Quartet No. 65 in Eb Major, Op. 76, No. 6 (Violin 1).
Author : Haydn
Publisher :
Page : 6 pages
File Size : 28,83 MB
Release : 2002
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Author : Haydn
Publisher :
Page : 6 pages
File Size : 28,83 MB
Release : 2002
Category :
ISBN :
Author : Haydn
Publisher :
Page : 4 pages
File Size : 43,60 MB
Release : 2002
Category :
ISBN :
Author : Joseph Haydn
Publisher :
Page : 32 pages
File Size : 17,91 MB
Release : 1949
Category : String quartets
ISBN :
Author : Brian Boydell
Publisher :
Page : 25 pages
File Size : 29,19 MB
Release : 1995
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Author : Brian Boydell
Publisher :
Page : 0 pages
File Size : 49,38 MB
Release : 1995
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Author : Joseph Haydn
Publisher :
Page : 26 pages
File Size : 29,73 MB
Release : 1970
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Author : Joseph Haydn
Publisher :
Page : 30 pages
File Size : 33,34 MB
Release : 1957
Category : String quartets
ISBN :
Author : Peter Sculthorpe
Publisher :
Page : 0 pages
File Size : 19,79 MB
Release : 1966
Category :
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Author : Joseph Haydn
Publisher :
Page : 26 pages
File Size : 42,3 MB
Release : 1950
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Author : Julie Brown
Publisher : Routledge
Page : 193 pages
File Size : 14,15 MB
Release : 2017-07-05
Category : Music
ISBN : 1351574574
The grotesque is one of art's most puzzling figures - transgressive, comprising an unresolveable hybrid, generally focussing on the human body, full of hyperbole, and ultimately semantically deeply puzzling. In Bluebeard's Castle (1911), The Wooden Prince (1916/17), The Miraculous Mandarin (1919/24, rev. 1931) and Cantata Profana (1930), Bart ngaged scenarios featuring either overtly grotesque bodies or closely related transformations and violations of the body. In a number of instrumental works he also overtly engaged grotesque satirical strategies, sometimes - as in Two Portraits: 'Ideal' and 'Grotesque' - indicating this in the title. In this book, Julie Brown argues that Bart concerns with stylistic hybridity (high-low, East-West, tonal-atonal-modal), the body, and the grotesque are inter-connected. While Bart eveloped each interest in highly individual ways, and did so separately to a considerable extent, the three concerns remained conceptually interlinked. All three were thoroughly implicated in cultural constructions of the Modern during the period in which Bart as composing.