Moricz klara (86 risultati)

Hardback. Condizione: Good. The Oxford Anthology of Western Music, Volume Three: The Twentieth Century, accompanies the twentieth-century portion of The Oxford History of Western Music, College Edition, by Richard Taruskin and Christopher H. Gibbs.

Condizione: As New. In great condition. Minor cover wear.

Condizione: good. USED book in GOOD condition. Great binding, pages and cover show normal signs of wear from use.

Spiral-bound. Condizione: Acceptable. Connecting readers with great books since 1972. Used textbooks may not include companion materials such as access codes, etc. May have condition issues including wear and notes/highlighting. We ship orders daily and Customer Service is our top priority.

Spiral-bound. Condizione: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

Hardcover. Condizione: New. Condizione sovraccoperta: New. 1st Edition. New. Pristine, unmarked. Illus. // Shipped carefully packed in a sturdy box.

Condizione: Very Good. Very Good condition. Paperback edition. A copy that may have a few cosmetic defects. May also contain light spine creasing or a few markings such as an owner's name, short gifter's inscription or light stamp. NOT AVAILABLE FOR SHIPMENT OUTSIDE OF THE UNITED STATES.

Hardback. Condizione: Good. The Oxford Anthology of Western Music, Volume Two: The Mid-Eighteenth Century to the Late Nineteenth Century, accompanies the late eighteenth- and nineteenth-century portion of The Oxford History of Western Music, College Edition, by Richard Taruskin and Christopher H. Gibbs. …

Hardback. Condizione: Good. The Oxford Anthology of Western Music, