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Ornamentation and Improvisation in Mozart

Frederick Neumann

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Princeton University Press img Link Publisher

Geisteswissenschaften, Kunst, Musik / Musik

Beschreibung

This book is a sequel to Frederick Neumann's Ornamentation in Baroque and Post-Baroque Music, With Special Emphasis on J.S. Bach (Princeton, 1978). In the present volume, the first work on this subject for Mozart's music, the author continues his important contributions to the search for historically correct performance practices, and to the liberation of the performer from improperly conceived and overly restrictive interpretation of musical scores. The first part of this book attempts to free ornamentation in Mozart from rigorism that has resulted from confusing the pure abstraction of ornament tables with concrete musical situations. The second part deals with pitches that were not written in the score yet often intended to be added when Mozart left "white spots" in his notation. These additions range from single notes to lengthy cadenzas. The problem addressed is the question of where such additions are possible or necessary and how they might best be designed.
Professor Neumann draws on an immense knowledge of the literature written during Mozart's time and on his own comprehension of the subtleties of Mozart's music and musical styles. Refusing to interpret the sources dogmatically, he frees performers of Mozart from the rigid princples too often imposed by modern scholars.
Frederick Neumann is Professor of Music Emeritus at the University of Richmond.

Originally published in 1986.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

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Schlagwörter

Dynamics (music), Violin Sonatas (Grieg), Euridice (Peri), Sohn (musician), Music director, Grace note, Syncopation, Minuet, Baroque, Italian opera, Orchestration, Musical form, The Soloist, Wedding March (Mendelssohn), Dissonant, The Orchestra, Betulia liberata, Richard Wagner, Wolfgang Amadeus Mozart, Phrase (music), Ornament (music), Singing, Idomeneo, Flute Concerto, Adagio in B minor (Mozart), Mozart piano concertos, Counter-melody, Pianissimo, Diatonic scale, Tonic (music), Classical period (music), Chromatic scale, Comic opera, Heinrich Schenker, Musicality, Quarter note, Altered chord, Bridge (music), Piano sonatas (Boulez), Orchestra, Oboe, Eduard Melkus, Minor chord, Leopold Mozart, Slur (music), Abbreviation (music), Johann Sebastian Bach, Opera seria, Composer, Die Entführung aus dem Serail, Il sogno di Scipione, Improvisation, Stretto, String trio, Symphony in C (Stravinsky), Lombard rhythm, Appoggiatura, Violin, Ludwig Fischer (bass), Piano Variations (Copland), Glissando, Vocal music, Clarinet Trio (Brahms), Opera, Woodwind instrument, Muzio Clementi, The Magic Flute, Aria, Carl Philipp Emanuel Bach, Aloysia Weber, Eighth note, Ripieno, Allgemeine musikalische Zeitung, Staccato, Johann Christian Bach, Modulation (music), Melody, Mordent, Divertimento, Fermata, Accent (music), Instrumental, Ludwig van Beethoven, Tutti, Sostenuto, Cavalieri, Melisma, Trill (music), Gesellschaft der Musikfreunde, Sinfonia concertante, Bassoon, Coloratura, Alfred Mann (musicologist), Melodic pattern, Canzonetta, Don Giovanni, Esser (musician), Allegro Non Troppo, Music school, Symphony No. 40 (Mozart)