How to Appreciate Music
Gustav Kobbé
Other
How to Appreciate Music
Free
Description
Contents
Reviews
Language
English
ISBN
Unknown
HOW TO APPRECIATE MUSIC
CONTENTS
TABLE OF CONTENTS
LIST OF ILLUSTRATIONS
INTRODUCTION
HOW TO APPRECIATE A PIANOFORTE RECITAL
I
THE PIANOFORTE
The King of Instruments.
Music Under One’s Fingers.
Melody and Accompaniment on One Instrument.
Music’s Debt to the Pianoforte.
Its Lowly Origin.
A Poet’s Advice to His Musical Daughter.
The Clavichord.
The Harpsichord.
Piano and Forte.
All Depends on the Player.
Decorations That Do Not Beautify.
II
BACH’S SERVICE TO MUSIC
Bach in Modern Music.
Harmony and Counterpoint.
What a Fugue Is.
The Fugue and the Virtuoso.
What Counterpoint Lacks.
The Mission of the Player.
Music as a Science.
Science versus Feeling.
That “Ear for Music.”
Bach and the Weather Bureau.
The Bacon, Not the Shakespeare, of Music.
What Wagner Learned from Bach.
The Language of an Epoch.
Bach in the Recital Hall.
Rubinstein and the “Triple Concerto.”
“The Well-Tempered Clavichord.”
A King’s Tribute to Bach.
III
FROM FUGUE TO SONATA
Three Periods of Musical Development.
Rise of the Melodic School.
Scarlatti’s Importance as Composer and Virtuoso.
Rise of the Amateur.
Changes in Musical Taste.
Beethoven and the Epoch of the Sonata.
Beethoven’s Slow Development.
The Passing of the Sonata.
Orchestral Instead of Pianistic.
IV
DAWN OF THE ROMANTIC PERIOD
What a Sonata Is.
How Beethoven Enlarged the Form.
His “Moonlight Sonata.”
Striving for Freedom.
The Beethoven Periods.
Sonatas Now Old-fashioned.
The First Romantic Composers.
Schubert’s Pianoforte Music.
Mendelssohn’s “Songs Without Words.”
V
CHOPIN, THE POET OF THE PIANOFORTE
Tempo Rubato.
The Soul of the Pianoforte.
A Clear Melodic Line.
The Études.
Vigor, Passion, and Impetus.
The Préludes.
Nocturnes.
Chopin and Poe.
Waltzes and Mazurkas.
Liszt on the Mazurkas.
Other Works.
A Noble from Head to Foot.
VI
SCHUMANN, THE “INTIMATE”
Poet, Bourgeois, and Philosopher.
“Carnaval” and “Kreisleriana.”
Thoughts of His Clara.
VII
LISZT, THE GIANT AMONG VIRTUOSOS
Kissed by Beethoven.
Episode with Countess D’Agoult.
The Don Juan Fantasie.
Giant Strides in Virtuosity.
Sonata, Concertos and Rhapsodies.
How Liszt Played.
VIII
WITH PADEREWSKI—A MODERN PIANIST ON TOUR
The “Piano Doctor.”
Pianofortes on Their Travels.
“Thawing Out” a Pianoforte.
HOW TO APPRECIATE AN ORCHESTRAL CONCERT
IX
DEVELOPMENT OF THE ORCHESTRA
Primitive Orchestral Efforts.
Beethoven and the Modern Orchestra.
How He Developed Orchestral Resources.
Beethoven and Wagner.
Berlioz, an Orchestral Juggler.
Wagner, Greatest of Orchestral Composers.
How Wagner Produces His Effects.
X
INSTRUMENTS OF THE ORCHESTRA
The Prima Donna of the Orchestra.
Viola, Violoncello and Double Bass.
Dividing the String Band.
A Passage in “Die Walküre.”
The Woodwind.
The English Horn in “Tristan.”
Brass Instruments.
Richard Strauss’s Tribute to the Horn.
XI
CONCERNING SYMPHONIES
Esthetic Purpose of the Symphony.
Seems to Hamper Modern Composers.
The Naive Symphonists.
Beethoven to the Fore.
Schubert’s Genius.
XII
RICHARD STRAUSS AND HIS MUSIC
Originator of the Tone Poem.
Not a Juggler with the Orchestra.
Not Mere Bulk and Noise.
Life and Truth.
Literally Tone Dramas.
An Intellectual Force in Music.
Tribute to Wagner.
Richard Straussiana.
XIII
A NOTE ON CHAMBER MUSIC
HOW TO APPRECIATE VOCAL MUSIC
XIV
SONGS AND SONG COMPOSERS
Too Poor to Buy Music Paper.
How the “Erlking” was Composed.
Finck on Schubert.
Schumann’s Individuality.
Phases of Franz’s Genius.
Self-Critical.
Brahms a Thinker in Music.
Grieg’s Originality.
Liszt’s Genius for Song.
XV
ORATORIO
An Incongruous Art-Form.
Primitive Efforts.
Bach’s “Passion Music.”
Rockstro on Händel.
Mendelssohn’s Oratorios.
XVI
OPERA AND MUSIC-DRAMA
Reforms by Gluck.
Comparative Popularity of Certain Operas.
Wagner’s Music-Dramas.
Wagner a Melodist.
Leading Motives not Mere Labels.
The book hasn't received reviews yet.