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|Genre/forme :||Criticism, interpretation, etc|
|Personne nommée :||Frédéric Chopin; Frédéric Chopin; Frédéric Chopin; Frédéric Chopin; Frédéric Chopin|
|Type d’ouvrage :||Biographie, Ressource Internet|
|Format :||Livre, Ressource Internet|
|Tous les auteurs / collaborateurs :||
|ISBN :||0521404908 9780521404907 0521477522 9780521477529|
|Numéro OCLC :||24216123|
|Description :||xi, 341 pages : illustrations ; 26 cm|
|Contenu :||The growth of a style. Piano music and the public concert 1800-1850 / Janet Ritterman --
The nocturne : development of a new style / David Rowland --
The twenty-seven etudes and their antecedents / Simon Finlow --
Tonal architecture in the early music / John Rink --
Profiles of the music. Extended forms : the ballades, scherzos and fantasies / Jim Samson --
Small 'forms' : in defence of the prelude / Jeffrey Kallberg --
Beyond the dance / Adrian Thomas --
The sonatas / Anatole Leikin --
Reception. Chopin in performance / James Methuen-Campbell --
Chopin reception in nineteenth-century Poland / Zofia Chechlińska --
Victorian attitudes to Chopin --
Derek Carew --
Chopin's influence on the fin de siècle and beyond / Roy Howat.
|Responsabilité :||edited by Jim Samson.|
|Plus d’informations :|
Of this Companion is to identify some of its sources, referring both to the social history of early nineteenth-century piano music (chapter 1) and to the music of Chopin's predecessors (chapters 2 and 3). The early music and the growth to stylistic maturity are examined in chapter 4. Part 2 of the Companion profiles some of the mature music in a language designed to be intelligible to the interested layman as well as to the musician. There are re-evaluations of Chopin's.
Most 'epic' statements (chapter 5) as well as his most 'epigrammatic' (chapter 6). There is an account of his relation to Polish folk music in the dance pieces (chapter 7) and there is a fresh look at one of the more controversial aspects of his art, his handling of the sonata (chapter 8). Several facets of the afterlife of Chopin's music are examined in part 3. There is reception through performance (chapter 9), reception through criticism (chapters 10 and 11) and.
Reception through compositional influence (chapters 11 and 12). As these later chapters indicate, Chopin's art left its mark both on the Trivialmusik of the later nineteenth century and on the emerging Modernism of the new century.