What people are saying - Write a review
We haven't found any reviews in the usual places.
Other editions - View all
adagio allegro aria arpeggio artistic Bach's bass bassoons beauty Beethoven beginning C. P. E. Bach cadence career Carl Philipp character chord chromatic clarinets coda composer composition concerto contrast Corelli dance Don Giovanni double bar drama duet eighteenth century example expression feeling Fidelio Figaro finale flat flutes followed G minor give Gluck Handel harpsichord Haydn and Mozart hear heard ideas important instru instruments Italian opera J. S. Bach later Leonora Leopold Mozart major melody ment minuet modulation musician oboes opera orchestra Orfeo Orpheus overture Paris passage performed Peters edition phrase piano sonatas played players Pollux Prague produced pupils Rameau realize recitative rhythm Salzburg scherzo second subject seems slow movement solo sonata form string quartet style symphony Tartini ternary form things thought tone trio tune Vienna Viennese viola violin violinist violoncello voice Weinzirl whole wood-wind words writing written wrote
Page 130 - the air in which later Orpheus mourns his second loss. To suggest the same idea by the use of the same phrase of music was quite unusual in the opera of Gluck's day. Audiences were not sufficiently thoughtful to make it worth while for composers 1 The students of the Guildhall School of Music gave
Page 129 - witnessing complete performances. Orfeo is sometimes brought forward by private enterprise in London 1 ; Armide was given in German at Covent Garden a few years ago, but for the rest we have generally to rely on the rare chance of a performance by the students of one 1 The performances of Orfeo which Miss Marie
Page 30 - No. 5), look at these few bars of the quartet in A (Op. 3, No. 6), where the viola and violoncello assert their freedom by repeating a fragment of the chief tune originally started by the two violins, while the first violin adds a new counterpoint above, and the second violin accompanies in syncopated crotchets.
Page 105 - as far as possible in chronological order. The numbers on the right are those of the Peters duet edition. 1772 Symphony in F sharp minor (Farewell) . . .22 1773 ,, in C major (for the visit of the Empress) . 17 1774 „ in E flat major . . . . .21 1781 ,, in D major (the Hunt) . . . .20 1784-6 Paris symphony, No.
Page 77 - contrary, the latter starts boldly upon his elaborate scheme, passing rapidly from one part of it to another, often indulging in the most abstruse detail at points where the harmonic movement is involved (see bars 16-20), and pouring out a wealth of ideas which are likely to escape all but the most diligent listeners.
Page 100 - was impelled to compose in order that Austria might have a national anthem worthy to stand beside the one which he had heard in England. This tune is none the less Haydn's because it springs out of his native folk-song. To compare it as it appears in the quartet with the various versions of the popular song
Page 174 - For the special purposes of this chapter, however, the earlier piano sonatas will suffice to lay the foundations of appreciation, and they should not only be played through, but studied in the ways suggested in the latter half of this chapter as follows.] 1. Play the slow movement of the sonata in F minor (Op. 2, No.
Page 90 - seemed to Mozart to be only a makeshift. Moreover, he was in a restless and unhappy frame of mind, caused by the breaking off of his engagement to Aloysia Weber and his mother's death. He was hampered in its composi1 A later work than the serenade mentioned on p. 46.
Page 106 - The most efficient way of helping students to enjoy them is for the teacher to analyse and play fragments from a work before it is to be heard. All Haydn's quartets are published in Payne's miniature scores for a few pence each.] 8. Play movements as duets from Haydn's symphonies,
Page 33 - (see Part II, p. 47). The Court Band of the Elector Palatine was one of the few great orchestras of the day. Its celebrity dated from the time when Stamitz, a famous violinist, was appointed as its leader in 1745, that is the year in which Handel composed Judas