Francis Poulenc by Mellers Wilfrid (24 results)

Paperback. Condition: Fair. The item might be beaten up but readable. May contain markings or highlighting, as well as stains, bent corners, or any other major defect, but the text is not obscured in any way.

Octavo, xviii+186 pages, original wrappers, a very good copy. First edition.

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Hardcover. Condition: Near Fine. Dust Jacket Condition: Very Good+. First Edition. Oxford Studies Of Composers; Musical Notation; 8vo 8" - 9" tall; 208 pages; 1993 Oxford University Press. HC/DJ. 1st edition, 1st printing. Snugly bound and very neat in crisp edged and uniformly bright pictorial dust jacket. Feels and appears generally unread; no marks of any kind. Rear jacket flap has a shallow stress crease top corner; hint of shelf evidence to jacket edges. Examples of musical notation throughout. NF/VG++.

Paperback. Condition: New. In shrink wrap. Looks like an interesting title!

Paperback. Condition: new. New Copy. Customer Service Guaranteed.

Condition: New. In.

PF. Condition: New.

Paperback / softback. Condition: New. New copy - Usually dispatched within 4 working days.

Condition: New. An intelligent survey of Poulenc's music, based on a careful selection of works, and written by an authoritative guide. Adopting a broadly chronological approach, Mellers is able to trace Poulenc's development as a composer from enfant terrible to mature 'society' composer. Series: Oxford Studies of Composers. Num Pages: 204 pages, music examples. BIC Classification: AVGC6; AVH. Category: (P) Professional & Vocational. Dimension: 239 x 142 x 13. Weight in Grams: 284. . 1993. Revised ed. paperback. . . . .

Condition: New. An intelligent survey of Poulenc's music, based on a careful selection of works, and written by an authoritative guide. Adopting a broadly chronological approach, Mellers is able to trace Poulenc's development as a composer from enfant terrible to mature 'society' composer. Series: Oxford Studies of Composers. Num Pages: 204 pages, music examples. BIC Classification: AVGC6; AVH. Category: (P) Professional & Vocational. Dimension: 239 x 142 x 13. Weight in Grams: 284. . 1993. Revised ed. paperback. . . . . Books ship from the US and Ireland.

Paperback. Condition: Brand New. 204 pages. 8.50x5.50x0.50 inches. In Stock.

Paperback. Condition: new. Paperback. Once considered as little more than the froth in the wake of the First World War, a witty boy-hedonist who, in the giddy Twenties, tweaked the noses of moribund establishmentarians, Poulenc has in fact proved unexpectedly durable - more so than any of his colleagues among Les Six, including those who developed more grandiose ambitions. Here is a survey of Poulenc's music, based on careful selection of his works, and written by an authoritative guide. Having placed Poulenc in the context of French life and society after the First World War and considered him in relation to his masters and mentors, especially Satie and Chabrier, Mellers turns to Poulenc's Diaghilev ballet, Les Biches, to important sequels to it, such as Concert champetre and Aubade, and to works of transition, such as the Concerto for two pianos and orchestra. The next section discusses the `social' music of Poulenc's middle years - especially the music for piano (for Poulenc a domestic instrument), written during the Thirties, and the centrality of song in his work; some account is offered of his relationship with his main poets, Guillaume Apollinaire, Paul Eluard, and Louise de Vilmorin. Mellers mext considers the impact on Poulenc of the Second World War, especially as manifest in the great choral work Quatre Motets de Penitence and the Organ Concerto. Separate chapters deal with the three main operatic pieces and Poulenc's relationship to Bernanos and Jean Cocteau; with the late devotional works, especially the Stabat Mater, the Gloriam and the Sept Repons des Tenebres; and with the chamber works of the last few years. The chapters are illustrated througout with music examples. Adopting a broadly chronological approach, Mellers traces Poulenc's development as a composer from enfant terrible to a mature composer both for secular Society and for the liturgy of the Catholic Church; in so doing he points to the reasons for the durability and pertinacity of his appeal. Mellers further assesses Poulenc's place in the French tradition, and, in a Postlude, pays tribute to the warm regard with which Poulenc was held by so many of his fellow musicians. Once considered as little more than the froth in the wake of the First World War, a witty boy-hedonist who, in the giddy Twenties, tweaked the noses of moribund establishmentarians, Poulenc has in fact proved unexpectedly durable—more so than any of his colleagues among Les Six, including those who developed more grandiose ambitions. Here is a survey of Poulenc's music, based on careful selection of his works, and written by an authoritative guide. After placing Poulenc in the context of French life and society after the First World War and considering him in relation to his masters and mentors, especially Satie and Chabrier, Mellers turns to Poulenc's Diaghilev ballet, Les Biches, to important sequels to it, such as Concert champetre and Aubade, and to works of transition, such as the Concerto for two pianos and orchestra. The next section discusses the "social" music of Poulenc's middle years—especially the music for piano (for Poulenc a domestic instrument), written during the Thirties, and the centrality of song in his work; some account is offered of his relationship with his main poets, Guillaume Apollinaire, Paul Eluard, and Louise de Vilmorin. Mellers next considers the impact on Poulenc of the Second World War, especially as manifest in the great choral work Quatre Motets de Penitence and the Organ Concerto. Adopting a broadly chronological approach, Mellers traces Poulenc's development as a composer from enfant terrible to a mature composer both for secular society and for the liturgy of the Catholic Church; in so doing he points to the reasons for the durability and pertinacity of his appeal. Mellers further assesses Poulenc's place in the F Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.

