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Concert Masterworks 9781565854727

Concert Masterworks

ISBN-10: 1565854721
ISBN-13: 9781565854727
PUBLISHER: Teaching Company, LLC, The
Also available at Amazon.com
Note: Not guaranteed to come with supplemental materials (access codes, CDs, DVDs)
Product Description: Have you ever wondered what goes through a composer's mind during those magical weeks and months when a musical composition-something meant to become a listening experience-is being notated on paper? Have you tried to imagine the creative process that boils inside geniuses like Mozart, Beethoven, Dvorak, Strauss, Brahms, Mendelssohn, or Liszt? Or within any composer? Is it pure inspiration? Does a composer hear the music first, before even picking up a pen? Or does the music, in fact, actually begin on that blank sheet of staff paper? Most important, can lay listeners like us, untrained in the technicalities of music, be taught to open our ears to a composer's creative intentions? Learn the Art of Listening to Great Music Can we learn the art of listening, so that great music becomes an even more insightful and pleasurable experience for us? Dr. Robert Greenberg believes the answer to that last question is "yes." And now this winner of three Nicola De Lorenzo Prizes in composition, whose music courses in several classical genres are among our most popular, has set out to prove his point once again. He has created a course designed to give you a new level of sophistication as a music listener-using as his teaching tools some of the most memorable works in all of music. Gain a New Level of Listening Sophistication The skills you learn in this course will attune you to intricacies of musical purpose, structure, and narrative content that you will be able to perceive in any piece of music. Though this is a demanding course, with a deeper look into musical structure than untrained listeners are likely to have experienced, it is not an intimidating one. Professor Greenberg vividly positions each composition and its composer in the social and musical fabric of its time, so you can understand the music in its proper societal and artistic context. His descriptions are vivid, evoking dramatic images of: the precocities of the young Mozart Beethoven's movement toward his "Heroic" style as his inner tendencies are set aflame by the turbulent times in which he lived the profound sense of caution ingrained in Brahms by his solid middle-class background, and how this influenced his choices of what to publish. The Course Curriculum Part I: The Classical Piano Concerto features: Mozart-Piano Concerto No. 25 in C Major, K. 503 (1786); and Beethoven-Piano Concerto No. 5 in Eb Major, Op. 73 (the "Emperor" Concerto) (1809). The emphasis of these lectures is on the musical substance of the concerti themselves-their formal structure, thematic relationships, expressive content, and the role of the piano soloist. Part II: Nationalism and Expressionism in the Late 19th Century features: Antonin Dvorak-Symphony No. 9 in E Minor, Op. 95 (the "New World" Symphony) (1893); and Richard Strauss-Death and Transfiguration (1889). Here Professor Greenberg focuses on Dvorak's structural use of conflicting keys to reflect conflicting themes, and on Strauss's tone poem as an example of a "through-composed piece," in which the motives and themes grow out of material that has preceded them. Part III: Great 19th-Century Violin Concerti features: Beethoven-Violin Concerto in D Major, Op. 61 (1806); and Brahms-Violin Concerto in D Major, Op. 77 (1878). In comparing these two works-the "backbone of the 19th-century violin concerto repertoire"-Professor Greenberg shows how the work of Beethoven, trained in the structures and techniques of 18th-century Classicism, and Brahms, the 19th-century Romantic, so clearly reflect characteristics of the other. Part IV: Early Romantic-Era Program Music features: Felix Mendelssohn-Incidental Music, Op. 61 (1842) and Overture to A Midsummer Night's Dream, Op. 21 (1826); and Franz Liszt-Totentanz (1849).

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CATEGORY: Music
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