The Story Orchestra: Carnival of the Animals: Press the Note to Hear Saint-Saлns` Music, , Flint Katy
Автор: , Flint Katy Название: The Story Orchestra: Swan Lake ISBN: 0711241503 ISBN-13(EAN): 9780711241503 Издательство: Quarto Рейтинг: Цена: 16450.00 T Наличие на складе: Есть у поставщика Поставка под заказ. Описание: A spellbinding retelling of a classic ballet story, with 10 sound clips.
Автор: Svendsen Troels, Andreasen Mogens Название: Royal Danish Orchestra: The World`s Oldest Orchestral Institution ISBN: 8763544318 ISBN-13(EAN): 9788763544313 Издательство: Gazelle Book Services Рейтинг: Цена: 85800.00 T Наличие на складе: Поставка под заказ. Описание: Founded over 550 years ago, The Royal Danish Orchestra is the worlds oldest orchestral institution. Starting out as a trumpeter corps, the institution is today an opera and symphony orchestra based at the Royal Opera in Copenhagen. Its long history is told in short, independent sections centred on the musicians: to date, over a thousand musicians have been employed in the orchestra. Among them, we discover colourful individuals sometimes also working as officers, entertainers and envoys for their employers who until 1849 were the Danish kings. Its members included world famous composers such as John Dowland, Heinrich Schutz, Niels W Gade and Carl Nielsen. The book is richly illustrated with a selection of the treasures of art that surround The Royal Danish Orchestra, presenting its everyday life as well as its members. There are paintings and drawings by artists such as C W Eckersberg, Louis Aumont, P S Kroyer, Michael Ancher, Erik Henningsen, Carlo Rosberg, Harald Isenstein and Henrik Bloch. Many of their works are here published for the first time.
George Szell was the Cleveland Orchestra's towering presence for over a quarter of a century. From the boardroom to the stage, Szell's powerful personality affected every aspect of a musical institution he reshaped in his own perfectionist image. Marcia Hansen Kraus's participation in Cleveland's classical musical scene allowed her an intimate view of Szell and his achievements. As a musician herself, and married to an oboist who worked under Szell, Kraus pulls back the curtain on this storied era through fascinating interviews with orchestra musicians and patrons. Their recollections combine with Kraus's own to paint a portrait of a multifaceted individual who both earned and transcended his tyrannical reputation. If some musicians hated Szell, others loved him or at the least respected his fair-minded toughness. A great many remember playing under his difficult leadership as the high point in their lives. Filled with vivid backstage stories, George Szell's Reign reveals the human side of a great orchestra ”and how one visionary built a premier classical music institution.
Автор: Hamm Samuel Название: I. The Orchestra With Electroacoustic Music: Literature, Interviews, and Analysis ISBN: 053000481X ISBN-13(EAN): 9780530004815 Издательство: Неизвестно Рейтинг: Цена: 114030.00 T Наличие на складе: Есть у поставщика Поставка под заказ. Описание: Abstract: Since its origins in the aristocratic European courts of the sixteenth and seventeenth centuries, the orchestra has held an eminent position in Western art music. Due to its sheer magnitude and its unparalleled sonic flexibility, skill in writing original and ambitious music for the orchestra is a common, if myopic, measure of the quality and relevance of a composer's output. The orchestra has maintained its esteem as the twenty-first century opens. Eighteen of the past twenty-five Pulitzer Prizes in Music have been awarded to orchestral compositions. But all is not well: cultural shifts and financial constraints are reducing both the size of audiences for orchestral art music and the number of viable ensembles. It is a complicated problem with many differing opinions as to its origins and solutions. By the end of the twentieth century, technological advancements provided new means of producing music. Developments in electronic instruments, recording technology, and computers have each been hailed as an impetus for future music. New genres of art music have emerged from these sources, known by varying terms: electroacoustic music, electronic music, computer music. In addition, technology has built new bridges between art music and popular music, leading to exchanges of ideas, techniques, and instrumentation. Interchange and interplay between the orchestral "old style" and the electroacoustic "new style" were inevitable during the twentieth century. New problems and questions emerged that were philosophical, aesthetic, and practical. What is the artistic validity of music that combines such different traditions and concepts? Is the ability to make an artistic statement enhanced or compromised? What logistical issues exist in arranging and producing performances of these works? There are many more questions, and they all remain pertinent in the present. Dissertation Discovery Company and University of Florida are dedicated to making scholarly works more discoverable and accessible throughout the world. This dissertation, "I. The Orchestra With Electroacoustic Music: Literature, Interviews, and Analysis" by Samuel Jefferson Hamm, was obtained from University of Florida and is being sold with permission from the author. A digital copy of this work may also be found in the university's institutional repository, IR@UF. The content of this dissertation has not been altered in any way. We have altered the formatting in order to facilitate the ease of printing and reading of the dissertation.
