Purcell
-15%
portes grátis
Purcell
Holman, Peter
Taylor & Francis Ltd
12/2010
576
Dura
Inglês
9780754628965
15 a 20 dias
1330
Descrição não disponível.
Contents: Introduction; Part I Biography and Contexts: Only Purcell e're shall equal Blow, Bruce Wood; The Italian connection: Giovanni Battista Draghi and Henry Purcell, Peter Holman; Purcell's stage singers and Purcell's stage singers: a documentary list, Olive Baldwin and Thelma Wilson; 'He had the honour to be your master': Lady Rhoda Cavendish's music lessons with Henry Purcell, Michael Burden; Letter from Aleppo: dating the Chelsea School performance of Dido and Aeneas, Bryan White. Part II Sources, Editing and Dissemination: Manuscript music in Purcell's London, Robert Thompson; Creating the corpus: the 'complete keyboard music' of Henry Purcell, Christopher Hogwood; The Fairy Queen: a fresh look at the issues, Bruce Wood and Andrew Pinnock; Newly discovered autograph keyboard music of Purcell and Draghi, Curtis Price; Purcell's Rejoice in the Lord, all ways, Lionel Pike; Robert Pindar, Thomas Busby, and the mysterious scoring of Henry Purcell's Come Ye Sons of Art, Rebecca Herissone. Part III Styles, Genres and Compositional Process: The technique and forms of Purcell's sonatas, Michael Tilmouth; Purcell's extended solo songs, Margaret Laurie; Purcell's Laudate Ceciliam: an essay in stylistic experimentation, Martin Adams; Purcell's revisions to the funeral sentences revisited, Robert Shay; Compositional choices in Henry Purcell's Three Parts Upon a Ground, Peter Holman; Composition as an act of performance: artifice and expression in Purcell's sacred partsong Since God So Tender a Regard, Alan Howard; 'Fowle originalls' and 'fayre writeing': reconsidering Purcell's compositional process, Rebecca Herissone. Part IV Performance, Performance Practice and Reception: The Shakespeare-Purcell Fairy Queen: a defence and recommendation, Roger Savage; Continuity and tempo in Purcell's vocal works, A. Margaret Laurie; The first performance of Purcell's Funeral Music for Queen Mary, Bruce Wood; 'Or rather our musical Shakespeare': Charles Burney's Purcell, Richard Luckett; Purcell debauch'd: the Dramatick Operas in performance, Michael Burden; Name Index.
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Contents: Introduction; Part I Biography and Contexts: Only Purcell e're shall equal Blow, Bruce Wood; The Italian connection: Giovanni Battista Draghi and Henry Purcell, Peter Holman; Purcell's stage singers and Purcell's stage singers: a documentary list, Olive Baldwin and Thelma Wilson; 'He had the honour to be your master': Lady Rhoda Cavendish's music lessons with Henry Purcell, Michael Burden; Letter from Aleppo: dating the Chelsea School performance of Dido and Aeneas, Bryan White. Part II Sources, Editing and Dissemination: Manuscript music in Purcell's London, Robert Thompson; Creating the corpus: the 'complete keyboard music' of Henry Purcell, Christopher Hogwood; The Fairy Queen: a fresh look at the issues, Bruce Wood and Andrew Pinnock; Newly discovered autograph keyboard music of Purcell and Draghi, Curtis Price; Purcell's Rejoice in the Lord, all ways, Lionel Pike; Robert Pindar, Thomas Busby, and the mysterious scoring of Henry Purcell's Come Ye Sons of Art, Rebecca Herissone. Part III Styles, Genres and Compositional Process: The technique and forms of Purcell's sonatas, Michael Tilmouth; Purcell's extended solo songs, Margaret Laurie; Purcell's Laudate Ceciliam: an essay in stylistic experimentation, Martin Adams; Purcell's revisions to the funeral sentences revisited, Robert Shay; Compositional choices in Henry Purcell's Three Parts Upon a Ground, Peter Holman; Composition as an act of performance: artifice and expression in Purcell's sacred partsong Since God So Tender a Regard, Alan Howard; 'Fowle originalls' and 'fayre writeing': reconsidering Purcell's compositional process, Rebecca Herissone. Part IV Performance, Performance Practice and Reception: The Shakespeare-Purcell Fairy Queen: a defence and recommendation, Roger Savage; Continuity and tempo in Purcell's vocal works, A. Margaret Laurie; The first performance of Purcell's Funeral Music for Queen Mary, Bruce Wood; 'Or rather our musical Shakespeare': Charles Burney's Purcell, Richard Luckett; Purcell debauch'd: the Dramatick Operas in performance, Michael Burden; Name Index.
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