By Nicolas Slonimsky, Electra Yourke
Nicolas Slonimsky (1894-1995) was once an influential and celebrated author on track. Born in St. Petersburg, Russia in 1894, in his one hundred and one years he taught and coached track; carried out the premieres of numerous twentieth century masterpieces; composed works for piano and voice; and oversaw the 5th-8th variations of the vintage Baker's Biographical Dictionary of Musicians . starting in 1926, Slonimsky resided within the usa. From his arrival, he wrote provocative articles on modern track and musicians, a lot of whom have been his own buddies. operating as a contract writer, he outfitted a wide dossier of experiences, articles, or even manuscripts for books that have been by no means released. this can be the 1st quantity of a four quantity assortment at the better of this material.
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L. a. 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?
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Extra info for Nicolas Slonimsky: Writings on Music: Early Writings
Perhaps, that is why his Four Preludes would appear more interesting to the eye than to the ear. Beyond any doubt, the music has constructive elements that will eventually serve some lofty purpose. As yet it is still preparatory. One is at a loss when confronted with the Three Paeans by Mr. Rudhyar, the one elder composer in the list. The titles: “With Joyous Exaltation,” “Epic and Resonant,” “With Rhythmic Fullness” are aggressive, and the high artillery of theosophy (on the printed copy of the music) blinds a surprised spectator and puts him to flight.
Rosenfeld places Charles Martin Loeffler next to MacDowell as composer of America, and discourses upon merits and demerits of this unquestionably remarkable man. But Charles Martin Loeffler is the Anatole France of music not only by the outward traits of countenance. His music is not so easily accountable as Mr. Rosenfeld may make us believe. Its elusiveness, an eclectic style with a strong observant mind in constant attendance, its half-said words and half-sung melodies, all this is tantalizing and deceptive of simplicity.
Not even the usual influences—Scriabin, Ernest Bloch—are easily traced in his beginnings. If Stravinsky has come at all across his path, then it has happened after the Music for the Theater and the Jazz Concerto revealed to us his unmistakable self. But Rosenfeld writes entertainingly and brilliantly on Copland, and, with the exception of his dissenting opinion as to Copland’s immaturity, he makes an interesting study of the man. In contrast with Copland, Roger Sessions, his closest associate, has gone through all the preliminary stages: Ernest Bloch, whose pupil he was, and Stravinsky, under whose sway he fell in due time.