By Ethan Mordden
Comfy and available widespread, this authoritative advisor is the 1st symphony instruction manual for non-musicians. The ebook starts off with a basic creation to the symphony and brief items at the orchestra and musical kinds. Mordden is going directly to describe, chronologically, over seven hundred pieces--from Vivaldi to twentieth-century composers. additional aids to the reader comprise lists of repertory developers and a thesaurus of musical phrases. "Easy and fulfilling to read...a certainly worthwhile advisor for the tune lover who has now not had a musical schooling yet loves live performance music."--John Barkham reports
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Additional resources for A Guide to Orchestral Music: The Handbook for Non-Musicians (Oxford Paperback Reference)
One is the middle-European approach, especially associated with German symphony from Beethoven to Mahler: the Romantic era. This approach is called "subjective" by its detractors; actually, all conducting is subjective. But the more notable adherents of the German Romantic style are admittedly extreme, adding in all sorts of touches that the composer hasn't necessarily asked for in tempo and volume, applying an almost mystical ambiguity to instrumental ensemble and a strong architecture of rise and fall—all as if they were sculpting the music as they play it.
More strings to balance them out! Size . . and personality. Concerto soloists were expected to be larger than the works they played; new concertos were written in which a charismatic virtuoso would conquer the orchestra as much as collaborate with it. Most important of all, it was a time when music emerged as a public commodity, gave up its privacy and sold tickets to a broad public. And what happened after Romanticism? "Modernism" is a clumsy Classic, Romantic, and Neo: A Guide to Style 47 word with neither resonance nor, even, meaning.
A unique experiment in the phonograph's formalized intimacy between performer and public is the existence of three different Beethoven symphony cycles conducted by Herbert von Karajan. Each set was issued in a different decade: the first for Angel, with the Philharmonia Orchestra in monaural sound in the 1950s, the second for Deutsche Grammophon with the Berlin Philharmonic in stereo in the 1960s, and the third again for DG with the Berliners in the late 1970s. Unlike such men as Toscanini and Furtwangler, von Karajan is not fun to analyze—he's too ambiguous.
A Guide to Orchestral Music: The Handbook for Non-Musicians (Oxford Paperback Reference) by Ethan Mordden