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Author: George Frederick Bristow Publisher: A-R Editions, Inc. ISBN: 9780895796844 Category : Music Languages : en Pages : 372
Book Description
URL: https://www.areditions.com/rr/rra/a072.html George Frederick Bristow (1825¿98), American composer, conductor, teacher, and performer, was a pillar of the New York musical community for the second half of the nineteenth century. His participation in an important mid-century battle-of-words (between William Henry Fry and the journalist Richard Storrs Willis and concerning a lack of support for American composers by the Philharmonic Society) has unfortunately overshadowed his accomplishments as a composer, which were significant. Bristow is remembered today primarily for his opera Rip van Winkle (1855) and oratorio Daniel (1866), but he was also a skillful and productive composer of orchestral music¿one of only a handful of American orchestral composers active at mid-century.Bristow wrote his Symphony no. 2 (Jullien) in 1853. It is a substantial work in four movements, scored for the standard orchestra of the early nineteenth century, and strongly influenced by the personal styles of Beethoven and Mendelssohn (whose works were performed regularly by the Philharmonic Society). The symphony is skillfully crafted, melodious, and an intrinsically worthy work of musical artistry. It was named to honor the French conductor Louis Jullien, who visited the United States in 1853¿54 with an unparalleled orchestra. While in the United States Jullien both commissioned and performed American works (including this symphony); his support served as the catalyst for the Fry/Willis battle. The introductory essay to this symphony examines Bristow¿s career, the composition of orchestral music in America at mid-century, and Jullien¿s role in the musical battle; the edition makes available for the first time an important work that has been undeservedly forgotten for over 150 years.
Author: George Frederick Bristow Publisher: A-R Editions, Inc. ISBN: 9780895796844 Category : Music Languages : en Pages : 372
Book Description
URL: https://www.areditions.com/rr/rra/a072.html George Frederick Bristow (1825¿98), American composer, conductor, teacher, and performer, was a pillar of the New York musical community for the second half of the nineteenth century. His participation in an important mid-century battle-of-words (between William Henry Fry and the journalist Richard Storrs Willis and concerning a lack of support for American composers by the Philharmonic Society) has unfortunately overshadowed his accomplishments as a composer, which were significant. Bristow is remembered today primarily for his opera Rip van Winkle (1855) and oratorio Daniel (1866), but he was also a skillful and productive composer of orchestral music¿one of only a handful of American orchestral composers active at mid-century.Bristow wrote his Symphony no. 2 (Jullien) in 1853. It is a substantial work in four movements, scored for the standard orchestra of the early nineteenth century, and strongly influenced by the personal styles of Beethoven and Mendelssohn (whose works were performed regularly by the Philharmonic Society). The symphony is skillfully crafted, melodious, and an intrinsically worthy work of musical artistry. It was named to honor the French conductor Louis Jullien, who visited the United States in 1853¿54 with an unparalleled orchestra. While in the United States Jullien both commissioned and performed American works (including this symphony); his support served as the catalyst for the Fry/Willis battle. The introductory essay to this symphony examines Bristow¿s career, the composition of orchestral music in America at mid-century, and Jullien¿s role in the musical battle; the edition makes available for the first time an important work that has been undeservedly forgotten for over 150 years.
Author: Katherine K. Preston Publisher: University of Illinois Press ISBN: 0252052307 Category : Biography & Autobiography Languages : en Pages : 294
Book Description
As American classical music struggled for recognition in the mid-nineteenth century, George Frederick Bristow emerged as one of its most energetic champions and practitioners. Katherine K. Preston explores the life and works of a figure admired in his own time and credited today with producing the first American grand opera and composing important works that ranged from oratorios to symphonies to chamber music. Preston reveals Bristow's passion for creating and promoting music, his skills as a businessman and educator, the respect paid him by contemporaries and students, and his tireless work as both a composer and in-demand performer. As she examines Bristow against the backdrop of the music scene in New York City, Preston illuminates the little-known creative and performance culture that he helped define and create. Vivid and richly detailed, George Frederick Bristow enriches our perceptions of musical life in nineteenth-century America.
