| |
|
|
|
|
|
|
|
|
1. |
Record Nr. |
UNINA9910462591803321 |
|
|
Autore |
Lee Douglas A. |
|
|
Titolo |
Masterworks of 20th-century music : the modern repertory of the symphony orchestra / / Douglas Lee |
|
|
|
|
|
|
|
Pubbl/distr/stampa |
|
|
New York : , : Routledge, , 2002 |
|
|
|
|
|
|
|
ISBN |
|
1-283-96433-3 |
0-203-61694-4 |
1-136-06682-9 |
|
|
|
|
|
|
|
|
Descrizione fisica |
|
1 online resource (529 p.) |
|
|
|
|
|
|
Disciplina |
|
|
|
|
|
|
Soggetti |
|
Symphonies |
Electronic books. |
|
|
|
|
|
|
|
|
Lingua di pubblicazione |
|
|
|
|
|
|
Formato |
Materiale a stampa |
|
|
|
|
|
Livello bibliografico |
Monografia |
|
|
|
|
|
Note generali |
|
Description based upon print version of record. |
|
|
|
|
|
|
Nota di bibliografia |
|
Includes bibliographical references and index. |
|
|
|
|
|
|
Nota di contenuto |
|
Masterworks of 20th-Century Music The Modern Repertory of the Symphony Orchestra; Copyright; Contents; Preface; John Adams; The Chairman Dances: Foxtrot for Orchestra; Short Ride in a Fast Machine; Samuel Barber; Symphony No. 1 in One Movement, Opus 9; Concerto for Piano and Orchestra, Opus 38; Concerto for Violin and Orchestra, Opus 14; Concerto for Cello and Orchestra, Opus 22; Adagio for Strings, Opus 11; Essay for Orchestra, Opus 12; Second Essay for Orchestra, Opus 17; Overture to The School for Scandal, Opus 5; Knoxville: Summer of 1915, Opus 24 |
Medea's Meditation and Dance of Vengeance, Opus 23aBéla Bartók; Concerto for Orchestra; Concerto No. 2 for Piano and Orchestra; Concerto No. 3 for Piano and Orchestra; Concerto No. 2 for Violin and Orchestra; Concerto for Viola and Orchestra, Opus posth.; Dance Suite; Divertimento; Music for Strings, Percussion, and Celesta; The Miraculous Mandarin: Music from a Pantomime by Melchior Lengyel, Opus 19; Alban Berg; Concerto for Violin and Orchestra; Three Pieces for Orchestra, Opus 6; Leonard Bernstein; Serenade (after Plato's Symposium) for Solo Violin, String Orchestra, Harp, and Percussion |
Divertimento for OrchestraChichester Psalms; Overture to Candide; Music for Fancy Free; Symphonic Suite from On the Waterfront; Symphonic Dances from West Side Story; Benjamin Britten; Sinfonia da |
|
|
|
|
|
|
|
|
|
|
|
Requiem, Opus 20; The Young Person's Guide to the Orchestra, Opus 34 (Variations on a Theme of Purcell); War Requiem, Opus 66; Four Sea Interludes from Peter Grimes, Opus 33a; Aaron Copland; Third Symphony; Concerto for Clarinet; El Salón México; Suite from Appalachian Spring; Suite from Billy the Kid; John Corigliano; Symphony No. 1 for Orchestra; Peter Maxwell Davies |
An Orkney Wedding, with SunriseManuel de Falla; Nights in the Gardens of Spain; Suite from El amor brujo; Suites from The Three-Cornered Hat; George Gershwin; Concerto in F; Rhapsody in Blue; An American in Paris; Cuban Overture; Alberto Ginastera; Variaciones concertantes, Opus 23; Dances from Estancia, Opus 8a; Henryk Górecki; Symphony No. 3, Opus 36 (Symphony of Sorrowful Songs); Paul Hindemith; Symphony, Mathis der Maler; Symphonic Metamorphosis of Themes by Carl Maria von Weber; Gustav Holst; The Planets, Opus 32; Charles Ives; A Symphony: New England Holidays |
Orchestral Set No. 1: Three Places in New EnglandThe Unanswered Question; Zoltán Kodály; Dances of Galánta; Suite from Háry János; Witold Lutosławski; Concerto for Orchestra; Darius Milhaud; La création du monde, Opus 81; Carl Nielsen; Symphony No. 4, Opus 29 (The Inextinguishable); Symphony No. 5, Opus 50; Concerto for Flute and Orchestra; Carl Orff; Carmina burana; Francis Poulenc; Concerto in D minor for Two Pianos and Orchestra; Sergei Prokofiev; Symphony No. 1 in D, Opus 25 (Classical); Symphony No. 5 in B-flat, Opus 100; Concerto No. 1 for Piano and Orchestra in D-flat, Opus 10 |
Concerto No. 2 for Piano and Orchestra in G minor, Opus 16 |
|
|
|
|
|
|
Sommario/riassunto |
|
""Masterworks of 20th-Century Music"" introduces more than one hundred of the greatest compositions by world-renowned composer that have entered the standard orchestral repertory. The author surveyed dozens of major American orchestras to focus on those works that an average audience member is most likely to hear. Concertgoers who are intimated by the modern repertoire finally have a single resource that will help them understand and enjoy it. Like an educated guide, he walks the listener through the piece, explaining how all the elements come together to form a unified whole. This |
|
|
|
|
|
|
|
| |