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. |
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... whole of his life. What is less obvious is how, or whether, all of these activities are related, and why, given that Vaughan Williams was passionately committed to original composition, he spent so much 3 INTRODUCTION.
... whole of his life. What is less obvious is how, or whether, all of these activities are related, and why, given that Vaughan Williams was passionately committed to original composition, he spent so much 3 INTRODUCTION.
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... whole life of the community—if we seek for art we shall not find it. Now it becomes clear: attending choral society committee meetings, adjudicating musical competitions, teaching aspiring composers; all these tasks were not peripheral ...
... whole life of the community—if we seek for art we shall not find it. Now it becomes clear: attending choral society committee meetings, adjudicating musical competitions, teaching aspiring composers; all these tasks were not peripheral ...
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... whole Vaughan Williams speaks slowly and deliberately, often pausing for breath, and one imagines that he is sticking closely to the script, rustling in his hands. Yet there are points where he apparently departs from what he has ...
... whole Vaughan Williams speaks slowly and deliberately, often pausing for breath, and one imagines that he is sticking closely to the script, rustling in his hands. Yet there are points where he apparently departs from what he has ...
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... whole movement which led up to Schumann and Wagner was a river destined to be lost in the sand. However, if we trace the course of the romantic movement we shall find that though its day is over, yet it has not perished in the ...
... whole movement which led up to Schumann and Wagner was a river destined to be lost in the sand. However, if we trace the course of the romantic movement we shall find that though its day is over, yet it has not perished in the ...
Seite 15
... whole, the musician was paramount in Schumann's nature, and he was often content to illustrate the work of others; but from the first his music had a dramatic as well as a musical basis—that is to say, not that his music had two germs ...
... whole, the musician was paramount in Schumann's nature, and he was often content to illustrate the work of others; but from the first his music had a dramatic as well as a musical basis—that is to say, not that his music had two germs ...
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