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Expertly arranged choral score with German and English text.
Ferruccio Busoni's conception of the musical work derives from his multiple roles as performer, aesthetician, editor, composer, arranger, and intellectual. Drawing on unpublished scores, manuscripts, sketches and documents from the Staatsbibliothek in Berlin, concert programs from a private collection in Berkeley, acoustic recordings, information about Busoni's intellectual interests gleaned from an auction catalogue featuring the contents of his extensive library, and the published aesthetic writings, letters, and compositions, the present study offers the first comprehensive account of Busoni's work concept. By establishing connections between his ideas and his musical practice, it explores and clarifies the reasoning behind his idiosyncratic compositional style, a style characterized by a blurring of boundaries between original and borrowed material. Polystylistic mixtures of the old and new and a distinctive performance style, in which Busoni creatively altered and embellished existing texts, exemplify his practice in an age in thrall to Werktreue, when originality of idea was prized above all else.
"This book presents a broad view of Busoni's compositional activities as not only connected to musical traditions of the past, especially the music of J.S. Bach and W.A. Mozart, but also as closely aligned with contemporary interest in experimentalism. Developments during the twentieth century included new means of pitch organization, the spatialization of sound, and the expansion of formal structures. Busoni helped pioneer these trends by writing pieces in which sound radiates from different directions, by creating montage formal structures, and by freely using all twelve pitches of the chromatic scale without avoiding consonances. In the process, the book brings Busoni's music into discourse with recent multivalent accounts of modernism in music that move beyond notions of rupture with the past as well as beyond elitist esotericism. In addition, it reveals that many of Busoni's innovations were rooted in interdisciplinary thinking that reconciled the spatial and the temporal in unique manners. While his abstract metaphysical notions of music transcended physical boundaries, the realization of his ideas was informed by an understanding of tangible architectural spaces and styles fostered by the study of buildings and floor plans. In addition, he engaged in a rich exchange of ideas with contemporary architects and artists, such as Henry Van de Velde and members of the Weimar Bauhaus. The book concludes by documenting ways Busoni's spatialized architectural music left a lasting imprint on future generations of composers, artists, and early film pioneers, such as Hans Richter, Heinrich Neugeboren, Wladimir Vogel, Stefan Wolpe, and Edgard Varèse"--
Bach wrote over 300 cantatas. This is the most famous section from Cantata No. 208. This setting for 2 clarinets and keyboard (piano or organ) will be equally well received in both churches and recital halls.
There have been numerous publications in the last decades on the Bible in literature, film, and art. But until now, no reference work has yet appeared on the Bible as it appears in Western music. In The Bible in Music: A Dictionary of Songs, Works, and More, scholars Siobhán Dowling Long and John F. A. Sawyer correct this gap in Biblical reference literature, providing for the first time a convenient guide to musical interpretations of the Bible. Alongside examples of classical music from the Middle Ages through modern times, Dowling Long and Sawyer also bring attention to the Bible’s impact on popular culture with numerous entries on hymns, spirituals, musicals, film music, and contemporary popular music. Each entry contains essential information about the original context of the work (date, composer, etc.) and, where relevant, its afterlife in literature, film, politics, and liturgy. It includes an index of biblical references and an index of biblical names, as well as a detailed timeline that brings to the fore key events, works, and publications, placing them in their historical context. There is also a bibliography, a glossary of technical terms, and an index of artists, authors, and composers. The Bible in Music will fascinate anyone familiar with the Bible, but it is also designed to encourage choirs, musicians, musicologists, lecturers, teachers, and students of music and religious education to discover and perform some less well-known pieces, as well as helping them to listen to familiar music with a fresh awareness of what it is about.
(Instrumental). Easy Improvisation is a great way to learn the basics of improvising, on your own, with friends, or with the whole band! Musicians are given guidance to play along in parts, to play along with written-out solos, or to improvise on their own. The audio tracks include demonstration of the music on the page, or just the background rhythms and chords. 30 different styles are included: rock 'n' roll, hip-hop, jazz, EDM, country, Bossa Nova, calypso, cha-cha, reggae, and more. Use sample solos and other tips to start improvising today!
In the eighteenth century the universal harmony of God's creation and the perfection of the unity (1:1) were philosophically, morally and devotionally significant. Ruth Tatlow employs theoretical evidence and practical demonstrations to explain how and why Bach used numbers in his published compositions.
This book a offers a multitude of provocative new perspectives on one of the most iconic composers in the Western classical tradition. Its collective rethinking of some of our most cherished narratives and deeply held beliefs about Johann Sebastian Bach will allow readers to see the man in a new light and to hear his music with new ears.
Now available in paperback, this landmark biography was first published in 2000 to mark the 250th anniversary of J. S. Bach's death. Written by a leading Bach scholar, this book presents a new picture of the composer. Christoph Wolff demonstrates the intimate connection between Bach's life and his music, showing how the composer's superb inventiveness pervaded his career as a musician, composer, performer, scholar, and teacher.
Turiddu, a young villager, is the son of Lucia, and the lover of Lola, (who is the wife of Alfio; having married the latter during Turiddu's prolonged absence in military service). Turiddu wins the affections of Santuzza, whom he wrongs; while, in the meantime, he is intimate with Lola. On Easter morning, (the opening of the opera), Alfio is incidentally informed, by Santuzza, of his wife's unfaithful actions. He challenges Turiddu (biting the ear, as was the rustic Sicilian custom). Turiddu, though regretting his past evil course, accepts the challenge and is killed by Alfio.