Claude Debussy: Pelléas et Mélisande (Cambridge Opera Handbooks)

<p>This first comprehensive guide to Debussy's only completed opera, Pelléas et Mélisande was written by the leading authorities on French music of the period. As a background to the opera, the authors, together with David Grayson, discuss various aspects of the play. They consider its literary roots, trace its genesis and composition, and illuminate Debussy's compositional strategies. A detailed synopsis of Debussy's musical response to the text forms a central chapter. This is followed by an examination of the symbols and musical motives employed by Debussy as well as an analysis of his themes. The book concludes with a detailed bibliography and a discography.</p>

Arts & Photography

NICHOLS, ROGER

Smith, Richard Langham

Music

Cambridge University Press

<p>French Music Since Berlioz explores key developments in French classical music during the nineteenth and twentieth centuries. This volume draws on the expertise of a range of French music scholars who provide their own perspectives on particular aspects of the subject. Déirdre Donnellon's introduction discusses important issues and debates in French classical music of the period, highlights key figures and institutions, and provides a context for the chapters that follow. The first two of these are concerned with opera in the nineteenth and twentieth centuries respectively, addressed by Thomas Cooper for the nineteenth century and Richard Langham Smith for the twentieth. Timothy Jones's chapter follows, which assesses the French contribution to those most Germanic of genres, nineteenth-century chamber music and symphonies. The quintessentially French tradition of the nineteenth-century salon is the subject of James Ross's chapter, while the more sacred setting of Paris's most musically significant churches and the contribution of their organists is the focus of Nigel Simeone's essay. The transition from the nineteenth to the twentieth century is explored by Roy Howat through a detailed look at four leading figures of this time: Fauré, Chabrier, Debussy and Ravel. Robert Orledge follows with a later group of composers, Satie &amp; Les Six, and examines the role of the media in promoting French music. The 1930s, and in particular the composers associated with Jeune France, are discussed by Deborah Mawer, while Caroline Potter investigates Parisian musical life during the Second World War. The book closes with two chapters that bring us to the present day. Peter O'Hagan surveys the enormous contribution to French music of Pierre Boulez, and Caroline Potter examines trends since 1945. Aimed at teachers and students of French music history, as well as performers and the inquisitive concert- and opera-goer, French Music Since Berlioz is an essential companion for anyone interested in the culture of France.</p>

French Music Since Berlioz

Potter, Caroline

Routledge

French Music Since Berlioz explores key developments in French classical music during the nineteenth and twentieth centuries. This volume draws on the expertise of a range of French music scholars who provide their own perspectives on particular aspects of the subject. Déirdre Donnellon's introduction discusses important issues and debates in French classical music of the period, highlights key figures and institutions, and provides a context for the chapters that follow. The first two of these are concerned with opera in the nineteenth and twentieth centuries respectively, addressed by Thomas Cooper for the nineteenth century and Richard Langham Smith for the twentieth. Timothy Jones's chapter follows, which assesses the French contribution to those most Germanic of genres, nineteenth-century chamber music and symphonies. The quintessentially French tradition of the nineteenth-century salon is the subject of James Ross's chapter, while the more sacred setting of Paris's most musically significant churches and the contribution of their organists is the focus of Nigel Simeone's essay. The transition from the nineteenth to the twentieth century is explored by Roy Howat through a detailed look at four leading figures of this time: Fauré, Chabrier, Debussy and Ravel. Robert Orledge follows with a later group of composers, Satie & Les Six, and examines the role of the media in promoting French music. The 1930s, and in particular the composers associated with Jeune France, are discussed by Deborah Mawer, while Caroline Potter investigates Parisian musical life during the Second World War. The book closes with two chapters that bring us to the present day. Peter O'Hagan surveys the enormous contribution to French music of Pierre Boulez, and Caroline Potter examines trends since 1945. Aimed at teachers and students of French music history, as well as performers and the inquisitive concert- and opera-goer, French Music Since Berlioz is an essential companion for anyone interested in the culture of France.

See the best price to sell, buy, or rent books by Smith, Richard Langham. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Smith, Richard Langham

See the best price to sell, buy, or rent books by Smith, Richard Langham. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Claude Debussy: Pelléas et Mélisande (Cambridge Opera Handbooks)

Claude Debussy: Pelléas et Mélisande (Cambridge Opera Handbooks)

French Music Since Berlioz

French Music Since Berlioz