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Complete score of The Art of Fugue plus extensive commentary features all 14 fugues plus the four canons. The commentary outlines the fugues' contrapuntal devices and offers keen observations on the composer's craftsmanship.
Title: The Art of the Fugue, BWV 1080 Composer: Johann Sebastian Bach The complete Art of the Fugue by Johann Sebastian Bach, as adapted for Piano by Carl Czerny. Performer's Reprints are produced in conjunction with the International Music Score Library Project. These are out of print or historical editions, which we clean, straighten, touch up, and digitally reprint. Due to the age of original documents, you may find occasional blemishes, damage, or skewing of print. While we do extensive cleaning and editing to improve the image quality, some items are not able to be repaired. A portion of each book sold is donated to small performing arts organizations to create jobs for performers and to encourage audience growth.
Features a historical survey of writings on the fugue from the Renaissance to the present as well as four 18th-century studies: works by J. J. Fux, F. W. Marpurg, and more. Includes introductions, commentary, and 255 musical examples.
A free ebook version of this title is available through Luminos, University of California Press’s new open access publishing program for monographs. Visit www.luminosoa.org to learn more. Fugue for J. S. Bach was a natural language; he wrote fugues in organ toccatas and voluntaries, in masses and motets, in orchestral and chamber music, and even in his sonatas for violin solo. The more intimate fugues he wrote for keyboard are among the greatest, most influential, and best-loved works in all of Western music. They have long been the foundation of the keyboard repertory, played by beginning students and world-famous virtuosi alike. In a series of elegantly written essays, eminent musicologist Joseph Kerman discusses his favorite Bach keyboard fugues—some of them among the best-known fugues and others much less familiar. Kerman skillfully, at times playfully, reveals the inner workings of these pieces, linking the form of the fugues with their many different characters and expressive qualities, and illuminating what makes them particularly beautiful, powerful, and moving. These witty, insightful pieces, addressed to musical amateurs as well as to specialists and students, are beautifully augmented by performances made specially for this volume: Karen Rosenak, piano, playing two preludes and fugues fromTheWell-Tempered Clavier—C Major, book 1; and B Major, book 2--and Davitt Moroney playing the Fughetta in C Major, BWV 952, on clavichord; the Fugue on "Jesus Christus unser Heiland," BWV 689, on organ; and the Fantasy and Fugue in A Minor, BWV 904, on harpsichord.
Franz Liszt's transcriptions of other composers' music are as highly regarded as his original piano works. Some listeners Schumann among them consider Liszt's painstaking transcriptions to be completely new works. Using his gifts for fathoming the deepest meanings of a given piece, Liszt also created a uniquely revealing work. In addition to drawing attention to composers and works that would otherwise have remained unknown to a wider public, Liszt's piano transcriptions introduced the instrument to uncharted territory: for the first time, a keyboard could be used to reproduce the sound of any instrument. The composer brought numerous innovations to the practice of piano playing to achieve the richness and color of the original works, from the technique of hand crossing to revolutionary changes in the use of the pedals. First acquainted with the works of Bach through his piano studies, Liszt further explored the earlier composer's works in his career as a virtuoso performer. His piano interpretations of Bach's organ music are executed in a simple and straightforward manner, and they rapidly became the classic models for all future works in this genre. This compilation, featuring such famous and well-loved works as Six Organ Preludes and Fugues (BWV 543 548) and the Fantasy and Fugue in G minor (BWV 542), attests to their enduring power and beauty. "
The extraordinary range, complexity and power of Marguerite Duras – novelist, dramatist, film-maker, essayist – has been justly recognized. Yet in the years following her death in 1996, there has been an increasing tendency to consecrate her work, particularly by those critics who approach it primarily in biographical terms. The British and American specialists featured in this interdisciplinary collection aim to resurrect the Duras corpus in all its forms by submitting it theoretically to three main areas of enquiry. By establishing how far Duras’s work questions and redefines the parameters of literary and cinematic form, as well as the categories of race and ethnicity, homosexuality and heterosexuality, fantasy and violence, the contributors to this volume "revision" Duras’s work in the widest sense of the term.