Classical Style Haydn Mozart by Rosen Charles (138 results)

Paperback. Condition: Used; Very Good. Dispatched, from the UK, within 48 hours of ordering. Though second-hand, the book is still in very good shape. Minimal signs of usage may include very minor creasing on the cover or on the spine. Grubby book may have mild dirt or some staining, mostly on the edges of pages.

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Paperback. Condition: Used; Good. Dispatched, from the UK, within 48 hours of ordering. This book is in good condition but will show signs of previous ownership. Please expect some creasing to the spine and/or minor damage to the cover. Aged book. Tanned pages and age spots, however, this will not interfere with reading. Grubby book may have mild dirt or some staining, mostly on the edges of pages. Damaged book. Slightly damaged in some way typically, a grazed corner or torn cover. Ex-library book with stamps on the first page, it is also likely to have a small shelf number sticker on the spine.

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Condition: Good. First Edition. Used book that is in clean, average condition without any missing pages.

Paperback. Condition: Very Good. New edition. Lightly dulled at spine, with a few creases at top edge of front cover. Spine not creased. 235 x 150 mm. 538 pp. Complete with CD in an unopened plastic pocket inside back cover.

Condition: Good. Used book that is in clean, average condition without any missing pages.

Softcover. Condition: Gut. 467 p. Good copy with bumped and soiled binding. The pages are slightly browned but clean. Gutes Exemplar mit beriebenem und verschmutztem Einband. Die Seiten sind leicht gebräunt, aber sauber. - Preface and Acknowledgements - - Preface to the Norton Library Edition - - Bibliographical Note - - Note on the Music Examples - - I INTRODUCTION - - 1. THE MUSICAL LANGUAGE OF THE LATE EIGHTEENTH CENTURY Period style and group style, 20; Tonality, 23; Tonic-dominant polarity, 25; Modulation, 26; Equal temperament, 27; Weakening of linear form, 28. - - 2. THEORIES OF FORM - - Nineteenth-century conception of sonata form, 30; Twentieth-century re- visions, 32; Schenker, 33; Motivic analysis, 36; Vulgar errors, 40. - - 3. THE ORIGINS OF THE STYLE - - Dramatic character of the classical style, 43; Range of styles 1755-1775, 44; Public and private music, 45; Mannerist period, 47; Proto-classical symmetries and patterns, 49; Determinants of form, 51. - - II THE CLASSICAL STYLE - - 1. THE COHERENCE OF THE MUSICAL LANGUAGE - - Periodic phrase, 57; Symmetry and rhythmic transition, 58; Homogeneous (Baroque) vs. heterogeneous (classical) rhythmic systems, 60; Dynamics and ornamentation, 62; Rhythmic and dynamic transition (Haydn Quar- tet op. 33 no. 3), 64; Harmonic transition (modulation), 68; Decorative vs. dramatic styles, 70; Conventional material, 71; Tonal stability and reso- lution, 72; Recapitulation and articulation of tension, 74; Reinterpretation and secondary tonalities, 78; Subdominants, 79; Contrast of themes, 80; Reconciliation of contrasts, symmetrical resolution, 82; Relation of large form to phrase, expansion technique (Haydn Piano Trio, H.19, 83); Correspondence of note, chord, and modulation, 89; Articulation of rhythm, weight of individual beat, 90; Sonata style and eccentric material: fantasy form (Mozart, Fantasy K. 475), 91; Audible vs. inaudible form, 93; Extra-musical influence, 94; Wit in music, 95. - - 2. STRUCTURE AND ORNAMENT - - Sonata forms generalized, 99; Structure vs. ornament, 100; Ornamentation in the late eighteenth century, 101; Radical change in function of decoration, 107. - - III HAYDN FROM 1770 TO THE DEATH OF MOZART - - 1. STRING QUARTET - - Haydn and Carl Philipp Emanuel Bach, 111; Beginning in a false key, 112; Innovations of the Scherzi quartets, thematic accompaniment, 115; Energy latent in musical material, 120; Dissonance as principal source of energy, 120; Directional power of material, 129; Sequence as source of energy, 134; Reinterpretation by transposition, 135; Relation of string quartet to classical tonal system, 137; Further development of Haydn's string quartets, 138; String quartet and the art of conversation, 141. - - 2. SYMPHONY - - Development of the orchestra and symphonic style, 143; stylistic progress, 146; Sturm und Drang style, 147; Symphony no. 46, 147; Weakness of rhythmic organization of early Haydn, 149: Symphony no. 47. 