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An Organ solo composed by Charles-Marie Widor.
An Organ solo composed by Charles-Marie Widor.
Building on ideas first advanced by Arnold Schoenberg and later developed by Erwin Ratz, this book introduces a new theory of form for instrumental music in the classical style. The theory provides a broad set of principles and a comprehensive methodology for the analysis of classical form, from individual ideas, phrases, and themes to the large-scale organization of complete movements. It emphasizes the notion of formal function, that is, the specific role a given formal unit plays in the structural organization of a classical work.
A century after his death Anton Bruckner still remains one of the most complex and enigmatic creative personalities of the nineteenth century. A leading avant-garde figure of his generation, he was an accomplished performer and teacher in addition to being a great composer; few people in the history of western music can boast his level of achievement in all these areas combined. This book, a collection of essays written by an international group of scholars, offers diverse theoretical and musicological perspectives on Bruckner the composer-teacher-performer. Facets of his formidable theoretical training and his application of it as part of the compositional process are explored. A variety of analytical methodologies is used to examine the Second through to the Ninth Symphonies, the heart of the composer‘s mature repertoire. Finally, aspects of Bruckner‘s career as a teacher and performer, his complex personality, his influence and dissemination of his music are considered.
In this completely rewritten and updated edition of his long-indispensable study, Malcolm MacDonald takes advantage of 30 years of recent scholarship, new biographical information, and deeper understanding of Schoenberg's aims and significance to produce a superb guide to Schoenberg's life and work. MacDonald demonstrates the indissoluble links among Schoenberg's musical language (particularly the enigmatic and influential twelve-tone method), his personal character, and his creative ideas, as well as the deep connection between his genius as a teacher and as a revolutionary composer. Exploring newly considered influences on the composer's early life, MacDonald offers a fresh perspective on Schoenberg's creative process and the emotional content of his music. For example, as a previously unsuspected source of childhood trauma, the author points to the Vienna Ringtheater disaster of 1881, in which hundreds of people were burned to death, including Schoenberg's uncle and aunt-whose orphaned children were then adopted by Schoenberg's parents. MacDonald brings such experiences to bear on the music itself, examining virtually every work in the oeuvre to demonstrate its vitality and many-sidedness. A chronology of Schoenberg's life, a work-list, an updated bibliography, and a greatly expanded list of personal allusions and references round out the study, and enhance this new edition.
A compilation of forty compositions for piano by eighteen Czech composers of the late 18th to the early 20th century, accompanied by biographical information, analysis, interpretive suggestions for each piece, and listings of recommended repertoire, editions, recordings, and source material for each composer.
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
Leading authorities explore, in direct and accessible language, chamber-music masterpieces by twenty-one prominent composers since 1900.
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. Surprisingly, heretofore there has been no truly extensive, broad-based treatment of the genre, and the best of the existing studies are now several decades old. In this five-volume series, A. Peter Brown explores the symphony from its 18th-century beginnings to the end of the 20th century. Synthesizing the enormous scholarly literature, Brown presents up-to-date overviews of the status of research, discusses any important former or remaining problems of attribution, illuminates the style of specific works and their contexts, and samples early writings on their reception. The Symphonic Repertoire provides an unmatched compendium of knowledge for the student, teacher, performer, and sophisticated amateur. The series is being launched with two volumes on the Viennese symphony. Volume II The First Golden Age of the Viennese Symphony Haydn, Mozart, Beethoven, and Schubert Volume II considers some of the best-known and most universally admired symphonies by Haydn, Mozart, Beethoven, and Schubert, who created what A. Peter Brown designates as the first golden age of the Viennese symphony during the late 18th and first three decades of the 19th century. The last two dozen symphonies by Haydn, half dozen by Mozart, and three by Schubert, together with Beethoven's nine symphonies became established in the repertoire and provided a standard against which every other symphony would be measured. Most significantly, they imparted a prestige to the genre that was only occasionally rivaled by other cyclic compositions. More than 170 symphonies from this repertoire are described and analyzed in The First Golden Age of the Viennese Symphony, the first volume of the series to appear.