Vaughan Williams on MusicOxford University Press, 27 de nov. de 2007 - 304 páginas This book makes a substantial collection of Vaughan Williams's writings widely available to music lovers, students, and researchers alike. It comprises 102 items written by the composer between 1897 and the year of his death, 1958, including articles for musical magazines, transcripts of broadcasts, obituary notices and program notes. The great majority of items in this anthology have been unavailable since their initial publication, some have never been published, and very few have been reprinted. Vaughan Williams reveals the many roles he played during his life in the pages of this book: he was an active supporter of amateur music-makers, a leader in the folksong revival, educator, performer, campaigner for English music, and polemicist. Through all these perspectives, the words are unmistakably those of a composer who came to believe it his duty to build an active and cohesive musical community within his native country. |
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Página 8
... mind, it is unsurprising that a writer from The Music Student, interviewing Vaughan Williams about the meaning of his music in 1920, was unable to discern much about individual works. However, Vaughan Williams's more general remark is ...
... mind, it is unsurprising that a writer from The Music Student, interviewing Vaughan Williams about the meaning of his music in 1920, was unable to discern much about individual works. However, Vaughan Williams's more general remark is ...
Página 14
... mind, which was translated into an analogous musical pattern on paper. With Beethoven, then, abstract form and emotional expression were inseparable, because they both sprang from the same source. Like so many other new movements, the ...
... mind, which was translated into an analogous musical pattern on paper. With Beethoven, then, abstract form and emotional expression were inseparable, because they both sprang from the same source. Like so many other new movements, the ...
Página 15
... mind. On the whole, the musician was paramount in Schumann's nature, and he was often content to illustrate the work of others; but from the first his music had a dramatic as well as a musical basis—that is to say, not that his music ...
... mind. On the whole, the musician was paramount in Schumann's nature, and he was often content to illustrate the work of others; but from the first his music had a dramatic as well as a musical basis—that is to say, not that his music ...
Página 19
... mind, or the cultivated musician who can see the logic of the most abstruse movement without turning a hair. The weakness is, in fact, purely physical; it cannot be overcome by any study, nor can a genuine interest in the music lessen ...
... mind, or the cultivated musician who can see the logic of the most abstruse movement without turning a hair. The weakness is, in fact, purely physical; it cannot be overcome by any study, nor can a genuine interest in the music lessen ...
Página 26
... mind with his overcoat in the cloak-room before he began to listen to the music. He may prefer light, brilliant, even sensational music; but whatever its nature, it must brace and stimulate his mental capacities, otherwise he will want ...
... mind with his overcoat in the cloak-room before he began to listen to the music. He may prefer light, brilliant, even sensational music; but whatever its nature, it must brace and stimulate his mental capacities, otherwise he will want ...
Conteúdo
3 | |
11 | |
CONTINENTAL COMPOSERS | 123 |
FOLK SONG | 179 |
BRITISH COMPOSERS | 293 |
PROGRAMME NOTES ON VAUGHAN WILLIAMSS MUSIC | 329 |
PROGRAMME NOTES ON THE MUSIC OF OTHER COMPOSERS | 399 |
SELECT BIBLIOGRAPHY OF FOLK SONG COLLECTIONS | 423 |
INDEX | 425 |
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Termos e frases comuns
amateur appear artistic audience Bach Bach’s ballad beautiful Beethoven Brahms Cecil Sharp Cecil Sharp House choir choral chorus church classical collection collectors composer’s concert Dance and Song Dvorák Ein Heldenleben emotional England English composer English Folk Dance English folk-song English music expression Festival Folk Dance folk music fugue Gustav Holst heard Hubert Parry hymn idea imagine intentionally left blank invented Journal last movement Leith Hill listening London Lucy Broadwood Martin Shaw melody mind musical drama musicians National Music nature one’s opera orchestra original Palestrina Parry performance perhaps phrase pianoforte played popular Programme note Purcell purely Queen’s Hall Ralph Vaughan Williams Reprinted in KC rhythm romantic Scherzo sing singer solo sonata Song Society songs and dances Source strings style sung Symphony Tchaikovsky theme thing traditional true tune Vaughan Williams violin voice Wagner whole Williams’s words write