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 vii
... written for the Kansas City Symphony; the one on the Verdi Requiem had its origins in an article for The Dial. A few notes were commissioned by organizations that no longer exist: Bach's Mass in B Minor and Handel's Messiah by the ...
... written for the Kansas City Symphony; the one on the Verdi Requiem had its origins in an article for The Dial. A few notes were commissioned by organizations that no longer exist: Bach's Mass in B Minor and Handel's Messiah by the ...
Seite ix
... Writing about this ever-amazing music, I often found myself remem- bering performances that revealed it to me in some special way. In that spirit I want, in gratitude and with special pleasure, to set down the names of the conductors ...
... Writing about this ever-amazing music, I often found myself remem- bering performances that revealed it to me in some special way. In that spirit I want, in gratitude and with special pleasure, to set down the names of the conductors ...
Seite 7
... written: “A great opera composer can make us believe anything.” Even if we omit the word “opera,” Porter's claim is still true. Just think of what Beethoven puts over on us in the Ninth Symphony, how he can make us believe in the power ...
... written: “A great opera composer can make us believe anything.” Even if we omit the word “opera,” Porter's claim is still true. Just think of what Beethoven puts over on us in the Ninth Symphony, how he can make us believe in the power ...
Seite 11
... written since—notably Harmonielehre, his operas Nixon in China and The Death of Klinghoffer, the Violin Concerto, and Naïve and Sentimental Music—attest to how confidently and successfully he has realized the program he had assigned ...
... written since—notably Harmonielehre, his operas Nixon in China and The Death of Klinghoffer, the Violin Concerto, and Naïve and Sentimental Music—attest to how confidently and successfully he has realized the program he had assigned ...
Seite 13
... written a few poems as a girl, and in 1862—she was then thirty-two—she hesitantly showed some more recent ones to the essayist Thomas Wentworth Higginson, asking, Did they breathe? No one was prepared to find that on her death she had ...
... written a few poems as a girl, and in 1862—she was then thirty-two—she hesitantly showed some more recent ones to the essayist Thomas Wentworth Higginson, asking, Did they breathe? No one was prepared to find that on her death she had ...
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 composer’s 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 Janácˇek 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 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 Verdi’s Vienna violas violins voices War Requiem Whitman woodwinds words writing written wrote