This book, the first to look at Avison's music in depth, examines the influences on Avison and the circumstances around the composition of his music. It draws heavily upon his important treatise, An Essay on Musical Expression, and other writings, to look at how closely he adheres to his musical aesthetics.
This book, the first to look at Avison's music in depth, examines the influences on Avison and the circumstances around the composition of his music. It draws heavily upon his important treatise, An Essay on Musical Expression, and other writings, to look at how closely he adheres to his musical aesthetics.
Simon D. I. Fleming is a Durham-based teacher, organist and musicologist who previously taught in the Music Department at Durham University. His research focuses on music in eighteenth-century Britain, with a particular focus on the north of England. He has published articles in The Musical Times, The Consort, Early Music, The Royal Musical Association Research Chronicle and Eighteenth-Century Music, and has spoken at numerous conferences.
Inhaltsangabe
Library Sigla List of Figures List of Musical Examples List of Tables Chapter 1. Introduction Chapter 2. Avison in Newcastle and London. Chapter 3. Earliest Works: the Opus 1 Trio Sonatas of 1737. Chapter 4. The First Concertos, 1740-47. Chapter 5. Reworkings and the Scarlatti Concertos of 1744. Chapter 6. Avison's Vocal Music. Chapter 7. William Hayes and the Concertos Opus 3 and 4. Chapter 8. New Directions: The Accompanied Keyboard Sonatas Opus 5, 7 and 8. Chapter 9. Looking forwards: The Opus 6 Concertos of 1758 and Twenty Six Concertos ... in Score. Chapter 10. Looking Backwards: The Late Concertos, 1765-69. Chapter 11. The Reception of Avison's Music during his Lifetime. Chapter 12. The Afterlife of Avison's Music and his Reputation as a Musician. Chapter 13. Concluding Thoughts. Index
Library Sigla List of Figures List of Musical Examples List of Tables Chapter 1. Introduction Chapter 2. Avison in Newcastle and London. Chapter 3. Earliest Works: the Opus 1 Trio Sonatas of 1737. Chapter 4. The First Concertos, 1740-47. Chapter 5. Reworkings and the Scarlatti Concertos of 1744. Chapter 6. Avison's Vocal Music. Chapter 7. William Hayes and the Concertos Opus 3 and 4. Chapter 8. New Directions: The Accompanied Keyboard Sonatas Opus 5, 7 and 8. Chapter 9. Looking forwards: The Opus 6 Concertos of 1758 and Twenty Six Concertos ... in Score. Chapter 10. Looking Backwards: The Late Concertos, 1765-69. Chapter 11. The Reception of Avison's Music during his Lifetime. Chapter 12. The Afterlife of Avison's Music and his Reputation as a Musician. Chapter 13. Concluding Thoughts. Index
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