The rules of musical interpretation in the baroque era (17th-18th centuries), common to all instruments - Jean Claude Veilhan - 1979

English | 1979 | ISBN: 2856890083 | 100 Pages | PDF | 7 MB

FAQ

What would Lully, Corelli, Couperin and Rameau be saying today, if the performance of their works could already be described as "appalling" in 1775, only a few years or decades after their graves had been freshly dug? Indeed since 1 750 (the year of J. S. Bach's death), the Baroque era had been in decline. The dawn of Classicism was beginning to be clearly visible. In 1775 Haydn was forty-three, Mozart nineteen, Beethoven five years old: another musical world had decisively eclipsed the preceding one. Even though certain traditions persisted, the old forms, concepts and instruments had undergone a radical development.

Ravel the Decadent: Memory, Sublimation, and Desire by Michael J. Puri - 2012

2012 | ISBN: 0199735379 | English | 272 pages | PDF | 6 MB
FAQ

The music of Maurice Ravel (1875-1937), beloved by musicians and audiences since its debut, has been a difficult topic for scholars.

Unfinished Music - Richard Kramer - 2008

English | 2008 | ISBN: 0195326822 | 422 Pages | PDF | 8 MB

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The Russian Piano Concerto: The Nineteenth Century (Volume 1) - Jeremy Norris - 1994

English | June 22, 1994 | ISBN: 0253341124 | 242 Pages | PDF | 5 MB

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Galuppi, Baldassare – Complete Piano Sonatas Vol.1-3 (Peter Seivewright, piano)

Flac tracks audio

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The Music of the Nineteenth Century and its Culture - Adolf bernhard Marx - 2012

English | Mar 14, 2012 | ISBN: 9400730535, 9048126991 | 214 Pages | PDF | 2 MB

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The Secret Piano: From Mao's Labor Camps to Bach's Goldberg Variations by Zhu Xiao-Mei

English | March 6, 2012 | | MP3@64 kbps | 9 hrs 27 mins | 267 MB

Narrator: Nancy Wu | Genre: Nonfiction/Memoirs

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Zhu Xiao-Mei was three years old when she saw her first piano, a cherished instrument introduced into her family's Beijing home by her mother. Soon after, the child began to play, developing quickly into a prodigy who immersed herself in the work of such classical masters as Bach and Brahms. Her astonishing proficiency earned her a spot at the Beijing Conservatory at the tender age of 11, where she began laying the foundation for a promising career as a concert pianist. But in 1966, with the onset of the Cultural Revolution, life as she knew it ended abruptly.

The Communist Party's campaign against culture forced the closure of art schools and resulted in the deportation of countless Chinese, including Xiao-Mei and her entire family. She spent five years in a work camp in Inner Mongolia, suffering under abysmal living conditions and a brutal brainwashing campaign. Yet through it all, Xiao-Mei kept her dream alive, drawing on the power of music to sustain her courage.