Bach, Beethoven, Brahms for Piano
Author : Johann Sebastian Bach
Publisher :
Page : 191 pages
File Size : 37,80 MB
Release : 1935
Category : Piano music
ISBN :
Author : Johann Sebastian Bach
Publisher :
Page : 191 pages
File Size : 37,80 MB
Release : 1935
Category : Piano music
ISBN :
Author : Lewis Lockwood
Publisher : W. W. Norton & Company
Page : 621 pages
File Size : 29,62 MB
Release : 2005-01-04
Category : Biography & Autobiography
ISBN : 0393326381
Written for the general reader, this book reveals how Beethoven's great works reflect both his artistic individuality and the deepest philosophical and political currents of his age.
Author :
Publisher :
Page : pages
File Size : 30,29 MB
Release : 1962
Category : Adelaide Festival of Arts
ISBN :
Different musicians perform various parts of Bach's "Forthy-Eight Preludes And Fugues", part of the 1962 Adelaide Festival of Arts, musicians listed are: Ronald Farren Price, Max Cooke and Mack Jost.
Author : Charles Barnard
Publisher :
Page : 264 pages
File Size : 43,20 MB
Release : 1870
Category :
ISBN :
Author : David William Barber
Publisher : Sound & Vision Publishing
Page : 172 pages
File Size : 34,99 MB
Release : 1996
Category : Humor
ISBN : 9780920151105
A humorous overview of classical music and composers presents a mixture of fact and trivia from the early music era to today.
Author : Patrick Kavanaugh
Publisher : Zondervan
Page : 260 pages
File Size : 23,42 MB
Release : 1996
Category : Biography & Autobiography
ISBN : 0310208068
This is a compelling and inspiring look at spiritual beliefs that influenced some of the world's greatest composers, now revised and expanded with eight additional composers.
Author : David Ledbetter
Publisher : Yale University Press
Page : 430 pages
File Size : 19,33 MB
Release : 2002-01-01
Category : Music
ISBN : 0300128983
Bach's Well-tempered Clavier (or the 48 Preludes and Fugues) stands at the core of baroque keyboard music and has been a model and inspiration for performers and composers ever since it was written. This invaluable guide to the 96 pieces explains Bach's various purposes in compiling the music, describes the rich traditions on which he drew, and provides commentaries for each prelude and fugue. In his text, David Ledbetter addresses the main focal points mentioned by Bach in his original 1722 title page. Drawing on Bach literature over the past three hundred years, he explores German traditions of composition types and Bach's novel expansion of them; explains Bach's instruments and innovations in keyboard technique in the general context of early eighteenth-century developments; reviews instructive and theoretical literature relating to keyboard temperaments from 1680 to 1750; and discusses Bach's pedagogical intent when composing the Well-tempered Clavier. Ledbetter's commentaries on individual preludes and fugues equip readers with the concepts necessary to make their own assessment and include information about the sources when details of notation, ornaments, and fingerings have a bearing on performance.
Author : Kira Thurman
Publisher : Cornell University Press
Page : 434 pages
File Size : 47,92 MB
Release : 2021-10-15
Category : Social Science
ISBN : 150175985X
In Singing Like Germans, Kira Thurman tells the sweeping story of Black musicians in German-speaking Europe over more than a century. Thurman brings to life the incredible musical interactions and transnational collaborations among people of African descent and white Germans and Austrians. Through this compelling history, she explores how people reinforced or challenged racial identities in the concert hall. Throughout the nineteenth and twentieth centuries, audiences assumed the categories of Blackness and Germanness were mutually exclusive. Yet on attending a performance of German music by a Black musician, many listeners were surprised to discover that German identity is not a biological marker but something that could be learned, performed, and mastered. While Germans and Austrians located their national identity in music, championing composers such as Bach, Beethoven, and Brahms as national heroes, the performance of their works by Black musicians complicated the public's understanding of who had the right to play them. Audiences wavered between seeing these musicians as the rightful heirs of Austro-German musical culture and dangerous outsiders to it. Thurman explores the tension between the supposedly transcendental powers of classical music and the global conversations that developed about who could perform it. An interdisciplinary and transatlantic history, Singing Like Germans suggests that listening to music is not a passive experience, but an active process where racial and gendered categories are constantly made and unmade.
Author : Clive Brown
Publisher : Oxford University Press
Page : 677 pages
File Size : 26,46 MB
Release : 2004-05-20
Category : Music
ISBN : 0195347242
The past ten years have seen a rapidly growing interest in performing and recording Classical and Romantic music with period instruments; yet the relationship of composers' notation to performing practices during that period has received only sporadic attention from scholars, and many aspects of composers' intentions have remained uncertain. Brown here identifies areas in which musical notation conveyed rather different messages to the musicians for whom it was written than it does to modern performers, and seeks to look beyond the notation to understand how composers might have expected to hear their music realized in performance. There is ample evidence to demonstrate that, in many respects, the sound worlds in which Mozart, Beethoven, Wagner, and Brahms created their music were more radically different from ours than is generally assumed.
Author : Johann Sebastian Bach
Publisher :
Page : 24 pages
File Size : 32,8 MB
Release : 2019-10-05
Category :
ISBN : 9781697905793
Bach composed and published his Six Partitas (each one separately) during 1726 - 1730. In 1731 all partitas, grouped in one volume, were published under the title Clavier-�bung Part One. This edition of Partita no. 1 follows the above mentioned first Leipzig edition, which was based on the manuscript copy of Bach's autograph.The fingering is added by the editor.