Автор: Hamm Samuel Название: I. The Orchestra With Electroacoustic Music: Literature, Interviews, and Analysis ISBN: 0530004801 ISBN-13(EAN): 9780530004808 Издательство: Неизвестно Рейтинг: Цена: 80930.00 T Наличие на складе: Есть у поставщика Поставка под заказ. Описание: Abstract: Since its origins in the aristocratic European courts of the sixteenth and seventeenth centuries, the orchestra has held an eminent position in Western art music. Due to its sheer magnitude and its unparalleled sonic flexibility, skill in writing original and ambitious music for the orchestra is a common, if myopic, measure of the quality and relevance of a composer's output. The orchestra has maintained its esteem as the twenty-first century opens. Eighteen of the past twenty-five Pulitzer Prizes in Music have been awarded to orchestral compositions. But all is not well: cultural shifts and financial constraints are reducing both the size of audiences for orchestral art music and the number of viable ensembles. It is a complicated problem with many differing opinions as to its origins and solutions. By the end of the twentieth century, technological advancements provided new means of producing music. Developments in electronic instruments, recording technology, and computers have each been hailed as an impetus for future music. New genres of art music have emerged from these sources, known by varying terms: electroacoustic music, electronic music, computer music. In addition, technology has built new bridges between art music and popular music, leading to exchanges of ideas, techniques, and instrumentation. Interchange and interplay between the orchestral "old style" and the electroacoustic "new style" were inevitable during the twentieth century. New problems and questions emerged that were philosophical, aesthetic, and practical. What is the artistic validity of music that combines such different traditions and concepts? Is the ability to make an artistic statement enhanced or compromised? What logistical issues exist in arranging and producing performances of these works? There are many more questions, and they all remain pertinent in the present. Dissertation Discovery Company and University of Florida are dedicated to making scholarly works more discoverable and accessible throughout the world. This dissertation, "I. The Orchestra With Electroacoustic Music: Literature, Interviews, and Analysis" by Samuel Jefferson Hamm, was obtained from University of Florida and is being sold with permission from the author. A digital copy of this work may also be found in the university's institutional repository, IR@UF. The content of this dissertation has not been altered in any way. We have altered the formatting in order to facilitate the ease of printing and reading of the dissertation.
Gifted harpist Edna Phillips (1907–2003) joined the Philadelphia Orchestra in 1930, becoming not only that ensemble's first female member but also the first woman to hold a principal position in a major American orchestra. Plucked from the Curtis Institute of Music in the midst of her studies, Phillips was only twenty-three years old when Leopold Stokowski, one of the twentieth century's most innovative and controversial conductors, named her principal harpist. This candid, colorful account traces Phillips's journey through the competitive realm of Philadelphia's virtuoso players, where she survived--and thrived--thanks to her undeniable talent, determination, and lively humor.
Drawing on extensive interviews with Phillips, her family, and colleagues as well as archival sources, One Woman in a Hundred chronicles the training, aspirations, setbacks, and successes of this pioneering woman musician. Mary Sue Welsh recounts numerous insider stories of rehearsal and performance with Stokowski and other renowned conductors of the period such as Arturo Toscanini, Fritz Reiner, Otto Klemperer, Sir Thomas Beecham, and Eugene Ormandy. She also depicts Phillips's interactions with fellow performers, the orchestra management, and her teacher, the wily and brilliant Carlos Salzedo. Blessed with a nimble wit, Phillips navigated a plethora of challenges, ranging from false conductors' cues to the advances of the debonair Stokowski and others. She remained with the orchestra through some of its most exciting years from 1930 to 1946 and was instrumental in fostering harp performance, commissioning many significant contributions to the literature.
This portrait of Phillips's exceptional tenure with the Philadelphia Orchestra also reveals the behind-the-scenes life of a famous orchestra during a period in which Rachmaninoff declared it "the finest orchestra the world has ever heard." Through Phillips's perceptive eyes, readers will watch as Stokowski melds his musicians into a marvelously flexible ensemble; world-class performers reach great heights and make embarrassing flubs; Greta Garbo comes to Philadelphia to observe her lover Leopold Stokowski at work; and the orchestra encounters the novel experience of recording for Walt Disney's Fantasia. A colorful glimpse into a world-class orchestra at the height of its glory, One Woman in a Hundred tells the fascinating story of one woman brave enough and strong enough to overcome historic barriers and pursue her dreams.
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