By Frédéric Chopin, ed. Alfred Cortot
Read or Download 12 Études op. 25 PDF
Best forms & genres books
A entire consultant to Mozart's immortal THE MAGIC FLUTE (Die Zauberflote), that includes insightful remark and research, whole tale Synopsis with 30 tune Examples, a whole NEWLY TRANSLATED LIBRETTO with song Examples, Discography, Videography, and a Dictionary of Opera and Musical phrases.
An outstandingly major feat of Mozart scholarship. .. . A basic reassessment of the early background of CosÃ¬ fan tutte and a massive contribution to its severe assessment as a piece of paintings. The author's scrutiny of the autograph ranking unleashes a torrent of data on how Mozart composed the opera, how he replaced his brain or felt forced to alter his brain, how the character of the paintings itself replaced and, such a lot startlingly, a frank publicity of its many unresolved concerns.
At the 250th anniversary of the composer's demise, this quantity bargains an in-depth examine the "Great Eighteen" organ chorales, one of the so much celebrated works for organ, and a milestone within the heritage of the chorale. Addressed to organists, students, and basic listeners alike, this lucid and interesting e-book examines the song from a large spectrum of old and analytical views.
- Voices in Bali: Energies and Perceptions in Vocal Music and Dance Theater (Music Culture)
- Emblems of Eloquence: Opera and Women's Voices in Seventeenth-Century Venice
- Opera and Drama in Eighteenth-Century London: The King’s Theatre, Garrick and the Business of Performance
Additional resources for 12 Études op. 25
58 See Marco Salvaroni in NG. 59 This theme is also featured in the prologue to Cavalli’s La Calisto. On the sources of this allegory, see Brown, “Introduction,” pp. xxviii-xxxii. 38 The Baroque Libretto 60 “Torneo,” in NG. On opera at the Viennese Court, see Herbert Seifert, Die Oper am Wiener Kaiserhof im 17 Jahrhundert (Tutzing: Schneider, 1985). 61 “Dance,” in NG. 62 Rosand, Opera in Seventeenth-Century Venice, p. 55. ” 63 Alm, “Winged feet,” 249-250. 87-88. 65 A theoretical foundation for this principle is found in Giovanni Battista Doni’s Trattato della musica scenica (1630s).
Zeno clarifies that the doctrinal content of the earlier stage–in the narrative voice of the first period and in the explicatory recitatives and choral passages of the second period–can and should be entrusted to style rather than characters or structure. The recitatives and arias of patriarchs, apostles and prophets, characters from whom the audience naturally expects authoritative teachings, should be based on a very limited vocabulary and type of phrasing, drawn directly from Scripture, from the writings of the Fathers, and from the recognized theological authorities of the Church.
But even these reflections on the oratorio libretto are at best modest, when compared 30 The Baroque Libretto with the attention attracted by all the other literary genres in the flurry of critical activity inaugurated by the Accademia dell’Arcadia. Prior to that, throughout the seventeenth century, the oratorio poet did not come into any kind of prominence for his work in this field, which remained sheltered from the outside world and narrowly focussed on its message of conversion and spiritual fulfilment.