A Pictorial history of music by Paul Henry Lang

By Paul Henry Lang

Simply because I spent my adolescence in Leipzig, a urban which resounds with echoes of Bach and the complete musical global, i've got consistently had the belief of 1 day getting ready a pictorial historical past of tune. This current e-book is the end result; it combines components of my specialist existence as a photograph historian and my deepest existence as a contented lover of music.
A pictorial background of tune can by no means be basically an image album, in spite of the fact that, for no quantity of illustrative fabric can on its own create a significant landscape of track. There has to be, as well as photographs, an intrinsic plan, a unified standpoint which the reader can grab and use to accomplish comprehension

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Lineage going back to Swee- its But the most lasting influence was de- rived from the works of J. C. F. Fischer and Johann Kuhnau. The fugues of the second volume, in showed an astonishing growth particular, of the composer's polyphonic imagination, which reached Next Bach's preludes, inventions, suites and partitas for harpsichord are all genre pieces of endless charm, The French culmination in the Art of its Fugue. full of moving content. (which Suites, English Suites are also in the French manner), and the to the fugue, the Italian concerto by Corelli and Vivaldi seems to have been the form which most interested Bach from the time or concerto grosso as developed of his first The contact with Italian music.

There were ing those in the convents 1678 the especially and in private and colleges. In thirty comedies houses in Rome. the end of the 17th century, over three hundred and performed fifty different operas had been in the sixteen theaters of Venice. The fact that the city less than 150,000 offers a standard against had a population which we can judge the extent of of this oper- atic craze. Opera achieved new power form and in the its as an art Alessandro Scarlatti, leader of hands of the Neapolitan school leading spirit, Scarlatti's influence and radiated Alessandro was to France, felt all the Neapolitan school of Scarlatti.

His works are a synthesis of two hun- Actually, Palestrina's art expresses the dred years of musical culture, a synthesis of spirit of such convincing strength and plastic beauty the new Church that the history of music experienced and elation its like only once again, in the art of Mozart. In his work life polyphonic the music, worldly spirit express a a Palestrina proved that creation the of new the Counter Reformation; he served current. Meditation, awe, permeate his works; he reflected religious consciousness before which the world-conquering, optimistic will of the Renaissance was compelled to retire.

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