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Nohl - Mozarts Leben (1870) [Deutsch]

Nohl - The life of Mozart, Vol.1 [Eng. transl. by Lady Wallace, 1877]

Nohl - The life of Mozart, Vol.2 [Eng. Wallace, 1877]

 

 

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Аннотация

Марсель Брион, член Французской академии, написал свою книгу о любви, открыв перед читателем целую вселенную музыки Моцарта, его жизни и творчества. Гениальный австрийский композитор XVIII века, ушедший в бессмертие, не дожив до 36 лет, оставил после себя огромное музыкальное наследие — более 620 законченных произведений и немалое число фрагментов, эскизов, отдельных частей. Каждая новая эпоха открывает своего Моцарта и находит в нем созвучие своим мыслям и чувствам. Под глубоким воздействием моцартовского гения находятся все последующие поколения музыкантов и любителей музыки, узнавая в нем само совершенство.

 

Как и почти все гении, Моцарт не был понят и оценен своим временем, жил в стесненных материальных условиях, находился в унизительной зависимости от власть имущих. Но его музыка, напоенная светом, солнцем и жизнью, всегда будет восхищать и радовать людей, вдохновлять их на самые светлые и добрые дела

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Friedrich KERST (1870 - ) and Wolfgang Amadeus MOZART (1756 - 1791), translated by Henry Edward KREHBIEL (1854 - 1923)
Wolfgang Amadeus Mozart. His name is one of the most recognizable names in history and one of the most enduring of composers. At age 5, this “wunderkinder” took to the stage and began his life as a prolific and celebrated creator-genius of such luminous works the world has not known since. This collection of morsels taken from his personal letters is engaging and gives a look into the mind of the boy wonder. Was he mad? Was he miraculous? (Summary by Aaron Elliott)

EDITOR'S NOTE

The purpose and scope of this little book will be obvious to the reader from even a cursory glance at its contents. It is, in a way, an auto- biography of Mozart written without conscious purpose, and for that reason peculiarly winning, illuminating and convincing. The out- ward things in Mo/art's life are all but ignored in it, but there is a frank and full disclosure of the great musician's artistic, intellectual and moral character, made in his own words. The Editor has not only taken the trouble to revise the work of the German author and compiler, but, for reasons which seemed to him imperative, has also made a new translation of all the excerpts. Most of the translations of Mozart's letters which have found their way into the books betray want of familiarity with the idioms and colloquialisms employed by Mozart, as well as understanding of his careless, contradictory and sprawling epistolary style. Some of the intimacy of that style the new translation seeks to preserve, but the purpose has chiefly been to make the meaning plain. H. E. K. New York, June 7, 1905

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WOLFGANG AMEDEE MOZART.
SA VIE MUSICALE ET SON OEUVRE. 
ESSAI DE BIOGRAPHIE CRITIQUE SUIVI D'UN NOUVEAU CATALOGUE,
CHRONOLOGIQUE DE L'OEUVRE COMPLETE DE MAITRE Vol 1: L'ENFANT
PRODIGE 1756-1773 DE L'ENDANCE A LA PLEINE MATURITE

MOZART), DE WYZEWA Theodore & DE SAINT-FOIX G

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W.-A. Mozart, sa vie musicale et son Oeuvre de l'enfance à la pleine maturité (1756-1777): Essai de biographie critique, suivi d'un nouveau catalogue chronologique de l'oueuvre complète du maitre, Volume 1 - L'Enfant Prodige

Teodor de Wyzewa, Georges de Saint-Foix

Edité par Perrin et cie, (1912)

Description du livre : Perrin et cie, 1912. Soft cover. État : Good. 524 pages. Soft card covers showing some signs of wear ( tearing/slits to spine card from head and base - (from base approx. 6cm slit near rear cover) fraying to card edges and corners etc. Internally sound tight and clean. Basically a sound volume in a slightly worn card cover.

