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Die gesammelten Schriften Franz Liszts: Dramaturgische Blätter: Essays über Musik-
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eBay-Artikelnr.:195686123630
Artikelmerkmale
- Artikelzustand
- ISBN
- 9780810882980
- Subject Area
- Music, Biography & Autobiography
- Publication Name
- Collected Writings of Franz Liszt Pt. 1, Vol. 3 : Dramaturgical Leaves: Essays about Musical Works for the Stage and Queries about the Stage, Its Composers, and Performers Part 1
- Publisher
- Rowman & Littlefield Publishers, Incorporated
- Item Length
- 9.3 in
- Subject
- History & Criticism, Genres & Styles / Ballet, Genres & Styles / Classical, Composers & Musicians, Individual Composer & Musician, Genres & Styles / Chamber
- Publication Year
- 2013
- Series
- The Collected Writings of Franz Liszt Ser.
- Type
- Textbook
- Format
- Hardcover
- Language
- English
- Item Height
- 1.1 in
- Item Weight
- 21.2 Oz
- Item Width
- 6.3 in
- Number of Pages
- 284 Pages
Über dieses Produkt
Product Identifiers
Publisher
Rowman & Littlefield Publishers, Incorporated
ISBN-10
0810882981
ISBN-13
9780810882980
eBay Product ID (ePID)
173812418
Product Key Features
Number of Pages
284 Pages
Language
English
Publication Name
Collected Writings of Franz Liszt Pt. 1, Vol. 3 : Dramaturgical Leaves: Essays about Musical Works for the Stage and Queries about the Stage, Its Composers, and Performers Part 1
Subject
History & Criticism, Genres & Styles / Ballet, Genres & Styles / Classical, Composers & Musicians, Individual Composer & Musician, Genres & Styles / Chamber
Publication Year
2013
Type
Textbook
Subject Area
Music, Biography & Autobiography
Series
The Collected Writings of Franz Liszt Ser.
Format
Hardcover
Dimensions
Item Height
1.1 in
Item Weight
21.2 Oz
Item Length
9.3 in
Item Width
6.3 in
Additional Product Features
Intended Audience
Scholarly & Professional
LCCN
2011-003030
TitleLeading
The
Dewey Edition
22
Series Volume Number
Volume 3
Illustrated
Yes
Dewey Decimal
780
Synopsis
In Dramaturgical Leaves: Essays about Musical Works for the Stage and Queries about the Stage, Its Composers and Performers, the third volume in Janita R. Hall-Swadley's The Collected Writings of Franz Liszt, Liszt heralds his admiration for early nineteenth-century opera and musical stage works. Included are essays on Gluck's Orpheus, Beethoven's Fidelio, Weber's Euryanthe, Mendelssohn's Midsummer's Night Dream, Scribe and Meyerbeer's Robert the Devil, Schubert's Alfonso and Estrella, Auber's Mute from Portici, Bellini's Montague and Capulet, Boieldieu's White Lady, and Donizetti's Favorite as well as essays on soprano Pauline Viardot-Garcia and Liszt's critique of entr'acte music. This volume includes a detailed discussion of Liszt's impact as a musical patron, a historical review of entr'acte music, the role of gender in opera, and Liszt's concepts of Gestalt theory, the Archetype, and his musical Weltanschauung (his musical "world view"), all revealing his contribution to 19th-century music philosophy as it relates to opera., In Dramaturgical Leaves: Essays about Musical Works for the Stage and Queries about the Stage, Its Composers and Performers, the third volume in Janita R. Hall-Swadley's The Collected Writings of Franz Liszt, Liszt heralds his admiration for early nineteenth-century opera and musical stage works. He honors Gluck, the musical prophet, as the cultivator of dramatic truth in the Romantic opera Orpheus, expounds on Beethoven's harmonic inventions and innovative treatment of form in Fidelio, and argues for the latter's incidental music to Goethe's Egmont as the epitome of music organicism, a complete unity of words and tone. He also comments on Weber's Euryanthe as offering the most progressive musical characterizations and declamation-even more so than his popular work Der Freischütz-and on how both works prefigure Wagner's music dramas; awards Mendelssohn, whose genius Liszt ranks only slightly less than Beethoven's, top honors for creating in Midsummer's Night Dream the highest standards of music poetry; suggests how Scribe and Meyerbeer's Robert the Devil paints a mental image of art's eternal flames, where poet and musician share equal space in the development of music tragedy; reveals how the poetic deficiencies in the libretto to Schubert's Alfonso and Estrella are too easily overlooked because of the music's melodic and lyrical supremacy; and offers in contrast Auber's Mute from Portici, a remarkable text by many historically picturesque musical motives that are universal and nationalistic at the same time. Finally Liszt offers an early gender study in music in his essay about Bellini's Montague and Capulet (as well as its impact on nineteenth-century audiences), a look at Boieldieu's White Lady as a sublime depiction of literary music, and Donizetti's Favorite as colored with a special type of imagery, a laterna magica, in Liszt's hand. The beloved soprano Pauline Viardot-Garcia receives special attention in an essay devoted entirely to her, and Liszt proffers a critique of entr'acte music as a pointless tradition that dethrones music and insults the artist and composer by making music a "palate cleanser." This volume includes a detailed discussion about what it meant to be patronized by Liszt and how his support-financial, literary, and musical-helped shape many a music career. It also offers commentary on how gender in opera was sometimes obscured not only for dramatic interest but also as part of the process of outlining a nation's identity, as well as a thorough study of Liszt's concepts of Gestalt theory, the Archetype, and his musical Weltanschauung (his musical "world view"), all revealing his contribution to 19th-century music philosophy as it relates to opera. Finally, a historical review of entr'acte music is presented-how it began and how it developed-to clarify Liszt's stance against it, making this volume a necessary read for music historians, serious musicians, and music connoisseurs