Vaughan Williams on MusicOxford University Press, 27.11.2007 - 304 Seiten This book makes a substantial collection of Vaughan Williams's writings widely available to music lovers, students, and researchers alike. It comprises 102 items written by the composer between 1897 and the year of his death, 1958, including articles for musical magazines, transcripts of broadcasts, obituary notices and program notes. The great majority of items in this anthology have been unavailable since their initial publication, some have never been published, and very few have been reprinted. Vaughan Williams reveals the many roles he played during his life in the pages of this book: he was an active supporter of amateur music-makers, a leader in the folksong revival, educator, performer, campaigner for English music, and polemicist. Through all these perspectives, the words are unmistakably those of a composer who came to believe it his duty to build an active and cohesive musical community within his native country. |
Im Buch
Ergebnisse 1-5 von 51
Seite 19
... nerves by the repetition of similar sensations; a monotonous voice, the roaring of a Source: The Vocalist, 1/1 (1902), 31. train, and a surfeit of first-rate music, all produce the 19. chapter. 3 3 The Soporific Finale.
... nerves by the repetition of similar sensations; a monotonous voice, the roaring of a Source: The Vocalist, 1/1 (1902), 31. train, and a surfeit of first-rate music, all produce the 19. chapter. 3 3 The Soporific Finale.
Seite 26
... voice is concerned) consists of melody and rhythm. Now the typical 'royalty ballad' possesses neither melody nor rhythm. Melody—a real tune, must be vital and individual; and individuality is just what the musical penny-ice-man abhors ...
... voice is concerned) consists of melody and rhythm. Now the typical 'royalty ballad' possesses neither melody nor rhythm. Melody—a real tune, must be vital and individual; and individuality is just what the musical penny-ice-man abhors ...
Seite 27
... voice so clear; But he sang one note of sorrow, Which only Love could hear: Pax vobiscum; [To be sung to a slow Eheu ... voice.' What! is your voice such a wretched thing that it can only be shown off by pronouncing bad poetry to worse ...
... voice so clear; But he sang one note of sorrow, Which only Love could hear: Pax vobiscum; [To be sung to a slow Eheu ... voice.' What! is your voice such a wretched thing that it can only be shown off by pronouncing bad poetry to worse ...
Seite 28
... voice can be put to, we had better leave off singing altogether. Besides this—what is 'showing off your voice'? Do you imagine that the effect of singing depends merely on the sort of sound you produce? Why, an average steam whistle ...
... voice can be put to, we had better leave off singing altogether. Besides this—what is 'showing off your voice'? Do you imagine that the effect of singing depends merely on the sort of sound you produce? Why, an average steam whistle ...
Seite 29
... voice, the more telling your delivery, the more surely will you mesmerise your hearers, and rob them of all their critical faculties. You have only to open your mouth wide enough, and they will open theirs, and swallow any stuff you are ...
... voice, the more telling your delivery, the more surely will you mesmerise your hearers, and rob them of all their critical faculties. You have only to open your mouth wide enough, and they will open theirs, and swallow any stuff you are ...
Inhalt
3 | |
11 | |
CONTINENTAL COMPOSERS | 123 |
FOLK SONG | 179 |
BRITISH COMPOSERS | 293 |
PROGRAMME NOTES ON VAUGHAN WILLIAMSS MUSIC | 329 |
PROGRAMME NOTES ON THE MUSIC OF OTHER COMPOSERS | 399 |
SELECT BIBLIOGRAPHY OF FOLK SONG COLLECTIONS | 423 |
INDEX | 425 |
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Häufige Begriffe und Wortgruppen
amateur appear artistic audience Bach Bach’s ballad beautiful Beethoven Brahms Cecil Sharp Cecil Sharp House choir choral chorus church classical collection collectors composer’s concert Dance and Song Dvorák Ein Heldenleben emotional England English composer English Folk Dance English folk-song English music expression Festival Folk Dance folk music fugue Gustav Holst heard Hubert Parry hymn idea imagine intentionally left blank invented Journal last movement Leith Hill listening London Lucy Broadwood Martin Shaw melody mind musical drama musicians National Music nature one’s opera orchestra original Palestrina Parry performance perhaps phrase pianoforte played popular Programme note Purcell purely Queen’s Hall Ralph Vaughan Williams Reprinted in KC rhythm romantic Scherzo sing singer solo sonata Song Society songs and dances Source strings style sung Symphony Tchaikovsky theme thing traditional true tune Vaughan Williams violin voice Wagner whole Williams’s words write