By Ethan Mordden
Cozy and obtainable standard, this authoritative consultant is the 1st symphony guide for non-musicians. The ebook starts with a common advent to the symphony and brief items at the orchestra and musical types. Mordden is going directly to describe, chronologically, over seven-hundred pieces--from Vivaldi to twentieth-century composers. extra aids to the reader contain lists of repertory developers and a thesaurus of musical phrases. "Easy and pleasing to read...a certainly priceless consultant for the tune lover who has no longer had a musical schooling yet loves live performance music."--John Barkham stories
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Extra info for A Guide to Orchestral Music: The Handbook for Non-Musicians (Oxford Paperback Reference)
It opens with a theme given to the violins, quickly joined by the full orchestra: General Introduction 31 We are, of course, securely in the home key, E Flat, and we will end there, too. But first, this typical sonata movement draws us into the dominant (as occurred in the first movement) for the second theme. , contrasting) theme, Mozart merely revamps the first theme, this time using woodwinds to "answer" the violins: Thus, the finale is not: as concerned with conflict as the first two movements were.
In fact, next to Reiner, Rodgers isn't interpreting at all, just beating time. This returns us to our main question about performers' interpretations: how much are they supposed to interpret? No one can say. The listener himself must decide which approach he prefers—which conductors he likes in which style of music, which pianists, violinists, and so on. There are whole schools of conducting, for example. One is the middle-European approach, especially associated with German symphony from Beethoven to Mahler: the Romantic era.
Obviously, records did much to bring underrated composers forward, since they made possible the repetition (in home listening) that acclimatizes the ear to unfamiliar idioms. In our own time, both Bruckner and Mahler moved up from tertiary status to the inner circle: records, mainly, did it. Veteran collectors can testify that the Mahler scene in the early 1950s consisted of Bruno Walter's recordings of the First, Second, Fourth, and Fifth Symphonies and Das Lied von der Erde plus a few odd items conducted by an unfamiliar name on a weird label of limited distribution.
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