Author: Brian Hart Publisher: Indiana University Press ISBN: 0253067545 Category : History Languages : en Pages : 1039
Book Description
Central to the repertoire of Western art music since the 1700s, the symphony has come to be regarded as one of the ultimate compositional challenges. In his series The Symphonic Repertoire, the late A. Peter Brown explored the symphony in Europe from its origins into the 20th century. In Volume V, Brown's former students and colleagues continue his vision by turning to the symphony in the Western Hemisphere. It examines the work of numerous symphonists active from the early 1800s to the present day and the unique challenges they faced in contributing to the European symphonic tradition. The research adds to an unmatched compendium of knowledge for the student, teacher, performer, and sophisticated amateur. This much-anticipated fifth volume of The Symphonic Repertoire: The Symphony in the Americas offers a user-friendly, comprehensive history of the symphony genre in the United States and Latin America.
Author: Douglas W. Shadle Publisher: Oxford University Press, USA ISBN: 0199358648 Category : Music Languages : en Pages : 345
Book Description
During the 19th century, nearly 100 symphonies were written by over 50 composers living in the United States. With few exceptions, this repertoire is virtually forgotten today. In 'Orchestrating the Nation', author Douglas W. Shadle explores the stylistic diversity of this substantial repertoire and uncovers why it failed to enter the musical mainstream.
Author: David Tudor Publisher: A-R Editions, Inc. ISBN: 1987203046 Category : Music Languages : en Pages : 101
Book Description
When I think of music, I think of you and vice-versa, John Cage told David Tudor in the summer of 1951. Looking back years later, Cage said that every work he composed in the ensuing two decades was composed for Tudoreven if it was not written for the piano, Tudors nominal instrument. The collaboration of Cage and Tudor reached an apex in the Solo for Piano from Cages Concert for Piano and Orchestra (195758). None of Cages previous works had employed more than a single type of notation. In contrast, the Solo for Piano consists of eighty-four notational types, ranging from standard line-and-staff notation to extravagant musical graphics. The notational complexity of the Solo for Piano led Tudor to write outor realizea performance score, from which he played at the premiere of the Concert for Piano and Orchestra in May 1958. The next spring, when Cage requested music to complement his ninety-minute lecture Indeterminacy, Tudor created a second realization, for which he devised a new temporal structure to implement Cages notations. This edition of Tudors second realization of the Solo for Piano presents Tudors performance score in the spatial-temporal layout of its proportional notation. An introductory essay discusses the early collaborations of Cage and Tudor, as well as the genesis, creative process, and performance history of the Solo for Piano. The critical commentary examines each of Tudors methods of realization; which notations from Cages score Tudor selected and why; how Tudor interpreted Cages often ambiguous performance instructions; how Tudor distributed the resulting sounds temporally; and the ways in which Tudors realization fulfills, transcends, and sometimes contravenes the instructions of Cages score.
Author: George Whitefield Chadwick Publisher: A-R Editions, Inc. ISBN: 0895798557 Category : Immigrants Languages : en Pages : 451
Book Description
George Whitefield Chadwick (18541931), a Massachusetts native identified with the so-called second New England School of composers, is among the most important and creative American composers in the generation that bridged the nineteenth and twentieth centuries. Trained in part in Germany, he spent much of his working life educating other musicians at the New England Conservatory of Music, which he led from 1897 until his death. Chadwick fashioned a compelling individual musical voice rooted in a Euro-American musical idiom; his orchestral and chamber music was performed with some frequency in his own day and has been revived in ours. His opera The Padrone, set to a libretto by David K. Stevens (based on an idea from Chadwick himself), was composed in 1912; it was strongly influenced by the verismo operas of the time (such as Leoncavallos Pagliacci and Puccinis Tosca), which attempted to bring to opera the naturalism of such late nineteenth-century writers as Zola and Ibsen. The Padrone is set in an American city (presumably the North End of Boston) in the present. The story, a tragic tale in two acts with an orchestral interlude, revolves around a ruthless member of the Italian community (the padrone) and his exploitation of more recently arrived immigrants. Chadwick composed The Padrone for submission to the Metropolitan Opera Company in New York, but the opera was rejected, probably because of its gritty realism, and was never staged during Chadwicks lifetime. (The Padrone exists only in manuscript form and has never been published; its only public performance so far took place in 1997.) In contrast to American operas of its generation that dramatize myths and legends from the ancient past, The Padrone brings a modern story to the stage, set to music of dramatic power and superb craftsmanship.
