Cargando…
The Orchestral Music of Michael Tippett : Creative Development and the Compositional Process.
Thomas Schuttenhelm's book presents an investigation into Michael Tippett's creative process and a comprehensive critical commentary on his orchestral music.
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Cambridge :
Cambridge University Press,
2014.
|
| Colección: | Music since 1900.
|
| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- Cover; Half-title page; Series page; Title page; Copyright page; Contents; Figures; Acknowledgements; Abbreviations; Introduction; The creative condition; The creative cycle; Interpreting Tippett; 1 Symphonic Movement (1930-1) and the Symphony in B-flat (1933-4); Symphonic prologues; Becoming a composer; Symphonic Movement (1930-1); Symphony in B-flat (1933-4); 2 Concerto for Double String Orchestra (1938-9); A 'new Einstellung'; Sonata and syzygy: first movement; Separation and estrangement: second movement; Vision
- revision and a new-found confidence: third movement.
- Performance and publication3 Fantasia on a Theme of Handel (1939-41); 'A gay and gaudy work'; A 'continental' fantasia; 4 Symphony No. 1 (1944-5); 'A real symphony . . .'; Absolute conventions and conceptual dimensions: first movement; Love and loss: second movement; The pasts and the present: third movement; A first attempt at the 'finale' problem: fourth movement; 5 Little Music for String Orchestra (1946); Re-prosecution and commissions; Precedents and paradigms; 6 Suite in D (for the Birthday of Prince Charles) (1948); Transcending an occasion; Composition as interpretation: the Suite.
- 7 Fantasia Concertante on a Theme of Corelli (1953)Omaggio al Italia; Composing with essence; 8 Divertimento on 'Sellinger's Round' (1953-4); Constructing conceptual dimensions; Gibbons, Purcell, Bartók, Britten and Sacher: compiling the Divertimento; 9 Piano Concerto (1953-5); A 'poetic work'; An abstracted Marriage: first movement; A posthumous tribute for Newton-Wood: second movement; Vision and revision: third movement; 10 Symphony No. 2 (1956-7); A 'new marriage between conciseness and imagination'; A breakthrough and a breakdown: first movement; New poeticisms: second movement.
- A Stravinskian scherzo: third movementConciseness and imagination: fourth movement; 11 Praeludium for Brass, Bells and Percussion (1962); 'What's past is prologue'; A pièce d'occasion or a necessary prelude?; 12 Concerto for Orchestra (1962-3); Conceptual collage: constructing a new archetype; An experiment in temporalities: first movement; A song for the 'hidden' gods: second movement; Conceptual confrontations: third movement; 13 Symphony No. 3 (1970-2); Spontaneity and measurement; Space and time: Part I; Blues and break: Part II; 14 Symphony No. 4 (1976-7); A birth-to-death experience.
- Attention and antiqueA 'compact' development; A second development; Scherzo and trio; A third development; Recapitulation and Coda; 15 Triple Concerto (1978-9); Lyrical re-awakenings; Echoes and amplifications; Non-music?; Night music; Jazz break; Fifth movement; 16 The Rose Lake (1991-3); Le Lac Rose: a song without words for orchestra; The Lake Song and its frames; Bibliography; Index.