The Cambridge Companion to Chopin
Cambridge University Press, 8 dec. 1994 - 341 pagina's
For a century and a half Chopin's music has been played incessantly, yet the spell remains, and the 'Chopin recital', whoever the pianist, still fills the concert halls. This Companion is designed to provide the enquiring music-lover with helpful insights into a musical style that recognises no contradiction between the accessible and the sophisticated, between the popular and the significant. On the uniqueness of that style there has long been agreement. One of the aims of this Companion is to identify some of its sources, referring both to the social history of early nineteenth-century piano music (chapter 1) and to the music of Chopin's predecessors (chapters 2 and 3). The early music and the growth to stylistic maturity are examined in chapter 4. Part 2 of the Companion profiles some of the mature music in a language designed to be intelligible to the interested layman as well as to the musician. There are re-evaluations of Chopin's most 'epic' statements (chapter 5) as well as his most 'epigrammatic' (chapter 6). There is an account of his relation to Polish folk music in the dance pieces (chapter 7) and there is a fresh look at one of the more controversial aspects of his art, his handling of the sonata (chapter 8). Several facets of the afterlife of Chopin's music are examined in part 3. There is reception through performance (chapter 9), reception through criticism (chapters 10 and 11) and reception through compositional influence (chapters 11 and 12). As these later chapters indicate, Chopin's art left its mark both on the Trivialmusik of the later nineteenth century and on the emerging Modernism of the new century.
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78rpm discs aesthetic Andante appear appoggiatura Ballade Barcarolle bars bass Bb minor Beethoven Berceuse C# minor Chopin's etudes Chopin's music chords chromatic Clara Schumann composer compositions cont contemporary contrast Cracow critics Czerny dance Debussy Debussy's early etudes Example F major F minor Fantaisie-impromptu Fantasy Fauré Field's figure Frédéric Chopin Fryderyk Chopin G minor genre harmonic Hummel Impromptu improvisation instrument Jim Samson keyboard later Liszt London major mazurkas melody Moscheles motive movement nineteenth century nocturnes oberek octaves orchestral Paris particular passages performed phrase pianist piano music Pianoforte pieces playing Poland Polish Polonaise Polonaise fantaisie posth Preludes programmes public concerts published pupil Ravel recapitulation repertoire reprise rhythm rhythmic romantic Rondo salon Scherzo Schumann semitone sequence solo sonata form song technical technique tempo texture thematic theme tion tonal tonal structure tonic tradition trio Variations Vienna Waltzes Warsaw
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