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Antonín Dvořák : musician and craftsman

ผู้แต่ง: John Clapham
สำนักพิมพ์: New York : St. Martin's Press, 1966.
ครั้งที่พิมพ์/รูปแบบ:   พิมพ์หนังสือ : บรรณานุกรม : ภาษาอังกฤษดูครั้งที่พิมพ์และรูปแบบ
ฐานข้อมูล:WorldCat
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Of all Slavonic composers Dvorak stands nearest to the great Viennese classical tradition, yet (paradoxically) he is intensely national and as personal a composer as has ever lived. (This is a paradox within a paradox: so many "national" composers seem to have sunk personality in nationality.) He is, as someone has said, "the most musical composer since Schubert"--Who, as the article reprinted on pp. 296-305 shows  อ่านมากขึ้น…
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ประเภท/แบบฟอร์ม Biography
รูปแบบทางกายภาพเพิ่มเติม Online version:
Clapham, John.
Antonín Dvořák.
New York, St. Martin's Press [1966]
(OCoLC)639395099
ชื่อบุคคล: Antonín Dvořák; Antonín Dvořák
ขนิดวัสดุ: บรรณานุกรม
ประเภทเอกสาร หนังสือ
ผู้แต่งทั้งหมด : ผู้แต่งร่วม John Clapham
OCLC Number: 228812
คำอธิบาย: xviii, 341 pages : genealogical table, music, plates (including facsimiles, portraits) ; 26 cm
สารบัญ: Foreword / Gerald Abraham --
Preface --
Note on pronunciation --
Part one : The man and his art. Biographical sketch --
Methods of work and features of style --
Part two : Instrumental works. The symphonies --
The concertos --
Programme music and overtures --
Miscellaneous orchestral works --
Chamber music for strings --
Chamber music with pianoforte --
Pianoforte music --
Compositions for violin and violoncello --
Part three : Vocal music. The songs --
Cantata, mass and oratorio --
Part-songs --
The operas --
Appendices. Genealogical tree --
Dvorak on Schubert, with a letter from Sir George Grove --
Catalogue of completed works --
Works in order of composition --
Select bibliography.
ความรับผิดชอบ: John Clapham.

บทคัดย่อ:

Of all Slavonic composers Dvorak stands nearest to the great Viennese classical tradition, yet (paradoxically) he is intensely national and as personal a composer as has ever lived. (This is a paradox within a paradox: so many "national" composers seem to have sunk personality in nationality.) He is, as someone has said, "the most musical composer since Schubert"--Who, as the article reprinted on pp. 296-305 shows us, was his idol and whom he criticized in terms that often apply to himself -- and the very ease with which he seems not only to have poured out melody but to have thought contrapuntally, so that even his mere doodling is apt to be in invertible counterpoint, has sometimes led (a third paradox) to undervaluation of his powers. - Foreword.

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