By Howard Mancel Roberts
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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, l. a. encarnaci? n de los angeles inmediatez, los angeles expresi?
This advisor 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 besides. Following the advent are 4 chapters cataloguing unique works for the perfect hand by myself, unique works for the left hand by myself, 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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His later vivid account is worth quoting in full:61 Far from being a new invention, [hermeneutics] has been practised constantly, if not in so comprehensive and systematic a manner, since the dawn of modern art. [. ] Our [nineteenth-century] instrumental music [. ] has become more complex [than that of the eighteenth century], its public broader and more mixed, and at the same time more expert. This state of affairs is cause for rejoicing, if only because it has stimulated an interest in hermeneutics.
Since then several fellow-reporters, most recently our Mannheim correspondent and before that the reviewer of the Second Symphony piano [trio] arrangement,47 have given similar accounts but have attempted also to probe in detail the work's purpose and character, and the causes of the impression that it makes. At this stage the individuality [Eigenheit] and the rich content [Gehalt] of the work cry out now for a concentrated and serious investigation of the work's technical side that follows the composer very precisely, working step by step from this [technical] side and from the adjacent mechanical side.
Brendel Amid the subliterature of nineteenth-century aesthetics there exist two passages now long forgotten, passages of the sort that modern aestheticians and historians pass over as ellipses, but passages of great interest to our present purpose. One was written in 1 8 4 5 , t n e other in 1903. Each provides a chronicle of what was, in its author's eyes, a new genre of writing about music. Since each serves as a preamble to a manifesto for a still newer and higher type of writing, we should treat its historical record with some caution.