Topics: rubin, quartet, sonata, piano, sigmund, carl, songs, bohemians, hugo, walter, secretary hugo, bruno This book is "not written for professional musicians, but for untaught lovers of the art". It gives broad instruction on composers, styles, instruments, venues - and when to believe the critics. Summary by Sarah Jennings For further information, including links to online text, reader information, RSS feeds, CD cover or other formats or languages if available , please go to the LibriVox catalog page for this Topics: librivox, audiobook, classical music, instruction, instruments, opera, concert Source: Librivox recording of a public-domain text.https://rankcogspequasa.gq
Antique A BOOK OF OPERAS HENRY EDWARD KREHBIEL HC VGC | eBay
Book digitized by Google from the library of Harvard University and uploaded to the Internet Archive by user tpb. Topics: opera, operas, book, music, faust, scene, wagner, musical, von, dramatic, second book, metropolitan A second book of operas by Henry Edward Krehbiel Book 22 editions published between and in English and held by WorldCat member libraries worldwide Written as a follow-up to 'A Book of Operas', this is another comprehensive study of several great operas from the renowned musicologist Henry Edward Krehbiel.
Includes in-depth analyses of: Samson and Delilah and other biblical operas. A second book of operas; their histories, their plots, and their music by Henry Edward Krehbiel Book 11 editions published between and in English and held by WorldCat member libraries worldwide Written as a follow-up to A Book of Operas, this is another comprehensive study of several great operas from the renowned musicologist Henry Edward Krehbiel.
Famous songs; standard songs by the best composers by Henry Edward Krehbiel 14 editions published between and in 4 languages and held by WorldCat member libraries worldwide. Music and manners in the classical period; essays by Henry Edward Krehbiel Book 21 editions published between and in English and held by WorldCat member libraries worldwide Examining the classical music period, this text delves into different musicians and their works.
The chapter dedicated to Mozart discusses his work and personal life. Audience Level.
Related Identities. Associated Subjects.
- Enthralling Stacey (College Submission Book 2).
- Read More From Henry Edward Krehbiel.
- Book options?
- More titles to consider?
- About the Publisher!
Henry Edward Krehbiel Amerikaans taalkundige Henry Edward Krehbiel scrittore e critico musicale statunitense. English German 23 Italian 7 Germanic 1.
Performer: Donald Krehbiel
Conductors who are also composers tend to excel at revealing how a piece of music goes, so to speak: at conveying the overall structure and narrative sweep of the work. Little flaws in execution are allowed to pass by for the sake of making long phrases come through organically. Strauss was reluctant to take up this project, suggested by Hofmannsthal. The opera is a fairy tale about two childless couples. The Empress, a half-spirit, is married to a mortal, the Emperor, who adores her.
A Second Book of Operas
They live in a wondrous mid-realm between the spirit world and the hardscrabble environs of human life. But the Empress lacks a shadow, which in this tale seems a metaphor for mortality, the idea that all of us, even those without children, leave a shadow in the world. The Empress is enticed by her controlling nurse to descend to the world, where she is brought together with the bitter, childless wife of Barak, a good-hearted, struggling dyer, who longs to have a family.
Strauss had trouble composing the piece, as he complained to Hofmannsthal.
His heart was only half in it, he wrote; his head had to do most of the work. Maybe so, but Strauss the composer and musical dramatist had an impressive head. The score is an ingenious amalgam of fantastical colorings, shimmering harmonies, slashing orchestra blasts and aching melodic lines. The musical language mostly hews to tonality, but a hyper-charged, mercurial tonality.
It must be said that, though in later years Strauss cultivated a public image as a pragmatic musician too immersed in everyday goings-on to pursue high-minded modernism, he badly misread that real world when the Nazis came to power.