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In Hey Presto! Swift and the Quacks, Hugh Ormsby-Lennon reveals how medicine shows, both ancient and modern, galvanized Jonathan Swift's imagination and inspired his wittiest satiric voices. Swift dubbed these multifaceted traveling entertainments his Stage-itinerant or 'Mountebank's Stage.' In the course of arguing that the stage-itinerant formed an irresistible model for A Tale of a Tub, Ormsby-Lennon also surmises that the mountebank's stage will disclose that missing link, long sought, which connects the dual objects of Swift's ire: gross Corruptions in both Religion and Learning.
Die britische Sinfonik ist erst in jüngster Zeit ins allgemeine Interesse gerückt. Ein Überblick über die sinfonische Entwicklung im Vereinigten Königreich seit den Anfängen im 18. Jahrhundert bis ins 20. Jahrhundert blieb aber bis heute ein Desideratum. Der hier vorgelegte Überblick zeigt, wie sich die Identität einer britischen Sinfonik über mehr als hundert Jahre entwickelte, geprägt durch Einflüsse vom europäischen Kontinent und von dem Bedürfnis, eigene Wege zu finden. Gegen Ende des 19. Jahrhunderts nahm das sinfonische Schaffen in Großbritannien stark zu, brachte jedoch erst mit Edward Elgar einen prominenten Vertreter von internationalem Rang hervor. Ein besonderer Schwerpunkt dieser Publikation liegt auf jenen Werken, die zu einem gewissen Grade von anderen überschattet wurden, unveröffentlicht oder unaufgeführt blieben. Das Ergebnis ist das Bild einer vielgestaltigen sinfonischen Landschaft Großbritanniens, das die ästhetischen Perspektiven der einzelnen Komponisten wie auch ihre soziokulturellen Kontexte erhellt. Ein umfangreiches Verzeichnis aller bekannten Werke und eine ausführliche Bibliographie laden zu weiterer Erkundung des Sujets ein. Only in relatively recent times has any real attention been given to British symphonies. So a comprehensive survey, showing what exists and how the situation in the United Kingdom developed, from the beginnings in the 18th century until well into the 20th century, is long overdue. The preliminary survey presented here shows how a British symphonic identity gradually took shape over more than a century, through influences from abroad and, at home, enterprising attempts to find new ways of expression. By the end of the 19th century, British symphonists had produced an impressive body of work, yet only with the appearance of Elgar’s two symphonies in the following decade did this flourishing school find a champion of international renown. In this publication, light is shone on those works that have to some extent been overshadowed, as well as on those that have remained unpublished or unperformed. The result is a multi-faceted panorama of British symphonism, offering many insights into the composers’ thinking and their socio-cultural contexts. A comprehensive catalogue of all known works and an extensive bibliography invite readers to delve further into the subject.
Musicians who work professionally with ballet and dance companies sometimes wonder if they haven’t entered a foreign country—a place where the language and customs seem so utterly familiar and so bafflingly strange at the same. To someone without a dance background, phrases and terms--boy’s variation, pas d’action, apothéose—simply don’t fit their standard musical vocabulary. Even a familiar term like adagio means something quite different in the world of dance. Like any working professional, those conductors, composers, rehearsal pianists, instrumentalists and even music librarians working with professional ballet and dance companies must learn what dance professionals talk about when they talk about music. In Ballet Music: A Handbook Matthew Naughtin provides a practical guide for the professional musician who works with ballet companies, whether as a full-time staff member or as an independent contractor. In this comprehensive work, he addresses the daily routine of the modern ballet company, outlines the respective roles of the conductor, company pianist and music librarian and their necessary collaboration with choreographers and ballet masters, and examines the complete process of putting a dance performance on stage, from selection or existing music to commissioning original scores to staging the final production. Because ballet companies routinely revise the great ballets to fit the needs of their staff and stage, audience and orchestra, ballet repertoire is a tangled web for the uninitiated. At the core of Ballet Music: A Handbook lies an extensive listing of classic ballets in the standard repertoire, with information on their history, versions, revisions, instrumentation, score publishers and other sources for tracking down both the original music and subsequent musical additions and adaptations. Ballet Music: A Handbook is an invaluable resource for conductors, pianists and music librarians as well as any student, scholar or fan of the ballet interested in the complex machinery that works backstage before the curtain goes up.
Again available in paperback, this definitive work on the genius of Domenico Scarlatti (1685-1757) is the result of twelve years of devoted effort by America's foremost harpsichordist and one of the principal authorities on eighteenth-century harpsichord music. Mr. Kirkpatrick traveled extensively to collect material that has tripled the known facts about Scarlatti's life, providing the first adequate biography of one of the greatest harpsichord composers of the eighteenth century and one of the most original composers of all time. The second half of his book is an illuminating study of Scarlatti's 555 sonatas, concluding with a chapter on their performance. The book contains extensive appendixes, including discussions of ornamentation and Scarlatti's vocal music, and an updated section of addenda and corrigenda.
Volume I of two-volume set of excellent Breitkopf & Hartel edition includes Hoboken Nos. 1-29 arranged in chronological sequence: Sonata No. 1 in C Major (before 1760) through Sonata No. 29 in F Major (ca 1774-1776)."
Originally written as an introduction to a critical edition of Beethoven's piano concertos, this informative performance guide provides general rules and features more than 100 annotated and analyzed musical examples.
This unique series teaches skills used by professional pianists to make their performances more expressive and dramatic. Students will explore five keys for achieving performance artistry: color, pedaling, rubato/rhythmic freedom, characterization and choreography. In-depth information helps students understand the concepts of balance, voicing, pedal techniques, and how to move at the piano. Titles: * German Dance, D. 365, No. 12 (Schubert) * Dawn (Bartók) * Idylle, Op. 126, No. 1 (Chaminade).* German Dance, D. 783, No. 14 (Schubert) * Gavotte, Op. 36, No. 2 (Amy Beach) * Cradle Song, Op. 124, No. 6 (Schumann) * Mazurka (Glinka) * Impresiones intimas, No. 2 (Mompou) * Naughty Boy, from For Children, Vol. 1, Sz. 42, No. 21 (Bartók) * A Little Girl Pleading with Her Mother, Op. 37, No. 1 (Rebikov) * A Little Girl Rocking Her Dolly, Op. 37, No. 7 (Rebikov) * The Bell Tolls (Liszt) * Valse brillante, No. 5 from Valses poético (Granados) * Waltz in A Minor, Op. Posthumous (Chopin) * Waltz, Op. 12, No. 2 (Grieg) * Whimsy (Dennis Alexander) * Canon, from For Children, Vol. 2, Sz. 42, No. 31 (Bartók) * Waltz, Op. 39, No. 3 (Brahms) * Venetian Gondola Song, from Songs without Words, Vol. 2, Op. 30, No. 6 (Mendelssohn) * Rapsodia Española** (Dennis Alexander) * Tarentelle, Op. 123, No. 10 (Chaminade) * Galop final (Casella) * Gallactica** (Dennis Alexander). **Federation Festivals 2011-2013 selection
Thirteen entertaining chapters and more than 100 helpful illustrations show beginners how to make objects disappear, conjure something from nothing, levitate, and perform other illusions. Readers will learn to master three kinds of magic — close-up, club and parlor, and stage magic — with advice on misdirection, presentation, routining, and showmanship.