Choral Masterworks:A Listener's GuideOxford University Press, USA, 22.04.2005 - 336 Seiten Michael Steinberg's highly successful listener's guides--The Symphony and The Concerto--have been universally praised for their blend of captivating biography, crystal clear musical analysis, and delightful humor. Now Steinberg follows these two greatly admired volumes with Choral Masterworks: A Listener's Guide, the only such guide available to this most popular of musical forms. Here are more than fifty illuminating essays on the classic choral masterworks, ranging from Handel's Messiah, Bach's Mass in B Minor, and Beethoven's Missa Solemnis, to works by Haydn, Brahms, Mendelssohn, and many others. Steinberg spans the entire history of classical music, from such giants of the Romantic era as Verdi and Berlioz, to leading modern composers such as Elgar, Rachmaninoff, Vaughan Williams, and Stravinsky, to contemporary masters such as John Adams and Charles Wuorinen. For each piece, Steinberg includes a fascinating biographical account of the work's genesis, often spiced with wonderful asides, such as the true story of Mozart's Requiem--Salieri had nothing to do with the composition of it, nor did he poison Mozart, who most likely died of rheumatic fever. The author also includes an astute musical analysis of each piece, one that casual music lovers can easily appreciate and that musicians and more serious fans will find invaluable. The book also includes basic information such as the various movements of the work, the organization of the chorus and orchestra, and brief historical notes on early performances. More than twenty million Americans perform regularly in choirs or choruses. Choral Masterworks will appeal not only to concert goers and CD collectors, but also to this vast multitude of choral performers, an especially engaged and active community. |
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Seite viii
... final choices are bound to puzzle, irritate, or enrage some readers and browsers. I don't blame them: probably, by the time these words are in print, some of those decisions will annoy me as well. The choices are entirely personal. The ...
... final choices are bound to puzzle, irritate, or enrage some readers and browsers. I don't blame them: probably, by the time these words are in print, some of those decisions will annoy me as well. The choices are entirely personal. The ...
Seite 14
... final lines : " Might I but moor — Tonight— / In Thee ! " Again I quote the composer : If Negative Love is a meditation on love and Because I could not stop for Death a sequence of tableau - like images about the arrest of time , Wild ...
... final lines : " Might I but moor — Tonight— / In Thee ! " Again I quote the composer : If Negative Love is a meditation on love and Because I could not stop for Death a sequence of tableau - like images about the arrest of time , Wild ...
Seite 15
... final image. Yields, I want to add, after a passage through tempests, winds, and waves that lift us up and bring us crashing down. At the end, Emily Dick- inson's and John Adams's great Liebestod—or at least Liebesnacht—rises to one ...
... final image. Yields, I want to add, after a passage through tempests, winds, and waves that lift us up and bring us crashing down. At the end, Emily Dick- inson's and John Adams's great Liebestod—or at least Liebesnacht—rises to one ...
Seite 24
... final “ Es ist vollbracht " the next simple sentence of John's account : " And he bowed his head and departed . " 3 Bach reflects on this in one of his most inspired arias , " Mein teurer Heiland " ( My dearest Saviour ) , subtly ...
... final “ Es ist vollbracht " the next simple sentence of John's account : " And he bowed his head and departed . " 3 Bach reflects on this in one of his most inspired arias , " Mein teurer Heiland " ( My dearest Saviour ) , subtly ...
Seite 25
... final revision. We have had rich and expansive commentary, but now Bach moves swiftly to the close of the work. The last great set piece is a lullaby, “Ruht wohl” (Rest well), in musical language Bach would replicate very closely when ...
... final revision. We have had rich and expansive commentary, but now Bach moves swiftly to the close of the work. The last great set piece is a lullaby, “Ruht wohl” (Rest well), in musical language Bach would replicate very closely when ...
Inhalt
3 | |
9 | |
16 | |
BEETHOVEN | 45 |
BERLIOZ | 61 |
BRAHMS | 68 |
BRITTEN | 86 |
CHERUBINI | 97 |
JANÁCEK | 186 |
KODÁLY | 194 |
MENDELSSOHN | 200 |
MOZART | 210 |
ORFF | 230 |
RACHMANINOFF | 238 |
SCHMIDT | 243 |
SESSIONS | 252 |
DALLAPICCOLA | 104 |
DVORÁK | 113 |
ELGAR | 119 |
FAURÉ | 131 |
HANDEL | 138 |
HAYDN | 155 |
HONEGGER | 177 |
STRAVINSKY | 257 |
TIPPETT | 280 |
VAUGHAN WILLIAMS | 288 |
VERDI | 301 |
WALTON | 311 |
WUORINEN | 317 |
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Agnus alto aria Bach Bach's baritone bass bassoons beautiful Beethoven begins Berlioz Brahms Brahms's C-Minor cantata Carmina burana cellos Cherubini choral chord church clarinets composer concert conducted conductor contrabassoon Credo cymbals Dallapiccola death Dies irae Dream of Gerontius drum duet Dvorák E-flat Elgar Elijah English horn Fauré final flutes four horns fugue German Gerontius Gloria Handel harmony harp Haydn hear heard hymn Janáček Jesus Kyrie later Leipzig libretto Lord major Mass melody Mendelssohn Messiah minor Missa solemnis mixed chorus move movement Mozart numbers oboes opera oratorio performance piano piece poem prayer premiere Psalm quartet recitative Requiem Saint Matthew Passion Sancta Civitas Sanctus score sing singers solo soloists song sonority soprano sound Stravinsky strings sung Süssmayr Symphony tempo tenor three trombones timpani tion Tippett trombones trumpets tuba Vaughan Williams Verdi Vienna violas violins vocal voices Walton War Requiem woodwinds words writing written wrote