Author: Ludwig BeethovenPublisher:
ISBN:
Category :
Languages : en
Pages :
Book Description
Piano quartet in E flat major, op. 16
Author: Ludwig BeethovenPiano Quartet in E Flat Major, Op. 16
Author: Ludwig van BeethovenQuartet in E-flat Major for Piano & Strings, Op. 16
Author: Ludwig van BeethovenPublisher:
ISBN:
Category : Piano quartets
Languages : en
Pages :
Book Description
Piano Quartet in E Flat Op. 16: Arranged from Quintet for Piano and Winds by the Composer
Author: Quartet in E flat major, opus 16, for piano, violin, viola, and cello
Author: Ludwig van BeethovenPublisher:
ISBN:
Category : Piano quartets
Languages : en
Pages : 116
Book Description
Quartet For Piano,violin,viola &'cello in E Flat Major,op.16.Sep.Pts
Author: Ludwig Van BeethovenQuintets, Piano, Oboe, Clarinet, Horn, Bassoon, Op. 16, E Flat Major ; Arr
Author: Piano Quartet in Eb Major for Piano, Violin, Viola and Violoncello, Op. 16
Author: Ludwig van BeethovenThe Piano Quartet and Quintet
Author: Basil SmallmanPublisher: Oxford University Press
ISBN: 9780198166405
Category : Language Arts & Disciplines
Languages : en
Pages : 212
Book Description
Within his broad historical narrative Professor Smallman provides descriptive analyses of key works, many with music examples, and also comments perceptively on local trends and developments.
Hensel: String Quartet in E flat
Author: Benedict TaylorPublisher: Cambridge University Press
ISBN: 1009084399
Category : Music
Languages : en
Pages : 133
Book Description
The String Quartet in E flat major (1834) by Fanny Hensel, née Mendelssohn, is one of the most important works by a female composer written in the nineteenth century. Composed at a turning point in her life (as Hensel was not only grappling with her own creative voice but also coming to terms with her identity as a married woman, and the role her family expected of her), the quartet is significant in showing a woman composing in a genre that was then almost exclusively the domain of male artists. Benedict Taylor's illuminating book situates itself within developing scholarly discourse on the music of women composers, going beyond apologetics – or condemnation of those who hindered their development – to examine the strength and qualities of the music and how it responded to the most progressive works of the period.