By C. Nelson
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Los angeles m? sica desconcierta al an? lisis. Ese arte de los angeles presencia, que no muestra ning? n objeto, que no es m? s que una acumulaci? n de mediadores --instrumentos, partituras, int? rpretes, escenarios, medios de comunicaci? n. .. --, parece ser, sin embargo, los angeles encarnaci? n de l. a. inmediatez, l. a. expresi?
This consultant to the piano literature for the one-handed pianist surveys over 2,100 person piano items which come with not just live performance literature yet pedagogical items to boot. Following the advent are 4 chapters cataloguing unique works for the suitable hand by myself, unique works for the left hand on my own, track prepared or transcribed for one hand on my own, and concerted works for one hand in live performance with different pianists, tools, or voices.
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Extra info for Modal and Harmonized Modal Scales for the Spanish Guitar
As in earlier times, a progressive group of composers accused the Concertgebouw of standing firmly in the way of desirable changes. In 1961, the Concertgebouw initiated subscription concerts called the C-series (performances given on Sunday afternoons) that included modern classics by ´ and Jan´acˇ ek. 26 Huewekemeijer nonetheless introduced three experimental concerts in 1965–66 that included performances of Webern’s Concerto Op. 24, Earle Brown’s Available Forms 1, and Var`ese’s D´eserts. Between 1966 and 1968, the Concertgebouw ran the E-series devoted to post-1945 music in which Pierre Boulez was invited to conduct Stockhausen’s Kontra-punkte, Peter Schat’s Signalement, and Boulez’s Eclat; the series was unfortunately discontinued due to poor attendance (Sch¨onberger 1996b: 146).
In October 1996, the Netherlands Chamber Orchestra and the Dutch Philharmonic Orchestra came together to present a series built on the theme of musical controversies called Krakende Noten (“Tough Nuts to Crack”); it showcased music from four generations of controversy, beginning with music by Vermeulen and Dopper, Pijper and Van Gilse, Pijper’s students from the 1950s, and Andriessen’s generation from the 1960s. In spite of the continued lack of interest on the part of the general public, these concerts celebrated a century of music founded on idealism and differences of opinion.
We can work in harmony with living as well as dead composers. (Andriessen 1968: 178) The new directions in which contemporary music evolved after World War II had a determining influence upon the generation of composers who were coming of age in the late 1950s. The serial “fervor” that caught hold in Europe and North America exerted an inescapable force on composers working in the Netherlands who, until then, were divided between French and German compositional lineages. In the formative years, Andriessen’s musical language shifted rapidly from the pan-diatonic style that he inherited from his father and brother to the avant-garde idioms of the Darmstadt school, namely, serialism, textural and aleatoric music, and collage.