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An engaging window into a century of musical life, as seen in the history of the Pro Arte String Quartet, first organized in 1912 and still performing today.
Notes for Violists: A Guide to the Repertoire offers historical and analytical information about thirty-five of the best-known pieces for the instrument, making it an essential resource for professional, amateur, and student violists alike. With engaging prose supported by fact-filled analytical charts, the book offers rich biographical information and insightful analyses that help violists gain a more complete understanding of pieces like Béla Bartók's Concerto for Viola and Orchestra, Rebecca Clarke's Sonata for Viola and Piano, Robert Schumann's Märchenbilder for Viola and Piano, op. 113, Carl Stamitz's Concerto for Viola and Orchestra in D Major, Igor Stravinsky's Élégie for Viola or Violin Unaccompanied, and thirty other masterpieces. This comprehensive guide to key pieces from the viola repertoire from the eighteenth through the twentieth century covers concertos, chamber pieces, and works for solo viola by a wide range of composers, including Bach, Telemann, Mozart, Hoffmeister, Walton, and Hindemith. Author David M. Bynog not only offers clear structural analyses of these compositions but also situates them in their historical contexts as he highlights crucial biographical information on composers and explores the circumstances of the development and performance of each work. By connecting performance studies with scholarship, this indispensable handbook for students and professionals allows readers to gain a more complete picture of each work and encourages them to approach other compositions in a similarly analytical manner.
Samuel Barber (1910-1981) is one of the most admired and honored American composers of the twentieth century. An unabashed Romantic, largely independent of worldwide trends and the avant-garde, he infused his works with poetic lyricism and gave tonal language and forms new vitality. His rich legacy includes every genre, including the famous Adagio for Strings, Knoxville: Summer of 1915, three concertos, a plethora of songs, and two operas, the Pulitzer prize-winning Vanessa, and Antony and Cleopatra, the commissioned work that opened the new Metropolitan Opera House at Lincoln Center in 1966. Generously documented by letter, sketches, autograph manuscripts, and interviews with friends, colleagues, and performers with whom he worked, this ASCAP-Award winning book is still unquestionably the most authoritative biography on Barber, covering his entire career and interweaving the events of his life with his compositional process. This second edition benefits from many new discoveries, including a Violin Sonata recovered from an artist's estate, a diary Barber kept his seventeenth year, a trove of letters and manuscripts that were recovered from a suitcase found in a dumpster, documentation that dispels earlier myths about the composition of Barber's Violin Concerto, and research of scholars that was stimulated by Heyman's work. Barber's intimate relations are discussed when they bear on his creativity. A testament to the lasting significance of Romanticism, Samuel Barber stands as a model biography of an important musical figure.
His original yet refined orchestral music was championed by Bruno Walter, Fritz Reiner, Otto Klemperer, Serge Koussevitzky, and other celebrated conductors, and his sensitive songs were performed by such legendary singers as Alma Gluck and Kirsten Flagstad.".
Arnold Schoenberg was a polarizing figure in twentieth century music, and his works and ideas have had considerable and lasting impact on Western musical life. A refugee from Nazi Europe, he spent an important part of his creative life in the United States (1933-1951), where he produced a rich variety of works and distinguished himself as an influential teacher. However, while his European career has received much scholarly attention, surprisingly little has been written about the genesis and context of his works composed in America, his interactions with Americans and other émigrés, and the substantial, complex, and fascinating performance and reception history of his music in this country. Author Sabine Feisst illuminates Schoenberg's legacy and sheds a corrective light on a variety of myths about his sojourn. Looking at the first American performances of his works and the dissemination of his ideas among American composers in the 1910s, 1920s and early 1930s, she convincingly debunks the myths surrounding Schoenberg's alleged isolation in the US. Whereas most previous accounts of his time in the US have portrayed him as unwilling to adapt to American culture, this book presents a more nuanced picture, revealing a Schoenberg who came to terms with his various national identities in his life and work. Feisst dispels lingering negative impressions about Schoenberg's teaching style by focusing on his methods themselves as well as on his powerful influence on such well-known students as John Cage, Lou Harrison, and Dika Newlin. Schoenberg's influence is not limited to those who followed immediately in his footsteps-a wide range of composers, from Stravinsky adherents to experimentalists to jazz and film composers, were equally indebted to Schoenberg, as were key figures in music theory like Milton Babbitt and David Lewin. In sum, Schoenberg's New World contributes to a new understanding of one of the most important pioneers of musical modernism.
Over the course of an astonishingly long career, Elliott Carter has engaged with many musical developments of the twentieth and now twenty-first centuries - from his early neo-classic music of the interwar period, to his modernist works of conflict and opposition in the 1960s and 1970s, to the reshaping of a modernist aesthetic in his latest compositions. Elliott Carter Studies throws new light on these many facets of Carter's extensive musical oeuvre. This collection of essays presents historic, philosophic, philological and theoretical points of departure for in-depth investigations of individual compositions, stylistic periods in Carter's output and his contributions to a variety of genres, including vocal music, the string quartet and the concerto. The first multi-authored book to appear on Carter's music, it brings together research from a distinguished team of leading international Carter scholars, providing the reader with a wide range of perspectives on an extraordinary musical life.