By David Pogue, Scott Speck
Haydn, Tchaikovsky, and Brahms, oh, my! The beginner's consultant to classical music
Classical tune For Dummies is a pleasant, humorous, easy-to-understand consultant to composers, tools, orchestras, concert events, recordings, and extra. Classical track is extensively one in every of the pinnacles of human success, and this informative consultant will indicates you simply how attractive and profitable it may be. You'll find out how Bach isn't the same as Beethoven, how Mozart is diversified nonetheless, and why now not all "classical" song is basically Classical if it's relatively Baroque or Romantic. You'll be brought to the composers and their paintings, and realize the groundbreaking items that shake the area at any time when they're performed. commence development your classical song library with the basic recordings that outline orchestral, choral, and operatic good looks as you get conversant in the orchestras and musicians that deliver the composers to life.
Whether you must play classical track or simply examine extra approximately it, Classical track For Dummies will train you every thing you must comprehend to get the main out of this more and more renowned style.
• Distinguish flute from piccolo, violin from viola, and trumpet from trombone
• examine the variation among overtures, requiems, arias, and masses
• discover the composers that formed track as we all know it
• realize the recordings your tune library can't be without
Classical song has started sneaking into the mainstream — in the event that your curiosity has been piqued, there's by no means been a greater time to advance an appreciation for this highly wealthy, complicated, and sundry physique of labor. Classical track For Dummies lays the basis, and demonstrates simply how awesome classical track will be.
Read or Download Classical Music For Dummies (2nd Edition) PDF
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Additional resources for Classical Music For Dummies (2nd Edition)
Beethoven heard nothing — and became overwhelmingly depressed. He later wrote of his torment in a document that’s both pathetic and courageous, now known to musicians as the Heiligenstadt Testament: Oh, you men, who think or say that I am evil or misanthropic, how immensely you wrong me. . . Ah, how could I possibly admit a weakness in the one sense which ought to be more perfect in me than in others, a sense which I once possessed in the greatest perfection? . I must live alone, as if banished.
Despite this harsh treatment, Ludwig became an excellent pianist. Figure 2-7: Ludwig van Beethoven changed everything. Source: Creative Commons At age 22, Beethoven moved to — where else? — Vienna, where the musical action was. There he wrote music for various individuals, special occasions, and public concerts of his own compositions, in the process making a better living than Mozart ever did. Both Beethoven and his music were fiery, impulsive, and impetuous; people loved to watch and listen as he played his passionate piano compositions.
Everything went great for the first half of the piece. And then the fireworks began. Handel was probably annoyed enough that the fireworks were shooting off during his lovely music. But to make matters worse, some of the fireworks landed on the brand new building, which responded the only way it knew how: by catching fire. The crowd panicked, running for their lives as Handel doggedly continued conducting. Handel was livid. He had a notoriously explosive temper, so we’re guessing that he provided the king with a display of private fireworks the next morning.