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This first full-length study of Telemann's concertos, sonatas, and suites focuses on his imaginative mixing of styles and genres. Special attention is also devoted to the extra musical meanings and humor of his programmatic overture-suites, his unprecedented self-publishing enterprise, and the social resonances of his Polish-style works.
Biographaical dictionary emphisizes classicaland art music; also gives ample attention to the classics as well as Jazz, Blues, rock and pop, and hymns and showtunes across the ages.
Correspondence capturing Dreiser's own take on his long and eventful life In addition to his novels, short stories, plays, poetry, and a flood of journalism, Theodore Dreiser is estimated to have written an astonishing 20,000 letters. A Picture and a Criticism of Life presents a selection from his previously unpublished letters and shows Dreiser in every mood and circumstance, from crisply professional to happily unbuttoned. Meticulously annotated by Donald Pizer, the selections often shed significant new light on the writer's beliefs and activities during the various stages of his long career. A volume in the series The Dreiser Edition, edited by Thomas P. Riggio
Edition and Preface by Javier Lupiáñez The Trio Sonata in G major was independently identified as an early Vivaldian work in 2014 by the Italian scholar, recorder player, and ensemble director Mr. Federico Maria Sardelli and by the Spanish scholar, violin player and ensemble director Mr. Javier Lupiáñez. The piece was recently cataloged as RV 820 in the Vivaldi Catalog and is the earliest known work by Vivaldi. The Trio Sonata presents a different Vivaldi to the one we are used to. It shows the young Vivaldi: On the one hand, clearly influenced by the masters of the end of 17thcentury such Corelli, Bonporti or Torelli, and on the other hand it is easy to perceive that some new and original Vivaldian ideas start to blossom in this early work. The discovery and attribution of this Sonata is very important to understand the roots of Vivaldi’s style and the change of musical taste that happened at the beginning of the 18th century.
Even as Georg Philipp Telemann's significance within eighteenth-century musical culture has become more widely appreciated in recent years, the English-language literature on his life and music has remained limited. This volume, bringing together sixteen essays by leading scholars from the USA, Germany, and Japan, helps to redress this imbalance as it signals a more international engagement with Telemann's legacy. The composer appears here not only as an important early Enlightenment figure, but also as a postmodern one. Chapters on his sacred music address the works' sensitivity to Lutheran and physico-theology, contrasting of historical and modern consciousness, and embodiment of an emerging opus concept. His secular compositions and writings are brought into rich dialogue with French musical and aesthetic currents. Also considered are Telemann's relationships with contemporaries such as Johann Sebastian Bach, the urban and courtly contexts for his music, and his influential position as 'general Kapellmeister' of protestant Germany.
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