![The Overture and select Airs from ... The Interrupted Sacrifice, arranged for the piano forte, with flute accompaniment (ad lib.) by Thos Attwood. [Score.] PDF](https://books.google.com/books/content/images/frontcover/qxqrH70jFy8C?fife=w150-h200)
Author: Peter von WinterPublisher:
ISBN:
Category :
Languages : en
Pages : 12
Book Description
The Overture and select Airs from ... The Interrupted Sacrifice, arranged for the piano forte, with flute accompaniment (ad lib.) by Thos Attwood. [Score.]
![The Overture and select Airs from ... The Interrupted Sacrifice, arranged for the piano forte, with flute accompaniment (ad lib.) by Thos Attwood. [Score.] PDF](https://books.google.com/books/content/images/frontcover/qxqrH70jFy8C?fife=w80-h100)
Author: Peter von WinterThe Repository of Arts, Literature, Fashions &c
Author: The Catalogue of Printed Music in the British Library to 1980
Author: British Library. Department of Printed BooksPublisher:
ISBN:
Category : Music
Languages : en
Pages : 448
Book Description
The Life of Ludwig van Beethoven (Complete)
Author: Alexander Wheelock ThayerPublisher: Library of Alexandria
ISBN: 146558322X
Category : Biography & Autobiography
Languages : en
Pages : 1474
Book Description
If for no other reasons than because of the long time and monumental patience expended upon its preparation, the vicissitudes through which it has passed and the varied and arduous labors bestowed upon it by the author and his editors, the history of Alexander Wheelock Thayer’s Life of Beethoven deserves to be set forth as an introduction to this work. His work it is, and his monument, though others have labored long and painstakingly upon it. There has been no considerable time since the middle of the last century when it has not occupied the minds of the author and those who have been associated with him in its creation. Between the conception of its plan and its execution there lies a period of more than two generations. Four men have labored zealously and affectionately upon its pages, and the fruits of more than four score men, stimulated to investigation by the first revelations made by the author, have been conserved in the ultimate form of the biography. It was seventeen years after Mr. Thayer entered upon what proved to be his life-task before he gave the first volume to the world—and then in a foreign tongue; it was thirteen more before the third volume came from the press. This volume, moreover, left the work unfinished, and thirty-two years more had to elapse before it was completed. When this was done the patient and self-sacrificing investigator was dead; he did not live to finish it himself nor to see it finished by his faithful collaborator of many years, Dr. Deiters; neither did he live to look upon a single printed page in the language in which he had written that portion of the work published in his lifetime. It was left for another hand to prepare the English edition of an American writer’s history of Germany’s greatest tone-poet, and to write its concluding chapters, as he believes, in the spirit of the original author. Under these circumstances there can be no vainglory in asserting that the appearance of this edition of Thayer’s Life of Beethoven deserves to be set down as a significant occurrence in musical history. In it is told for the first time in the language of the great biographer the true story of the man Beethoven—his history stripped of the silly sentimental romance with which early writers and their later imitators and copyists invested it so thickly that the real humanity, the humanliness, of the composer has never been presented to the world. In this biography there appears the veritable Beethoven set down in his true environment of men and things—the man as he actually was, the man as he himself, like Cromwell, asked to be shown for the information of posterity. It is doubtful if any other great man’s history has been so encrusted with fiction as Beethoven’s. Except Thayer’s, no biography of him has been written which presents him in his true light. The majority of the books which have been written of late years repeat many of the errors and falsehoods made current in the first books which were written about him. A great many of these errors and falsehoods are in the account of the composer’s last sickness and death, and were either inventions or exaggerations designed by their utterers to add pathos to a narrative which in unadorned truth is a hundredfold more pathetic than any tale of fiction could possibly be. Other errors have concealed the truth in the story of Beethoven’s guardianship of his nephew, his relations with his brothers, the origin and nature of his fatal illness, his dealings with his publishers and patrons, the generous attempt of the Philharmonic Society of London to extend help to him when upon his deathbed.
