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Tchaikovsky's final symphony has fascinated generations of music lovers, amateur and specialist alike, since its first performance just over a century ago. Timothy L. Jackson explores sensitively and without prejudice the question of the Pathétique's program and its relation to Tchaikovsky's homosexuality and death. The book covers the work's conception, genesis, and reception, and presents an in-depth analysis of its remarkable formal structure. The reception chapter investigates the Pathétique's impact on Tchaikovsky's younger contemporaries, most notably Mahler and Rachmaninov, and on more recent Russian composers like Shostakovich and Schnittke. Also explored is the dark side of the symphony's political interpretation in the twentieth century, especially its transformation into a cultural icon of the Third Reich.
This method begins with a review of the concepts presented in Level 2, then introduces new pieces and lessons in new keys to prepare the student for more advanced studies. Includes a "Just for Fun" section and an "Ambitious" section for the student who will devote a little extra effort toward learning some of the great masterworks that require additional practice.
Tchaikovskyʼs Sixth Symphony (1893), widely recognized as one of the worldʼs most deeply tragic compositions, is also known for the mystery surrounding its hidden programme and for Tchaikovskyʼs unexpected death nine days after its premiere. While the sensational speculations about the composerʼs possible planned suicide and the suggestion that the symphony was intended as his own requiem have long been discarded, the question of its programme remains.
This easy step-by-step method emphasizes correct playing habits and note reading through interval recognition. Lesson Book 2 continues where Level 1B finishes. This book introduces dotted half notes and dotted quarter notes, plus intervals of 6ths, 7ths and octaves. Teaches greater movement of the hands, including crossing two over one and scalework. Students will also learn more about triads, primary chords, and blocked and broken chords. Songs Include: 18th Century Dance * Alouette * Blue Scales * Calypso Carnival * The Can-Can * Cockles and Mussels * The Galway Piper * Get Away! * Got Lotsa Rhythm * Kum-ba-yah! * Lavender's Blue * London Bridge * Lone Star Waltz * Malaguena * Nick Nack Paddy Wack * Ode to Joy * Oh! Susanna! * On the Bridge at Avignon * Our Special Waltz * Prelude * Red River Valley * Sarasponda * Square Dance * When You Grow Up * Why Am I Blue?
A thrilling new biography of Pyotr Ilyich Tchaikovsky--composer of some of the world's most popular orchestral and theatrical music "A lively, argumentative and thoughtful reflection on one of the 19th century's most important musical figures."--Michael O'Donnell, Wall Street Journal Tchaikovsky is famous for all the wrong reasons. Portrayed as a hopeless romantic, a suffering melancholic, or a morbid obsessive, the Tchaikovsky we think we know is a shadow of the fascinating reality. It is all too easy to forget that he composed an empire's worth of music, and navigated the imperial Russian court to great advantage. In this iconoclastic biography, celebrated author Simon Morrison re-creates Tchaikovsky's complex world. His life and art were framed by Russian national ambition, and his work was the emanation of an imperial subject: kaleidoscopic, capacious, cosmopolitan, decentred. Morrison reexamines the relationship between Tchaikovsky's music, personal life, and politics; his support of Tsars Alexander II and III; and his engagement with the cultures of the imperial margins, in Ukraine, Poland, and the Caucasus. Tchaikovsky's Empire unsettles everything we thought we knew--and gives us a vivid new appreciation of Russia's most popular composer.
The result is a dynamic portrayal of the composer, with all the complexities and paradoxes of a real life.
The Sea Watch is the sixth book in the critically acclaimed epic fantasy series Shadows of the Apt by Adrian Tchaikovsky. Danger lurks beneath dark waters . . . A shadow is falling over Collegium. Despite the tenuous peace, Stenwold Maker knows that the Empire will return for his city. Even as he tries to prepare for the resurgence of the black and gold army, a hidden threat is working against his people. Ships that sail from Collegium's harbour are being attacked, sunk by pirates. Some just go missing . . . Lulled by the spread of lies and false promises, Stenwold's allies are falling away. He faces betrayal on every side, and the Empire is just waiting for the first sign of weakness to strike. But they are not the only power that has its eyes on Collegium. And even with all their military strength and technology, they may not be powerful enough to stave off the forces massing in the darkness. The Sea Watch is followed by the seventh book in the Shadows of the Apt series, Heirs of the Blade.
This volume gathers 36 essays by one of the leading scholars in the study of Russian music. An extensive introduction lays out the main issues and a justification of Taruskin's approach, seen both in the light of his intellectual development and in that of the changing intellectual environment.
In this ground-breaking synthesis of art and science, Diana Deutsch, one of the world's leading experts on the psychology of music, shows how illusions of music and speech--many of which she herself discovered--have fundamentally altered thinking about the brain. These astonishing illusions show that people can differ strikingly in how they hear musical patterns--differences that reflect variations in brain organization as well as influences of language on music perception. Drawing on a wide variety of fields, including psychology, music theory, linguistics, and neuroscience, Deutsch examines questions such as: When an orchestra performs a symphony, what is the "real" music? Is it in the mind of the composer, or the conductor, or different members of the audience? Deutsch also explores extremes of musical ability, and other surprising responses to music and speech. Why is perfect pitch so rare? Why do some people hallucinate music or speech? Why do we hear phantom words and phrases? Why are we subject to stuck tunes, or "earworms"? Why do we hear a spoken phrase as sung just because it is presented repeatedly? In evaluating these questions, she also shows how music and speech are intertwined, and argues that they stem from an early form of communication that had elements of both. Many of the illusions described in the book are so striking and paradoxical that you need to hear them to believe them. The book enables you to listen to the sounds that are described while reading about them.
A giant in the pantheon of 19th century composers, Tchaikovsky continues to enthrall audiences today. From the Nutcracker--arguably the most popular ballet currently on the boards--Swan Lake, and Sleeping Beauty, to Eugene Onegin and Pique Dame, to the Symphony Pathetique and the always rousing, canon-blasting 1812 Overture--this prolific and beloved composer's works are perennial favorites. Now, John Wiley, a renowned Tchaikovsky scholar, provides a fresh biography aimed in classic Master Musicians style at the student and music lover. Wiley deftly draws on documents from imperial, Soviet, and post-Soviet era sources, providing a more balanced look at recent controversies surrounding the marriage, death, and sexuality of the composer. The author dovetails the biographical material with separate chapters that treat the music thoroughly and fully, work-by-work, with more substantial explorations of Tchaikovsky's most familiar compositions. These analyses present new, even iconoclastic perspectives on the music and the composer's intent and expression. Several informative appendices, in the Master Musicians format, include an exhaustive list of works and bibliography.