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In publishing these six quartets together Mozart certainly did not intend them to be regarded in all their parts as one whole; his object was to bring to view the many-sidedness of expression and technical treatment of which this species of music was capable. The first quartet, in G major (387 K.), and the fourth, in E flat major (428 K.), have a certain relationship in their earnest and sustained tone; but how different is the expression of energetic decision in the first from that of contemplative reserve in the fourth; a difference most noticeable in the andantes of the two quartets. Again, in the third and fifth quartets, in B flat (458 K.) and A major (464 K.), the likeness in their general character is individualised by the difference in treatment throughout. The second quartet, in D minor (421 K.), and the sixth, in C major (465 K.), stand alone; the former by its affecting expression of melancholy, the latter by its revelation of that higher peace to which a noble mind attains through strife and suffering.

An equal wealth of characterisation and technical elaboration meets us in a comparison of the separate movements. The ground-plan of the first movement is the usual one, and the centre of gravity is always the working-out at the beginning of the second part, which is therefore distinguished by its length as a principal portion of the movement. The working-out of each quartet is peculiar to itself. In the two SIX QUARTETS, 1785. first the principal subject is made the groundwork, and combined with the subordinate subject closing the first part, but quite differently worked-out. In the G major quartet the first subject is spun out into a florid figure, which is turned hither and thither, broken off by the entry of the second subject, again resumed, only to be again broken off in order, by an easy play on the closing bar

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MOZART and his mother left Mannheim on March 14, and arrived in Paris on the 23rd, after a journey of nine days and a-half. "We thought we should never get through it," writes Wolfgang (March 24, 1778), "and I never in my life was so tired. You can imagine what it was to leave Mannheim and all our dear, good friends there, and to be obliged to exist for ten days without a single soul even to speak to. God be praised, however, we are now at our journey's end. I am in hopes that, with His help, all will go well. To-day we mean to take a fiacre and go to call on Grimm and Wendling. Early to-morrow I shall go to the Electoral Minister Herr von Sickingen, who is a great connoisseur and lover of music, and to whom I have letters of introduction from Herr von Gemmingen and Herr Cannabich." L. Mozart was full of hope concerning this visit to Paris, and believed that Wolfgang could not fail to gain fame and, as a consequence, money in the French capital. He remembered the brilliant reception which had been given to him and his children fourteen years before, and he was convinced that a like support would be accorded to the youth who had fulfilled his early promise to a degree that to an intelligent observer must appear even more wonderful than his precocious performances as a child. He counted upon the support and assistance of many distinguished and influential persons, whose favour they had already experienced, and more especially on the tried friendship of Grimm, who had formerly given them the benefit of all his knowledge and power, and with whom they had continued in connection ever since. Grimm had lately passed through Salzburg with two FRENCH OPERA. friends, and was pleased to hear his "Amadeo," as he called Wolfgang. He chanced to arrive at Augsburg on the evening of Wolfgang's concert there, and was present at it without making himself known, since he was in haste, and had heard that Wolfgang was on his way to Paris. L. Mozart, who placed great confidence in Grimm's friendship and experience, had made no secret to him of his precarious position in Salzburg, and of how greatly Wolfgang was in need of support; he commended his son entirely to Grimm's favour (April 6, 1778)

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In terms of musical composition, all but the first five of his thirty-five years were astoundingly productive for Wolfgang Amadeus Mozart (1756-91). A stream of glorious symphonies, piano concertos, chamber music, operas and the sublime but unfinished Requiem poured from his pen. German philologist and archaeologist Otto Jahn (1813-69) was inspired to write a scholarly biography of Mozart following a conversation at Mendelssohn's funeral in 1847. He immIersed himself in intensive research on the composer and his music, publishing the first edition of this landmark work in four volumes between 1856 and 1859. A second edition followed in 1867, incorporating new material and making use of Köchel's 1862 catalogue of Mozart's works. It is from this edition that Pauline D. Townsend made her three-volume English translation, first published in 1882. Volume 1 covers Mozart's life to 1778, including tours with his father and employment under Archbishop Colloredo.

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