151; In- fluence of opera, 153; Symphony no. 75, 155; New clarity and sobriety, 157; Symphony no. 81, 157; Wit and symphonic grandeur, 159; Oxford Symphony, 159; Haydn and pastoral, 162. - - IV SERIOUS OPERA - - Problematic status of opera seria, 166; Conventions of opera seria and buffa, 167; Eighteenth-century tragedy, 168; High Baroque style, 169; Dra- matic and elegiac modes, 170; Gluck, 170; Neo-classical doctrine, 171; Music and the aesthetic of expression, 173; Words and music, 173; Gluck and rhythm, 174; Mozart and Idomeneo, 177; Recitative and complex forms, 178; Fusion of seria and buffa, Marriage of Figaro, 181; Fidelio, 183. - - V MOZART - - 1. THE CONCERTO - - Mozart and dramatic form, 185; Tonal stability, 186; Symmetry and the flow of time, 187; Continuo playing in the late eighteenth century, 191; Musical significance of the continuo, 194; Concerto as drama, 196; Open- ing ritornello, 197; Concerto in E flat K.271, 198; Piano exposition as dramatization of orchestral exposition, 205; Symmetry of climax, 207; Secondary development within recapitulation, 211; Slow movement of K.271 as expansion of opening phrase, 211; Mirror symmetry, 212; Concerto finale, 213; Sinfonia Concertante K. 364, 214; Thematic relationships, 215; ?.412, ?.413, ?.415, 218; ?.449, 219; ?.456, modulating second theme, 221; Dramatic range of slow movement, 223; Variation-finales, 225: K. 459 and fugal finales, 226; K. 466, art of rhythmic acceleration, 227; The- matic unity, 233; K. 467 and symphonic style, 235; Slew movement, im- provisation, and symmetry, 238; K. 482, orchestral color, 240; ?.488, articulation of close of exposition, 241; Slow movement and melodic struc- ture, 243; K.503, technique of repetition, 251; Major and minor, 254; Sense of mass, 256; K. 537, proto-Romantic style and loose melodic struc- ture, 258; Clarinet Concerto, continuity of overlapping phrases, 260; K. 595, resolution of chromatic dissonance, 263. - - 2. STRING QUINTET - - Concertante style, 264; K.174, expanded sonority and expanded form, 265; K.515, irregular proportions, 267; Expansion of form, 273; K.516, problem of classical finale, 274; Major ending to a work in the minor, 276; Ex- pressive limits of the style, 277; Place of minuet in the order of move- ments, 280; Virtuosity and chamber music, 281; K.593, 281; Slow intro- ductions, 282; Harmonic structure and sequences, 283; K. 614, influence of Haydn, 286. - - 3. COMIC OPERA - - Music and spoken dialogue, 288; Classical style and action, 289; En- sembles, sextet from The Marriage of Figaro, and sonata form, 290; Sex- tet from Don Giovanni and sonata proportions, 296; Tonal relations in opera, 298; Recapitulation and dramatic exigency, 301; Operatic finales, 302; Arias, 306; 'Se vuol ballare' from The Marriage Marriage of Figaro, 308; Coincidence of musical and dramatic events: graveyard scene from Don Giovanni, 309; Comedy of intrigue, 312; Eighteenth-century concept of per sonality, 313; Comedy of experimental psychology and Marivaux, Così. Sprache: Deutsch Gewicht in Gramm: 250.

brossura. Condition: Buono (Good). 0. In 8', br. ed., pp. 467, fig in n. n.t.in inglese. Pieghe al dorso, segni d'uso alla cop., lievi fioriture ai tagli, firma d'appartenenza alla prima bianca, interno in buono stato, sporadici segni a matita n.t. ***Books dated over 70 years old are not exportable, please do not order.***. Book.

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Condition: As New. Unread book in perfect condition.

Softcover. First Edition; First Printing. Very Good+ in wraps.