Download A Dictionary of Music and Musicians (A.D. 1450-1880): By by George Grove PDF

By George Grove

It is a reissue of the 1st variation of George Grove's Dictionary of track and Musicians, which has considering the fact that developed to develop into the biggest and such a lot authoritative paintings of its style in English. The undertaking grew within the making: the identify web page of quantity 1 (1879) refers to 'two volumes', yet by the point quantity four seemed in 1889 there has been additionally a 300-page appendix and a separate index quantity. The dictionary was once a global project, with individuals from Paris, Leipzig, Berlin, Vienna and Boston along these established in Britain. It used to be 'intended to provide a superb and lengthy said wish' bobbing up from the elevated curiosity in all points of track, which used to be 'rapidly turning into an important department of education', and to cater for the pro whereas being available to the novice. it's a interesting rfile of musical tastes and values within the overdue Victorian interval.

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Additional info for A Dictionary of Music and Musicians (A.D. 1450-1880): By Eminent Writers, English and Foreign. Volume 4

Sample text

15 ' Symphony'; sometimes the same work is called by the one name outside and the other in ; and this is the case also with some of the earlier and slighter symphonies of Haydn, which must have made their appearance about this period. One further point which it is of importance to note is that in some of Stamitz's symphonies the complete form of the mature period is found. One in I) is most complete in every respect. The first movement is Allegro with double bars and repeats in regular binary form; the second is an Andante in G, the third a Minuet and Trio, and the fourth a Presto.

Opus 53 is the Sonata in C major, dedicated to Count Waldstein. Opus 54 is the admirable little Sonata in F ma,jor. ' It appears that Beethoven had the idea of writing this symphony as early as 1798, but the actual work was probably done in the summer and autumn of 1803. There seems to be no doubt that it was written under the influence of his admiration for Napoleon. His own title-page had on it' Sinfonia grande, Napoleon Bonaparte,' and, as is well known, the name ' Eroica' was not added till Napoleon became Emperor; after which event Beethoven's feelings about him naturally underwent a change.

E. J. A. ' Jahn agrees in attributing to it a character of sorrow and complaining; and there can hardly be a doubt that the tonality as well as the style, and such characteristic features as occur incidentally, would all favour the idea that Mozart's inspiration took a sad cast, and maintained it so far throughout; so SYMPHONY. SYMPHONY. earlier compositions there is throughout a most remarkable advance in vitality. The distribution of certain cadences and passages of tutti still appear to modern ears formal; but compared with the immature formalism of expression, even in principal ideas, which was prevalent twenty or even ten years earlier, the improvement is immense.

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