Author: Norm Cohen Publisher: A-R Editions, Inc. ISBN: 1987207289 Category : Music Languages : en Pages : 597
Book Description
This edition brings together representative transcriptions of folk songs and ballads in the British-Irish-American oral tradition that have enjoyed widespread familiarity throughout twentieth-century America. Within are the one hundred folk songs that most frequently occurred in a methodical survey of Roud’s Folk Song Index, catalogues of commercial early country (or "hillbilly") recordings, and relevant archival collections. The editors selected sources for transcriptions in a broad range of singing styles and representing many regions of the United States. The selections attempt to avoid the biases of previous collections and provide a fresh group of examples, many heretofore unseen in print. The sources for the transcriptions are recordings of traditional musicians from the 1920s through the early 1940s drawn from (1) commercial recordings of "hillbilly" musicians, and (2) field recordings in the collection of the Library of Congress’s Archive of American Folk Song, now part of the Archive of Folk Culture. Each transcription is accompanied by a brief contextualizing essay discussing the song’s history and influence, recording and performance information (whenever available), and an examination of the tune. The edition begins with a substantive essay about the history of folk song recordings and folk song scholarship, and the nature of traditional vocal music in the United States.
Author: David Tudor Publisher: A-R Editions, Inc. ISBN: 198720302X Category : Music Languages : en Pages : 403
Book Description
When I think of music, I think of you and vice-versa, John Cage told David Tudor in the summer of 1951. Looking back years later, Cage said that every work he composed in the ensuing two decades was composed for Tudoreven if it was not written for the piano, Tudors nominal instrument. The collaboration of Cage and Tudor reached an apex in the Solo for Piano from Cages Concert for Piano and Orchestra (195758). None of Cages previous works had employed more than a single type of notation. In contrast, the Solo for Piano consists of eighty-four notational types, ranging from standard line-and-staff notation to extravagant musical graphics. The notational complexity of the Solo for Piano led Tudor to write outor realizea performance score, from which he played at the premiere of the Concert for Piano and Orchestra in May 1958. The next spring, when Cage requested music to complement his ninety-minute lecture Indeterminacy, Tudor created a second realization, for which he devised a new temporal structure to implement Cages notations. This edition of Tudors second realization of the Solo for Piano presents Tudors performance score in the spatial-temporal layout of its proportional notation. An introductory essay discusses the early collaborations of Cage and Tudor, as well as the genesis, creative process, and performance history of the Solo for Piano. The critical commentary examines each of Tudors methods of realization; which notations from Cages score Tudor selected and why; how Tudor interpreted Cages often ambiguous performance instructions; how Tudor distributed the resulting sounds temporally; and the ways in which Tudors realization fulfills, transcends, and sometimes contravenes the instructions of Cages score.
Author: Aaron Copland Publisher: A-R Editions, Inc. ISBN: 1987204581 Category : Music Languages : en Pages : 295
Book Description
Appalachian Spring is perhaps the most popular work by Aaron Copland (19001990). Composed as a ballet for the renowned choreographer Martha Graham (18941991), it was the result of a close collaboration between Copland and Graham, and the music quickly took on a life of its own. However, the best known versions of the score, those most frequently recorded and heard in concert, differ in form and musical content from the original ballet, which was scored for a chamber ensemble of thirteen instruments and premiered by the Martha Graham Dance Company at the Library of Congress on 30 October 1944. This edition presents the first completed engraving of the original version of Appalachian Spring, providing musicians and scholars access to the score as it has been performed for more than 75 years by the Graham Company. On each page of the score, the editors have included stills from the 1958 film of the ballet, with Graham dancing the lead role, in order to highlight the connection between music and dance. An introductory essay explores the creation of the work, the musical structure, the origins of and differences among multiple versions of the score, and the continued significance and influence of Coplands music. The critical commentary draws on manuscript and published sources, as well as Graham Company performance practice, to illuminate editorial decisions. The edition also includes appendices that present a comparison of historical tempi, markings from the Graham tradition for augmenting the orchestration, and a selected discography of different versions of the score.
Author: George Frederick Bristow
Author: George Frederick Bristow
Author: Katherine K. Preston
Author: Brian Hart
Author: Douglas W. Shadle
Author: David Tudor
Author: George Whitefield Chadwick
Author: Norm Cohen
Author: David Tudor
Author: Aaron Copland
Author: Mary Lou Williams