Composed in 1935-36 and intended to be his artistic 'credo', Shostakovich's "Fourth Symphony" was not performed publicly until 1961. Here, the author argues that the "Fourth Symphony" was radically different from its Soviet contemporaries in terms of its structure, dramaturgy, t…
"Composed in 1935-36 and intended to be his artistic 'credo', Shostakovich's Fourth Symphony was not performed publicly until 1961. Here, Dr Pauline Fairclough tackles head-on one of the most significant and least understood of Shostakovich's major works. She argues that the Fou…
Composed in 1935-36 and intended to be his artistic 'credo', Shostakovich's Fourth Symphony was not performed publicly until 1961. Here, Dr. Pauline Fairclough tackles head-on one of the most significant and least understood of Shostakovich's major works. She argues that the Fou…
"Up to this day the various scores have attracted strong partisanship among both conductors and enthusiasts, even though in all that time there has not been a general guide to the differences among them. As a result, the Bruckner Society of America is announcing the publication …
More than 100 selections from the noted musicologist's Essays in Musical Analysis cover most of the standard works in the symphonic repertory, from Bach to Vaughan Williams. Incisive essays examine overtures and symphonies by Beethoven and Brahms, eleven symphonies by Haydn, six…
More than 100 selections from the noted musicologist's Essays in Musical Analysis cover most of the standard works in the symphonic repertory. Subjects include Beethoven's overtures and symphonies, including the author's famous study of the Ninth Symphony; all Brahms's overtures…
"Reynolds shows that the stylistic advances made by Richard Wagner and Robert Schumann in 1845-46 stemmed from a deepened understanding of Beethoven's techniques and strategies in the Ninth Symphony, particularly the use of counterpoint involving contrary motion. The trail of in…
Reynolds shows that the stylistic advances made by Richard Wagner and Robert Schumann in 1845-46 stemmed from a deepened understanding of Beethoven's techniques and strategies in the Ninth Symphony, particularly the use of counterpoint involving contrary motion. The trail of inf…
"Reynolds shows that the stylistic advances made by Richard Wagner and Robert Schumann in 1845-46 stemmed from a deepened understanding of Beethoven's techniques and strategies in the Ninth Symphony, particularly the use of counterpoint involving contrary motion. The trail of in…
"Reynolds shows that the stylistic advances made by Richard Wagner and Robert Schumann in 1845-46 stemmed from a deepened understanding of Beethoven's techniques and strategies in the Ninth Symphony, particularly the use of counterpoint involving contrary motion. The trail of in…
"Reynolds shows that the stylistic advances made by Richard Wagner and Robert Schumann in 1845-46 stemmed from a deepened understanding of Beethoven's techniques and strategies in the Ninth Symphony, particularly the use of counterpoint involving contrary motion. The trail of in…
"Reynolds shows that the stylistic advances made by Richard Wagner and Robert Schumann in 1845-46 stemmed from a deepened understanding of Beethoven's techniques and strategies in the Ninth Symphony, particularly the use of counterpoint involving contrary motion. The trail of in…
