Описание: By examining theoretical debates about the nature of nineteenth-century German opera and analyzing the genre’s development and its international dissemination, this book shows German opera’s entanglement with national identity formation. The thorough study of German opera debates in the first half of the nineteenth century highlights the esthetic and ideological significance of this relatively neglected repertoire, and helps to contextualize Richard Wagner’s attempts to define German opera and to gain a reputation as the German opera composer par excellence . By interpreting Wagner’s esthetic endeavors as a continuation of previous campaigns for the emancipation of German opera, this book adds an original and significant perspective to discussions about Wagner’s relation to German nationalism.
Автор: Noufflard Georges Название: Richard Wagner D`Apres Lui-Meme (1891) ISBN: 1165518376 ISBN-13(EAN): 9781165518371 Издательство: Неизвестно Цена: 11578.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.
Описание: THE TWENTY ETUDES FOR PIANO were composed during the years from 1991 to 2012. Their final configuration into Book 1 and Book 2 was determined by the music itself in the course of its composition.
Book 1 (Etudes 1-10) had a twin objective - to explore a variety of tempi, textures and piano techniques. At the same time it was meant to serve as a pedagogical tool by which I would improve my piano playing. In these two ways, Book 1 succeeded very well. I learned a great deal about the piano and in the course of learning the music, I became a better player.
New projects came along and interrupted the work on the Etudes for several years. Perhaps for that reason, when I took up work with the Etudes again I found the music was following a new path. Though I had settled questions of piano technique for myself in Book 1, the music in Book 2 quickly began to suggest a series of new adventures in harmony and structure.
In this way, Books 1 and 2, taken together, suggest a real trajectory that includes a broad range of music and technical ideas.
In the end, the Etudes are meant to be appreciated not only by the general listener, but especially by those who have the ability and patience to learn, play and perform the music themselves.
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