Buch, Englisch, Band 7, 136 Seiten, Format (B × H): 149 mm x 240 mm, Gewicht: 265 g
Reihe: Geschriften van het Orpheus Instituut/Collected Writings of the Orpheus Institute
Buch, Englisch, Band 7, 136 Seiten, Format (B × H): 149 mm x 240 mm, Gewicht: 265 g
Reihe: Geschriften van het Orpheus Instituut/Collected Writings of the Orpheus Institute
ISBN: 978-90-5867-734-1
Verlag: LEUVEN UNIV PR
Janet Schmalfeldt shows that Beethoven¿s op.47 not only should be called the Bridgetower rather than the Kreutzer Sonata, but also that this makes a difference as to its meaning. Extreme contrasts between emotional and mechanical types of music in late Beethoven are explained
by Scott Burnham as stagings of the limits of human subjectivity. Jim Samson discusses Chopin¿s little-known musical upbringing in Warsaw, arguing that his grounding in eighteenth-century aesthetics (as opposed to theory) has thus far been neglected. Finally, Susan Youens¿ case study of Franz Lachner¿s Heine songs sheds new light on radical experimentation by a so-called epigone in the period between Schubert and Schumann¿s miracle song year.
With contributions by: Scott Burnham, John Neubauer, Jim Samson, Janet Schmalfeldt, Susan Youens.
Autoren/Hrsg.
Fachgebiete
Weitere Infos & Material
PREFACE
fresh tracks, retracings and diversions
John Neubauer
Organicism and Music Theory
Janet Schmalfeldt
Beethoven's "Bridgetower" Sonata, Op. 47
Scott Burnham
Intimacy and Impersonality in Late Beethoven: Contract and the Staging of Subjectivity
Susan Youens
Of Epigones, Aftermaths, and Achievement: The Heine Songs of Franz Lachner
Jim Samson
Chopin and the Traditions of Pedagogy