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PAP. Condition: New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

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Paperback / softback. Condition: New. This item is printed on demand. New copy - Usually dispatched within 5-9 working days.

Condition: New. Print on Demand pp. 208.

Condition: New. Print on Demand pp. 208 1:B&W 5.5 x 8.5 in or 216 x 140 mm (Demy 8vo) Perfect Bound on Creme w/Gloss Lam.

Condition: New. Dieser Artikel ist ein Print on Demand Artikel und wird nach Ihrer Bestellung fuer Sie gedruckt. An intelligent survey of Poulenc s music, based on a careful selection of works, and written by an authoritative guide. Adopting a broadly chronological approach, Mellers is able to trace Poulenc s development as a composer from enfant terrible to mature `s.

Condition: New. PRINT ON DEMAND pp. 208.

Taschenbuch. Condition: Neu. Francis Poulenc | Wilfrid Mellers | Taschenbuch | Buch | Englisch | 1995 | OUP Oxford | EAN 9780198163381 | Verantwortliche Person für die EU: Deutsche Bibelgesellschaft, Postfach:81 03 40, 70567 Stuttgart, vertrieb[at]dbg[dot]de | Anbieter: preigu Print on Demand.

Taschenbuch. Condition: Neu. nach der Bestellung gedruckt Neuware - Printed after ordering - Once considered as little more than the froth in the wake of the First World War, a witty boy-hedonist who, in the giddy Twenties, tweaked the noses of moribund establishmentarians, Poulenc has in fact proved unexpectedly durable--more so than any of his colleagues among Les Six, includingthose who developed more grandiose ambitions. Here is a survey of Poulenc's music, based on careful selection of his works, and written by an authoritative guide. After placing Poulenc in the context of French life and society after the First World War and considering him in relation to his mastersand mentors, especially Satie and Chabrier, Mellers turns to Poulenc's Diaghilev ballet, Les Biches, to important sequels to it, such as Concert champetre and Aubade, and to works of transition, such as the Concerto for two pianos and orchestra. The next section discusses the 'social' music ofPoulenc's middle years--especially the music for piano (for Poulenc a domestic instrument), written during the Thirties, and the centrality of song in his work; some account is offered of his relationship with his main poets, Guillaume Apollinaire, Paul Eluard, and Louise de Vilmorin. Mellers nextconsiders the impact on Poulenc of the Second World War, especially as manifest in the great choral work Quatre Motets de Penitence and the Organ Concerto. Adopting a broadly chronological approach, Mellers traces Poulenc's development as a composer from enfant terrible to a mature composer both forsecular society and for the liturgy of the Catholic Church; in so doing he points to the reasons for the durability and pertinacity of his appeal. Mellers further assesses Poulenc's place in the French tradition, and, in a Postlude, pays tribute to the warm regard with which Poulenc was held by somany of his fellow musicians.