![]() The first two chapters deal with England of the fifteenth and sixteenth centuries and with France of the seventeenth century. ![]() The book begins with a study of early English keyboard music and proceeds chronologically to the time at which Bie was writing. This book, Bie's first, was published in Germany in 1898 and was brought out in its first English edition the following year. He received his doctorate in 1886 from the University of Leipzig, his major fields of study being the history of art and the history of philology. Until the past decade, books dealYou'll never guess the strength of a RICO REED.read more read lessĪbstract: Oscar Bie was born in Breslau in 1864. Thus, with Oscar Bie as a guide, the reader may easily find himself completely submerged in the atmosphere of the nineteenth century, all the while gaining enormous insights into the literature and the performance practices of that age. He writes with the ardor of a man who is discussing newly-discovered literature and exciting performances heard first-hand. He includes enthusiastic reports of performers and composers, some of whom have dropped into oblivion with the passing years. In dealing with his own age, the author takes on the role of a music journalist and critic to a much greater extent than he did in the earlier portions of the book. Perhaps the greatest value of the book comes with Bie's discussion of the music and musicians of the nineteenth century. He often lapses into rapturous description, but he also gives us sensitive observations of significance. His style of writing is warm, personal, and at the same time quite perceptive. To do so would be to miss the point that, for his age, Bie might very well be considered the height of objectivity. To seek in Bie's outlook the objective detachment which one comes to expect in much of today's scholarship would be a mistake. Then follow chapters which deal with Italian Baroque composers, Scarlatti, Bach, the \"galant\" school, and Beethoven, with the final three chapters being devoted to the music literature and performers of the nineteenth century. The visual arts of painting and sculpture were included, but he considered the closest relationship to be with literature, and especially with poetry.Ībstract: Oscar Bie was born in Breslau in 1864. Both as a composer and as an author, Liszt reiterated his belief in the fundamental kinship of music and the other arts. So much has been written about the brilliant and virtuosic compositions which Liszt created to demonstrate his own technical prowess that it is easy to lose sight of the other side of his creative genius. The lecture recital, "The Poetic Ideal in the Piano Music of Franz Liszt," was an attempt to enter a seldomexplored area of Liszt's musical inspiration. The repertoire of all of the programs was intended to demonstrate a variety of types and styles of piano music from several different historical periods. The chamber music program included a trio with the violin and cello performing with the piano. But the focus of the lecture recital was not on the music, but on the poetry of the music.Ībstract: The dissertation consists of four recitals: one chamber music recital, two solo recitals, and one lecture recital. TL DR: In this article, the Poetic Ideal in the Piano Music of Franz Liszt was discussed.
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