جهت استعلام قیمت، خرید و مشاهده نمونه صفحه محصول، لطفاً از طریق پشتیبانی فروشگاه در واتساپ و تلگرام اقدام فرمایید.
این کتاب به صورت متن و فاقد نت می باشد
by E. Robert Schmitz
This book is a firsthand report of a great composer's
intentions in regard to the performance of his music. These intentions
have been digested and interpreted for us by the composer's friend
Robert Schmitz (1889–1949), who was himself a distinguished pianist, an
articulate musician, and a well-known teacher. The product is an
authoritative commentary on the entire body of Debussy's work for piano
solo.
Written for both performers and listeners, the book's purpose
is to increase enjoyment of and insight into these works. The book's
shorter opening section comprises notes on many general aspects of the
composer's life and work; a biographical sketch; a discussion of
Debussy's place in relation to the concepts of impressionism and
romanticism; his use of classical forms, tonality and modality, melody,
counterpoint, etc. Section two, the heart of the book, examines in
detail the whole of Debussy's music for solo piano, two hands.
Seventy-one pieces in all are included: The Arabesques, the Suite
Bergmasque, the Estampes, Images, Children's Corner, Préludes and
Études. Each in its chronological place, the pieces are first described
as a whole as to mood, source of programmatic inspiration, structure,
tonality, and other characteristics. Then follows specific suggestions
dealing with technical and expressive problems of particular measures
and phrases.
The book is not meant as a substitute for Debussy's
piano works; on the contrary, it will cause both listeners and
performers to turn to this superb corpus of music with new interest and
insight. "Complete, thorough, authoritative and important." — San Francisco Chronicle.
"It is a thoughtful and mature reference book and though I am at
variance with certain of its premises and conclusions, there is much to
provoke the intelligent music lover and the inquiring musician." — Abram
Chasins, The New York Times. "There
is no doubt that he had closely identified himself with the great
French composer, and his love and belief in the music shine through
every page of this book." — H. C. Schonbert, The Saturday Review.