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 12
... opening of the piece , and it was fixed in my mind's eye long before I had even made the decision whether or not to use a text . Some time passed before I was able to get beyond this initial image . I had an intuition of what the work ...
... opening of the piece , and it was fixed in my mind's eye long before I had even made the decision whether or not to use a text . Some time passed before I was able to get beyond this initial image . I had an intuition of what the work ...
Seite 13
... opening pages . Slowly , tempo and temperature subside , and a few sopranos sing the last line : “ Though I speed not , I cannot miss . " The only well - known musical setting of Donne before Harmonium was Benjamin Britten's Holy ...
... opening pages . Slowly , tempo and temperature subside , and a few sopranos sing the last line : “ Though I speed not , I cannot miss . " The only well - known musical setting of Donne before Harmonium was Benjamin Britten's Holy ...
Seite 21
... opening chorus ; the enchanting flute - and - soprano duet ( actually for both flutes in unison ) , " Ich folge dir gleichfalls , " where the verbs " ziehen " ( to draw ) and " schieben " ( to push ) stimulate Bach's delight in musical ...
... opening chorus ; the enchanting flute - and - soprano duet ( actually for both flutes in unison ) , " Ich folge dir gleichfalls , " where the verbs " ziehen " ( to draw ) and " schieben " ( to push ) stimulate Bach's delight in musical ...
Seite 27
... opening and closing choruses of Part I call for an additional group of sopranos. Orchestra I consists of two flutes, oboe, oboe d'amore, two oboes da caccia, viola da gamba, a normal string section of violins, violas, cellos, and basses ...
... opening and closing choruses of Part I call for an additional group of sopranos. Orchestra I consists of two flutes, oboe, oboe d'amore, two oboes da caccia, viola da gamba, a normal string section of violins, violas, cellos, and basses ...
Seite 28
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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