Why couldn't Schubert get his 'great' C-Major Symphony performed? Why was he the first composer to consistently write four movements for his piano sonatas? Since neither Schubert's nor Beethoven's piano sonatas were ever performed in public, who did hear them? Addressing these questions and many others, John M. Gingerich provides a new understanding of Schubert's career and his relationship to Beethoven. Placing the genres of string quartet, symphony, and piano sonata within the cultural context of the 1820s, the book examines how Schubert was building on Beethoven's legacy. Gingerich brings new understandings of how Schubert tried to shape his career to bear on new hermeneutic readings of the works from 1824 to 1828 that share musical and extra-musical pre-occupations, centering on the 'Death and the Maiden' Quartet and the Cello Quintet, as well as on analyses of the A-minor Quartet, the Octet, and of the 'great' C-Major Symphony.
New selection of 12 of the composer’s finest trios for piano, violin and cello. Each work reflects Haydn’s wonderful musical vitality, elegant sense of form and seemingly limitless capacity for invention and thematic development. Reprinted from the definitive C. F. Peters Complete Works edition.
This definitive Breitkopf & Härtel edition of Beethoven's most performed and recorded piano trios includes the Ghost (Op. 70, No. 1) and the Archduke (Op. 97). Features lay-flat sewn binding.
Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.
"A selection of unabridged works from 'Serie IV. F'ur Streichinstrumente' and 'Serie V. F'ur Pianoforte und andere Instrumente' of the Collected Works Edition (Robert Schumann's Werke. Herausgegeben von Clara Schumann), originally published by Breitkopf & H'artel"--T.p. verso.
Over the centuries, the piano trio has gained a repertoire of exceptional size and richness; works written for this genre include some of the greatest of all chamber works. The first study devoted solely to the piano trio, this book reviews the development of the trio in different countries within the context of general music history, and shows how it has reflected changes in style and technique from Mozart and Haydn to the avant-garde composers of today. Smallman focuses on the principal works in the trio repertoire, and trovides clear analytical descriptions supplemented by musical examples.
Interprets an eighteenth-century musical repertoire in sociable terms, both technically (specific musical patterns) and affectively (predominant emotional registers of the music).
Marking the 250th anniversary of the composer's birth, this volume presents twenty-one completely new essays on aspects of Beethoven's personal life, his composing process, his manuscripts, and his greatest works.
Revised edition: Adolf Busch (1891-1952) was an all-round musician and a moral beacon in troubled times. As first violin of the Busch String Quartet, founded in 1912, he was the greatest quartet-player of the last century and he led a famous conductorless orchestra, the Busch Chamber Players. He was also the busiest solo violinist of the inter-War years, regularly performing major concertos with such conductors as Nikisch, Toscanini, Weingartner, Walter, Furtwängler, Boult, Wood, Barbirolli and his elder brother Fritz. He was, moreover, an outstanding composer whose works enjoyed performances in Germany and further afield. Frequently he appeared as soloist and composer in the same concert. His courageous decision to boycott his native country from April 1933 - despite Hitler's efforts to persuade 'our German violinist' to return - drastically reduced his income and damaged his career as soloist and composer. In 1938, because of Mussolini's race laws, he imposed a similar boycott on Italy, where he was wildly popular. The following year he emigrated with his quartet colleagues to the United States, where he was not fully appreciated, although he had many successes with a new chamber orchestra and founded the Marlboro summer school. This biography, based on more than thirty years' research, examines Busch's exemplary behaviour in the context of a tumultuous era. Volume One traces his progress from childhood in Westphalia, through friendships with Fritz Steinbach, Donald Tovey and Max Reger, early triumphs in Berlin, London and Vienna, years of maturity and fulfilment, rejection of Hitler's Germany and close bonds with British musicians and concert-goers in the 1930s. It ends just before his move into American exile. Volume Two follows Busch through the Second World War, his return to give concerts in Europe in the late 1940s and his founding of the Marlboro summer school in Vermont shortly before his untimely death. A series of appendices consider Busch as violinist, violist and teacher, his taste and repertoire, his interpretations, his colleagues, his celebrated recordings and his compositions.