Life of Mozart (Complete)
Author: Otto JahnPublisher: Library of Alexandria
ISBN: 1465582304
Category : Biography & Autobiography
Languages : en
Pages : 2127
Book Description
WOLFGANG AMADE MOZART came of a family belonging originally to the artisan class. We find his ancestors settled in Augsburg early in the seventeenth century, and following their calling there without any great success. His grandfather, Johann Georg Mozart, a bookbinder, married, October 7, 1708, Anna Maria Peterin, the widow of another bookbinder, Augustin Banneger. From this union sprang two daughters and three sons, viz.: Fr. Joseph Ignaz, Franz Alois (who carried on his father's trade in his native town), and Johann Georg Leopold Mozart, bom on November 14, 1719, the father of the Mozart of our biography. Gifted with a keen intellect and firm will he early formed the resolution of raising himself to a higher position in the world than that hitherto occupied by his family; and in his later years he could point with just elation to his own arduous efforts, and the success which had crowned them, when he was urging his son to the same steady perseverance. When Wolfgang visited Augsburg in 1777, he gathered many particulars of his father's youth which refreshed the recollections of Leopold himself. We find him writing to his son (October 10, 1777) how, as a boy, he had sung a cantata at the monastery of St. Ulrich, for the wedding of the Hofrath Oefele, and how he had often climbed the broken steps to the organ loft, to sing treble at the Feast of the Holy Cross (November 29, 1777). He afterwards became an excellent organist: a certain Herr von Freisinger, of Munich, told Wolfgang (October 10, 1777) that he knew his father well, he had studied with him, and "had the liveliest recollections of Wessobrunn where my father (this was news to me) played the organ remarkably well. He said: 'It was wonderful, to see his hands and feet going together, but exceedingly fine—yes, he was an extraordinary man. My father thought very highly of him. And how he used to jeer at the priests, when they wanted him to turn monk.'" This last must have been of peculiar interest to Wolfgang, who knew his father only as a devout and strict observer of the Catholic religion. But Leopold remembered the days of his youth, and wrote to his wife (December 15, 1777): "Let me ask, if Wolfgang has not of late neglected to go to confession? God should ever be first in our thoughts! to Him alone must we look for earthly happiness, and we should ever keep eternity in view; young people, I know, are averse to hearing of these things; I was young myself once; but God be thanked, I always came to myself after my youthful follies, fled from all dangers to my soul, and kept steadily in view God, and my honour, and the dangerous consequences of indulgence in sin." Long-continued exertions and self-denial laid the foundation of Leopold Mozart's character in a conscientious earnestness and devotion to duty in great things as in small; they had the effect also of rendering his judgment of others somewhat hard and uncompromising. This is observable in his relations as an official, and as a teacher, and in his dealings on matters of religion. He was a strict Catholic, and feared nothing so much for his children as the influence which a prolonged stay in Protestant countries might exert on their faith; he remarked with surprise that his travelling companions, Baron Hopfgarten and Baron Bose, had often edified him with their discourse, although they were Lutherans (Paris, April 1, 1764).
The Year's Music
Author: Albert Charles Robinson CarterPublisher:
ISBN:
Category : Music
Languages : en
Pages : 390
Book Description
The Mighty Music Box
Author: Thomas A. DeLongPublisher: Sasco Associates
ISBN:
Category : Music
Languages : en
Pages : 402
Book Description
Six Sonatinas for Classical Guitar
Author: Carl Philipp Emanuel BachPublisher: Clear Note Publications
ISBN: 1625592183
Category : Music
Languages : en
Pages : 15
Book Description
Under the tutelage of his famous father Johann Sebastian Bach, Carl Philipp Emanuel Bach studied harpsichord and clavichord during his early years and eventually adopted the piano as his primary instrument. A prolific composer, producing over 200 works, C.P.E. Bach wrote symphonies, sonatas and other instrumental works in the Rococo and early Classical style of the 18th century. This style of writing is marked by lyric phrases and light ornamentation that put aside the polyphony and thorough bass of the late baroque composers. The ideas for interpreting and ornamenting the sonatinas in this collection are taken from "Essay on the True Art of Playing Keyboard Instruments" by C.P.E. Bach. They transpose quite well for solo guitar and are a refreshing alternative to compositions by guitarists of the classical era like Sor and Giuliani.
The Bible in Music
Author: Siobhán Dowling LongPublisher: Rowman & Littlefield
ISBN: 0810884526
Category : Music
Languages : en
Pages : 373
Book Description
There have been numerous publications in the last decades on the Bible in literature, film, and art. But until now, no reference work has yet appeared on the Bible as it appears in Western music. In The Bible in Music: A Dictionary of Songs, Works, and More, scholars Siobhán Dowling Long and John F. A. Sawyer correct this gap in Biblical reference literature, providing for the first time a convenient guide to musical interpretations of the Bible. Alongside examples of classical music from the Middle Ages through modern times, Dowling Long and Sawyer also bring attention to the Bible’s impact on popular culture with numerous entries on hymns, spirituals, musicals, film music, and contemporary popular music. Each entry contains essential information about the original context of the work (date, composer, etc.) and, where relevant, its afterlife in literature, film, politics, and liturgy. It includes an index of biblical references and an index of biblical names, as well as a detailed timeline that brings to the fore key events, works, and publications, placing them in their historical context. There is also a bibliography, a glossary of technical terms, and an index of artists, authors, and composers. The Bible in Music will fascinate anyone familiar with the Bible, but it is also designed to encourage choirs, musicians, musicologists, lecturers, teachers, and students of music and religious education to discover and perform some less well-known pieces, as well as helping them to listen to familiar music with a fresh awareness of what it is about.
Cyclopedia of Music & Musicians
Author: John Denison ChamplinPublisher:
ISBN:
Category : Composers
Languages : en
Pages : 508
Book Description