First nights : five musical premieres
著者
書誌事項
First nights : five musical premieres
Yale University Press, 2000
大学図書館所蔵 全2件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references, discographies, and index
収録内容
- Claudio Monteverdi, Orfeo, Saturday, February 24, 1607
- George Frideric Handel, Messiah, Tuesday, April 13, 1742, 12 noon
- Ludwig van Beethoven, Ninth symphony, Friday, May 7, 1824, 7:00 p.m.
- Hector Berlioz, Symphonie fantastique, Sunday, December 5, 1830, 2 p.m.
- Igor Stravinsky, Le sacre du printemps, Thursday, May 29, 1913, 8:45 p.m
内容説明・目次
内容説明
This lively book takes us back to the first performances of five famous musical compositions: Monteverdi's Orfeo in 1607, Handel's Messiah in 1742, Beethoven's Ninth Symphony in 1824, Berlioz's Symphonie fantastique in 1830, and Stravinsky's Sacre du printemps in 1913. Thomas Forrest Kelly sets the scene for each of these premieres, describing the cities in which they took place, the concert halls, audiences, conductors, and musicians, the sound of the music when it was first performed (often with instruments now extinct), and the popular and critical responses. He explores how performance styles and conditions have changed over the centuries and what music can reveal about the societies that produce it. Kelly tells us, for example, that Handel recruited musicians he didn't know to perform Messiah in a newly built hall in Dublin; that Beethoven's Ninth Symphony was performed with a mixture of professional and amateur musicians after only three rehearsals; and that Berlioz was still buying strings for the violas and mutes for the violins on the day his symphony was first played.
Kelly's narrative, which is enhanced by extracts from contemporary letters, press reports, account books, and other sources, as well as by a rich selection of illustrations, gives us a fresh appreciation of these five masterworks, encouraging us to sort out our own late twentieth-century expectations from what is inherent in the music.
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