brahms was a famously complex character: an irascible curmudgeon, and a famously learned composer who took tremendous pride in composing tuneful, expressive melodies of great popular appeal. This accounts at least in part for the enduring esteem that his symphonies enjoy among musicians, scholars, and the listening public alike. This duality between the learned and the popular sides of Brahms' musical personality has made his music as difficult to analyze and discuss as was his singularly complex and mysterious personal life. This book attempts to aid the general listener in bridging the gap between these two seemingly irreconcilable aspects of Brahms' character, aspects that are particularly in evidence, and balanced with particular poise, in his four symphonies. First, author David Hurwitz examines Brahms' place in the German symphonic tradition, his obsessive preoccupation with his place in the grand line of classical composers stretching back to Bach, and proceeding through Haydn, Mozart, Beethoven, and Schumann. Despite his ongoing struggle to master orchestral writing, Hurwitz argues that Brahms did achieve a unique symphonic style, one found nowhere else in his (or anyone else's) works in symphonic form. Finally, each symphony is described from two perspectives: in the most helpful musical context, and then also in movement by movement descriptions of Brahms' expressive argument. Finally, a list of recommended recordings concludes a discussion that shows today's music lovers that the riches contained in these perennially attractive works do not hide beneath the surface, but in fact lie liberally scattered in plain view, just waiting to be savored." --Back cover.