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A great deal of evidence survives about how Brahms and his contemporaries performed his music. But much of this evidence - found in letters, autograph scores, treatises, publications, recordings, and more - has been hard to access, both for musicians and for scholars. This book brings the most important evidence together into one volume. It also includes discussions by leading Brahms scholars of the many issues raised by the evidence. The period spanned by the life of Brahms and the following generation saw a crucial transition in performance style. As a result, modern performance practices differ significantly from those of Brahms's time. By exploring the musical styles and habits of Brahms's era, this book will help musicians and scholars understand Brahms's music better and bring fresh ideas to present-day performance. The value of the book is greatly enhanced by the accompanying CD of historic recordings - including a performance by Brahms himself.
IMPRESSIONS THAT REMAINED emoirs By ETHEL SMYTH Introduction by ERNEST NEWMAN NEW YORK ALFKED A. EDSTOPF 1 946 FIRST PUBLISHED 1919 by Longmans, Green Co., Ltd RESET AND REPRINTED September 1946 INTRODUCTION COPYRIGHT 1946 by Alfred A. Knopf, Inc. All rights reserved. No part of this book may be reproduced in any form without permission in writing from the publisher, except by a reviewer who may quote brief passages or reproduce not more than three illustrations in a review to be printed in a magazine or newspaper. Manufactured in the United States of America. Published simul taneously in Canada by The Ryerson Press. This is a Borzoi Book, published by Alfred A, Knopf, Inc. The Author, agd afam jfk e IN MEMORY OF M E P THE HON. LADY PONSONBY AND OF OUR LONG FRIENDSHIP 1890 1916 1 find Lady Ponsonby, the wise judge the firm Liberal, more and more de lightful at last one feels she is getting old she is eighty-two. She is like a fine flame kindled by sea-logs and sandlewood good to watch and good to warm the mind at, and the heart too. EDITH SICHELL 1914 INTRODUCTION Ethel Smyths Impressions That Remained when it was first published in England I expressed the opinion that this was one of the half-dozen best autobiographies in the English language. This estimate has been confirmed by a recent re-reading of it for the present American edition. But there are several other books by the same author equally worth reading, for Ethel Smyth was one of the most remarkable women of her epoch and I am glad that a request from Mr. Alfred Knopf to furnish an Introduction to this new edition affords me an opportunity of telling the American musi cal public more about her than is contained in her firstbook. The autobiography may be trusted to tell its own story so far as it goes. But it was issued in 1919, and a great deal happened be tween then and the authors death in 1944. The memoirs, apart from a brief reference in the Epilogue to friends or incidents of the years immediately following, carry us only as far as 1892. Writing as she did in 1918 her scope was necessarily restricted here and there by the fact that several people who had played a considerable part in her life-story were still alive. One of these was the Ex-Empress Eug6-nie of France, with whom she was on terms of close friendship for more than a quarter of a century from 1890 onwards, the Empresss English estate at Farnborough Hill being close to the Smyth house at Frimley and to later residences of Ethel. It would obviously have been impossible for the author to write about the Empress at any length or with any freedom while she was still alive. She died, at the age of ninety-five in July 1920 a year or so after the publication of the Impressions and in her second book, Streaks of Life 1921, Ethel Smyth painted a portrait of her that is not only fascinating in itself but of value to students and historians of the Second Empire. The passing of the Empress from the scene also placed the author Introduction at liberty to indulge in some amusing reminiscences of the old Queen Victoria, with whom she had come into contact through Eug6nie they include the rich story, told with rich humour, of the dreadful breach of etiquette of which Ethel was innocently guilty at an after-dinner reception at Balmoral. At one end of the large room was a fireplace, and in front of this a hearthrug on which, in remote dignity, the Queen wasstanding with the Empress. Lead ing up to the two august ladies, says Ethel, was an avenue composed of royal personages ranged, as I afterwards found out, in order of precedence, the highest in rank being closest to the hearthrug which avenue, broadening towards its base, gradually became mere ladies and gentlemen of the Court, and finally petered out in a group of Maids of Honour huddled ingloriously in the bay-window...
This “thrilling study of Gustav Mahler’s Symphony No 8 . . . makes a strong case for its quality . . . we shall never listen to it in the same way again” (Guardian, UK). On September 12, 1910, Gustav Mahler’s Eighth Symphony had its world premiere at Munich’s new Musik Festhalle. It was the artistic breakthrough for which the composer had yearned all his life. An array of royals and stars from the musical and literary world were in attendance, including Thomas Mann and the young Arnold Schoenberg. Also present were Alma Mahler, the composer’s wife, and Alma’s longtime lover, the architect Walter Gropius. In The Eighth, Stephen Johnson provides a masterful account of the symphony’s far-reaching consequences and its effect on composers, conductors, and writers of the time. The Eighth looks behind the scenes at the demanding one-week rehearsal period leading up to the premiere—something unheard of at the time—and provides fascinating insight into Mahler’s compositional habits, his busy life as a conductor, his philosophical and literary interests, and his personal and professional relationships. Johnson expertly contextualizes Mahler’s work among the prevailing attitudes and political climate of his age, considering the art, science, technology, and mass entertainment that informed the world in 1910. The Eighth is an absorbing history of a musical masterpiece and the troubled man who created it.
This book addresses the ways in which masculinity is negotiated, constructed, represented, and problematized within operatic music and practice. Although the consideration of masculine ontology and epistemology has pervaded cultural and sociological studies since the late 1980s, and masculinity has been the focus of recent if sporadic musicological discussion, the relationship between masculinity and opera has so far escaped detailed critical scrutiny. Operating from a position of sympathy with feminist and queer approaches and the phallocentric tendencies they identify, this study offers a unique perspective on the cultural relativism of opera by focusing on the male operatic subject. Anchored by musical analysis or close readings of musical discourse, the contributions take an interdisciplinary approach by also engaging with theatre, popular music, and cultural musicology scholarship. The various musical, theoretical, and socio-political trajectories of the essays are historically dispersed from seventeenth to twentieth- first-century operatic works and practices, visiting masculinity and the operatic voice, the complication or refusal of essentialist notions of masculinity, and the operatic representation of the ‘crisis’ of masculinity. This volume will not only enliven the study of masculinity in opera, but be an appealing contribution to music scholars interested in gender, history, and new musicology.
Reprint of the original, first published in 1836.
This résumé study deals with building material, which together with construction and structures, forms one of the three aspects of building, or equally one of the three factors which constitute the nature of a building. The print edition is available as a set of two volumes (9789004140073).