By George Grove

This can be a reissue of the 1st version of George Grove's Dictionary of song and Musicians, which has considering developed to turn into the most important and so much authoritative paintings of its type in English. The undertaking grew within the making: the identify web page of quantity 1 (1879) refers to 'two volumes', yet by the point quantity four seemed in 1889 there has been additionally a 300-page appendix and a separate index quantity. The dictionary was once a global project, with participants from Paris, Leipzig, Berlin, Vienna and Boston along these established in Britain. It was once 'intended to provide an exceptional and lengthy stated wish' coming up from the elevated curiosity in all facets of tune, which was once 'rapidly changing into a vital department of education', and to cater for the pro whereas being obtainable to the beginner. it's a attention-grabbing record of musical tastes and values within the past due Victorian interval.

Show description

Read or Download A Dictionary of Music and Musicians (A.D. 1450-1880): By Eminent Writers, English and Foreign. Volume 4 PDF

Similar music books

Monteverdi- Vespers (1610) (Cambridge Music Handbooks)

Monteverdi's Vespers is a phenomenal choice of sacred track, either within the inventiveness of the compositions that it includes and within the debate that it has provoked over its use within the 17th century and over Monteverdi's intentions in publishing it. This instruction manual presents a advisor to the tune in all its elements – from an advent to the provider of Vespers itself, in the course of the perform of chanting psalms in plainsong to research of Monteverdi's settings, starting from the rhetoric of the motet 'Nigra sum' to the sub-text of the psalm 'Laetatus sum'.

Chopin: The Man and His Music

This vintage in tune biography and feedback displays the intimate wisdom of Chopin's track bought through the writer whereas learning to develop into a live performance pianist. half 1 bargains with Chopin's existence and reviews on his teachings and performances; the second one half deals a super, piece-by-piece research of the complete physique of his track.

Liszt's Final Decade (Eastman Studies in Music)

Towards the top of his existence Franz Liszt maintained broad correspondence with ladies who have been on the time his closest confidantes, Carolyne von Sayn-Wittgenstein and Olga von Meyendorff. Liszt wrote to them usually, expressing his intimate emotions approximately own and occupation occasions and his conflicted self-image as a celebrated performer yet underappreciated composer.

Additional resources for A Dictionary of Music and Musicians (A.D. 1450-1880): By Eminent Writers, English and Foreign. Volume 4

Example text

When he descends from this distant height, he assumes a cheerful and sometimes playful vein, as in the second principal subject of the first movement, and in the subsidiary or cadence subject that follows it. This may not be altogether in accordance with what is popularly meant by the name 'Jupiter,' though that deity appears to have been capable of a good deal of levity in his time ; but it has the virtue of supplying admirable contrast to the main subjects of the section; and it is so far in consonance with them that there is no actual reversal of feeling in passing from one to the other.

The divisions of key, the short • working-out' portion, and the recapitulation, are generally present, but not pointedly defined. Examples of this condition of things are supplied by some MS. symphonies by Paradisi in the Fitzwilliam Museum at Cambridge, which in other respects possess excellent and characteristically modern traits. The first thing attained seems to have been the relative definition and balance of the two subjects. In Stamitz, Abel, J. C. Bach, and Wagenseil, this is already commonly met with.

It is surrounded on both sides by some of his noblest achievements. ' Opus 53 is the Sonata in C major, dedicated to Count Waldstein. Opus 54 is the admirable little Sonata in F ma,jor. ' It appears that Beethoven had the idea of writing this symphony as early as 1798, but the actual work was probably done in the summer and autumn of 1803. There seems to be no doubt that it was written under the influence of his admiration for Napoleon. His own title-page had on it' Sinfonia grande, Napoleon Bonaparte,' and, as is well known, the name ' Eroica' was not added till Napoleon became Emperor; after which event Beethoven's feelings about him naturally underwent a change.

Download PDF sample

Rated 4.95 of 5 – based on 9 votes