Author: William ShakespearePublisher:
ISBN:
Category : Athens (Greece)
Languages : en
Pages : 114
Book Description
A Midsummer-night's Dream
Author: William ShakespearePublisher:
ISBN:
Category : English drama (Comedy)
Languages : en
Pages : 72
Book Description
National Sylvan Theatre, Washington Monument grounds, The Community Center and Playgrounds Department and the Office of National Capital Parks present the ninth summer festival program of the 1941 season, the Washington Players in William Shakespeare's "A Midsummer Night's Dream," produced by Bess Davis Schreiner, directed by Denis E. Connell, the music by Mendelssohn is played by the Washington Civic Orchestra conducted by Jean Manganaro, the setting and lights Harold Snyder, costumes Mary Davis.
Rule a Wife, and Have a Wife
Author: John FletcherPublisher:
ISBN:
Category : English drama
Languages : en
Pages : 83
Book Description
The Tempest
Author: William ShakespeareWomen and Music in Sixteenth-Century Ferrara
Author: Laurie StrasPublisher: Cambridge University Press
ISBN: 1107154073
Category : Music
Languages : en
Pages : 417
Book Description
Rethinks and retells the history of music in sixteenth-century Ferrara, putting women, of the court and convent, at the narrative centre.
Henry Purcell and the London Stage
Author: C. A. PricePublisher: Cambridge University Press
ISBN: 9780521238311
Category : Music
Languages : en
Pages : 414
Book Description
This book was the first comprehensive survey of Purcell's dramatic music. It is concerned as much with the London theatre world - playhouses, poets, actors, singers, producers - as with the music itself. Purcell wrote music for more than fifty plays of various types, most of them produced at the Theatre Royal, Drury Lane, between 1690 and 1695. The songs, dialogues, choruses, act tunes and larger musical scenes are often active participants in the spoken drama, not simply grafted-on entertainments. The extraordinary semi-operas - Dioclesian, King Arthur, and The Fairy-Queen - are placed in the context of a theatre that thrived mainly on plays that, though less lavish, were no less musical. The traditional picture of a composer trapped within a degraded musical society, his natural predilection for opera ignored, is redrawn to show a consummate dramatist exploiting a remarkably musical theatre.
Clavichord for Beginners
Author: Joan BensonPublisher: Indiana University Press
ISBN: 0253011647
Category : Music
Languages : en
Pages : 142
Book Description
Written by Joan Benson, one of the champions of clavichord performance in the 20th century, Clavichord for Beginners is an exceptional method book for both practitioners and enthusiasts. In addition to detailing the historical origins of the instrument and the evolution of keyboard technique, the book describes the proper method for practicing fingering and articulation and emphasizes the importance of touch and sensitivity at the keyboard.
Before the Baton
Author: Peter HolmanPublisher: Boydell & Brewer
ISBN: 1783274565
Category : Music
Languages : en
Pages : 434
Book Description
How was large-scale music directed or conducted in Britain before baton conducting took hold in the 1830s?
The History of the Erard Piano and Harp in Letters and Documents, 1785–1959
Author: Robert AdelsonPublisher: Cambridge University Press
ISBN: 1316407330
Category : Music
Languages : en
Pages : 2489
Book Description
Sébastien Erard and the firm that carried his name are seminal in the history of musical instruments. Erard's inventions - especially the double escapement for the piano and the double-action for the harp - have had an enormous impact on instruments and musical life and are still at the foundation of piano and harp building today. The recently discovered archives of the Erard piano and harp building firm are perhaps the largest and most complete record of musical instrument making anywhere, containing never-before-published correspondence from musicians including Mendelssohn, Liszt and Fauré. These volumes present the archive's records and documents in two parts, the first relating to inventions, business, composers and performers and the second to the Erard family correspondence. In both the original French and with English translations, the documents offer fascinating insights into the musical landscape of Europe from the start of Erard's career in 1785 to the closure of the firm in 1959.
Bach and Mozart
Author: Robert Lewis MarshallPublisher:
ISBN: 1580469620
Category : MUSIC
Languages : en
Pages : 356
Book Description
Interpretive and biographical essays by a major authority on Bach and Mozart probe for clues to the driving forces and experiences that shaped the character and the extraordinary artistic achievements of these iconic composers.
The Beethoven Syndrome
Author: Mark Evan BondsPublisher: Oxford University Press, USA
ISBN: 0190068477
Category : Music
Languages : en
Pages : 345
Book Description
The "Beethoven Syndrome" is the inclination of listeners to hear music as the projection of a composer's inner self. This was a radically new way of listening that emerged only after Beethoven's death. Beethoven's music was a catalyst for this change, but only in retrospect, for it was not until after his death that listeners began to hear composers in general--and not just Beethoven--in their works, particularly in their instrumental music. The Beethoven Syndrome: Hearing Music as Autobiography traces the rise, fall, and persistence of this mode of listening from the middle of the eighteenth century to the present. Prior to 1830, composers and audiences alike operated within a framework of rhetoric in which the burden of intelligibility lay squarely on the composer, whose task it was to move listeners in a calculated way. But through a confluence of musical, philosophical, social, and economic changes, the paradigm of expressive objectivity gave way to one of subjectivity in the years around 1830. The framework of rhetoric thus yielded to a framework of hermeneutics: concert-goers no longer perceived composers as orators but as oracles to be deciphered. In the wake of World War I, however, the aesthetics of "New Objectivity" marked a return not only to certain stylistic features of eighteenth-century music but to the earlier concept of expression itself. Objectivity would go on to become the cornerstone of the high modernist aesthetic that dominated the century's middle decades. Masterfully citing a broad array of source material from composers, critics, theorists, and philosophers, Mark Evan Bonds's engaging study reveals how perceptions of subjective expression have endured, leading to the present era of mixed and often conflicting paradigms of listening.