Piano Concerto NO 1 the work of dubiell de zarraga lago in c# minor

Lindeman, a musicologist, traces and defines the historical development of the concerto form as it passed from Mozart to succeeding generations. He then assesses Beethoven's contributions, and examines the classical model of the form in the early 19th century by overviewing several early romantic composers' works. Subsequent chapters analyze and assess the responses of five precursers of Schumann, whose work offers a synthesis of radical experiments and traditional tenets. He concludes by suggesting that concertos of Lizst offer a road into further developments of the genre in the second half of the century. Illustrated with bandw portraits of composers and excerpts from musical scores. Annotation copyrighted by Book News, Inc., Portland, OR

Moonlighting offers a new and original account of how early twentieth-century Anglo-American modernist writers were influenced by the life and music of one of modernity's most important and most celebrated figures: the German composer Ludwig van Beethoven.

A publication of the American Brahms Society, Brahms Studies publishes essays on the life, work, and artistic milieu of Johannes Brahms. Each volume collects the best in Brahms scholarship, including criticism, analysis, theory, biography, archival and documentary studies, and translations of important studies that have appeared in foreign languages.

Presents current analytic views by established scholars of the traditional tonal repertoire, with essays on works by Bach, Handel, Haydn, Mozart, Beethoven, Schubert, Chopin, and Brahms. Bach to Brahms presents current analytic views on the traditional tonal repertoire, with essays on works by Bach, Handel, Haydn, Mozart, Beethoven, Schubert, Chopin, and Brahms. The fifteen essays, written by well-established scholars of this repertoire, are divided into three groups, two of which focus primarily on elements of musical design (formal, metric, and tonal organization) and voice leading at multiple levels of structure. The third groupof essays focuses on musical motives from different perspectives. The result is a volume of integrated studies on the music of the common-practice period, a body of music that remains at the core of modern concert and classroom repertoire. Contributors: Eytan Agmon, David Beach, Charles Burkhart, L. Poundie Burstein, Yosef Goldenberg, Timothy L. Jackson, William Kinderman, Joel Lester, Boyd Pomeroy, John Rink, Frank Samarotto, Lauri Suurpää, Naphtali Wagner, Eric Wen, Channan Willner. David Beach is professor emeritus and former dean of the Faculty of Music, University of Toronto. Yosef Goldenberg teaches at the Hebrew University of Jerusalem and at the Jerusalem Academy of Music and Dance, where he also serves as head librarian.

Despite the incredible diversity in Brahms's scherzo-type movements, there has been no comprehensive consideration of this aspect of his oeuvre. Professor Ryan McClelland provides an in-depth study of these movements that also contributes significantly to an understanding of Brahms's compositional language and his creative dialogue with musical traditions. McClelland especially highlights the role of rhythmic-metric design in Brahms's music and its relationship to expressive meaning. In Brahms's scherzo-type movements, McClelland traces transformations of primary thematic material, demonstrating how the relationship of the initial music to its subsequent versions creates a musical narrative that provides structural coherence and generates expressive meaning. McClelland's interpretations of the expressive implications of Brahms's fascinatingly intricate musical structures frequently engage issues directly relevant to performance. This illuminating book will appeal to music theorists, musicologists working on nineteenth-century instrumental music and performers.

A thematic exploration of Schubert's style, applied in readings of his instrumental and vocal literature by international scholars.

For students learning the principles of music theory, it can often seem as though the tradition of tonal harmony is governed by immutable rules that define which chords, tones, and intervals can be used where. Yet even within the classical canon, there are innumerable examples of composers diverging from these foundational "rules." Drawing on examples from composers including J.S. Bach, Mozart, Beethoven, Schubert, Mendelssohn, Chopin, Brahms, and more, Bending the Rules of Music Theory seeks to take readers beyond the basics of music theory and help them to understand the inherent flexibility in the system of tonal music. Chapters explore the use of different rule-breaking elements in practice and why they work, introducing students to a more nuanced understanding of music theory.

A detailed study of the life of one of the most important and influential musical figures of the nineteenth century.

As soloist, master class teacher, and pianist of the world-renowned Beaux Arts Trio, Menahem Pressler can boast of four Grammy nominations, three honorary doctorates, more than 80 recordings, and lifetime achievement awards presented by France, Germany, and Israel. Former Pressler student William Brown traces the master's pianistic development through Rudiakov, Kestenberg, Vengerova, Casadesus, Petri, and Steuermann, blending techniques and traditions derived from Beethoven, Chopin, Liszt, and J. S. Bach. Brown presents Pressler's approach to performance and teaching, including technical exercises, principles of relaxation and total body involvement, and images to guide the pianist's creativity toward expressive interpretation. Insights from the author's own lessons, interviews with Pressler, and recollections of more than 100 Pressler students from the past 50 years are gathered in this text. Measure-by-measure lessons on 23 piano masterworks by, among others, Bach, Bartók, Debussy, and Ravel as well as transcriptions of Pressler's fingerings, hand redistributions, practicing guidelines, musical scores, and master class performances are included.