alike., In Dramaturgical Leaves: Essays about Musical Works for the Stage and Queries about the Stage, Its Composers and Performers, the third volume in Janita R. Hall-Swadley's The Collected Writings of Franz Liszt, Liszt heralds his admiration for early nineteenth-century opera and musical stage works. He honors Gluck, the musical prophet, as the cultivator of dramatic truth in the Romantic opera Orpheus, expounds on Beethoven's harmonic inventions and innovative treatment of form in Fidelio, and argues for the latter's incidental music to Goethe's Egmont as the epitome of music organicism, a complete unity of words and tone. He also comments on Weber's Euryanthe as offering the most progressive musical characterizations and declamation--even more so than his popular work Der Freischütz--and on how both works prefigure Wagner's music dramas; awards Mendelssohn, whose genius Liszt ranks only slightly less than Beethoven's, top honors for creating in Midsummer's Night Dream the highest standards of music poetry; suggests how Scribe and Meyerbeer's Robert the Devil paints a mental image of art's eternal flames, where poet and musician share equal space in the development of music tragedy; reveals how the poetic deficiencies in the libretto to Schubert's Alfonso and Estrella are too easily overlooked because of the music's melodic and lyrical supremacy; and offers in contrast Auber's Mute from Portici, a remarkable text by many historically picturesque musical motives that are universal and nationalistic at the same time. Finally Liszt offers an early gender study in music in his essay about Bellini's Montague and Capulet (as well as its impact on nineteenth-century audiences), a look at Boieldieu's White Lady as a sublime depiction of literary music, and Donizetti's Favorite as colored with a special type of imagery, a laterna magica, in Liszt's hand. The beloved soprano Pauline Viardot-Garcia receives special attention in an essay devoted entirely to her, and Liszt proffers a critique of entr'acte music as a pointless tradition that dethrones music and insults the artist and composer by making music a "palate cleanser." This volume includes a detailed discussion about what it meant to be patronized by Liszt and how his support--financial, literary, and musical--helped shape many a music career. It also offers commentary on how gender in opera was sometimes obscured not only for dramatic interest but also as part of the process of outlining a nation's identity,as well as a thorough study of Liszt's concepts of Gestalt theory, the Archetype, and his musical Weltanschauung (his musical "world view"), all revealing his contribution to 19th-century music philosophy as it relates to opera. Finally, a historical review of entr'acte music is presented--how it began and how it developed--to clarify Liszt's stance against it, making this volume a necessary read for music historians, serious musicians, and music connoisseurs alike., In Dramaturgical Leaves: Essays about Musical Works for the Stage and Queries about the Stage, Its Composers and Performers, the third volume in Janita R. Hall-Swadley's The Collected Writings of Franz Liszt, Liszt heralds his admiration for early nineteenth-century opera and musical stage works. He honors Gluck, the musical prophet, as the cultivator of dramatic truth in the Romantic opera Orpheus, expounds on Beethoven's harmonic inventions and innovative treatment of form in Fidelio, and argues for the latter's incidental music to Goethe's Egmont as the epitome of music organicism, a complete unity of words and tone. He also comments on Weber's Euryanthe as offering the most progressive musical characterizations and declamation--even more so than his popular work Der Freisch tz--and on how both works prefigure Wagner's music dramas; awards Mendelssohn, whose genius Liszt ranks only slightly less than Beethoven's, top honors for creating in Midsummer's Night Dream the highest standards of music poetry; suggests how Scribe and Meyerbeer's Robert the Devil paints a mental image of art's eternal flames, where poet and musician share equal space in the development of music tragedy; reveals how the poetic deficiencies in the libretto to Schubert's Alfonso and Estrella are too easily overlooked because of the music's melodic and lyrical supremacy; and offers in contrast Auber's Mute from Portici, a remarkable text by many historically picturesque musical motives that are universal and nationalistic at the same time. Finally Liszt offers an early gender study in music in his essay about Bellini's Montague and Capulet (as well as its impact on nineteenth-century audiences), a look at Boieldieu's White Lady as a sublime depiction of literary music, and Donizetti's Favorite as colored with a special type of imagery, a laterna magica, in Liszt's hand. The beloved soprano Pauline Viardot-Garcia receives special attention in an essay devoted entirely to her, and Liszt proffers a critique of entr'acte music as a pointless tradition that dethrones music and insults the artist and composer by making music a "palate cleanser." This volume includes a detailed discussion about what it meant to be patronized by Liszt and how his support--financial, literary, and musical--helped shape many a music career. It also offers commentary on how gender in opera was sometimes obscured not only for dramatic interest but also as part of the process of outlining a nation's identity, as well as a thorough study of Liszt's concepts of Gestalt theory, the Archetype, and his musical Weltanschauung (his musical "world view"), all revealing his contribution to 19th-century music philosophy as it relates to opera. Finally, a historical review of entr'acte music is presented--how it began and how it developed--to clarify Liszt's stance against it, making this volume a necessary read for music historians, serious musicians, and music connoisseurs alike.
LC Classification Number
ML410.L7A113 2011
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