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 13
... purely musical basis, while the romanticists include some external non-musical factor as the emotional basis of their work. Source: The Musician, 1/23 (1897), 430–1. However, among the immediate successors of Beethoven, the progressives ...
... purely musical basis, while the romanticists include some external non-musical factor as the emotional basis of their work. Source: The Musician, 1/23 (1897), 430–1. However, among the immediate successors of Beethoven, the progressives ...
Página 16
... purely musical heart—and who has done this if not Brahms, the first whole-hearted classical composer since Beethoven? True, there has been an interregnum, but that does not make Brahms a reactionary, it only means that he has waited his ...
... purely musical heart—and who has done this if not Brahms, the first whole-hearted classical composer since Beethoven? True, there has been an interregnum, but that does not make Brahms a reactionary, it only means that he has waited his ...
Página 19
... purely decorative, and though it is an absolutely necessary part of that edifice, it seems not to have the same emotional importance as the other three movements. We have already had the solid, the humorous, and the sentimental—nothing ...
... purely decorative, and though it is an absolutely necessary part of that edifice, it seems not to have the same emotional importance as the other three movements. We have already had the solid, the humorous, and the sentimental—nothing ...
Página 23
... purely artificial restriction which a composer imposes on himself when he imagines—rightly or wrongly—that his inspiration is not enough to guide him. A genius has no time to consider the claims of good taste; he is hurried blindly ...
... purely artificial restriction which a composer imposes on himself when he imagines—rightly or wrongly—that his inspiration is not enough to guide him. A genius has no time to consider the claims of good taste; he is hurried blindly ...
Página 49
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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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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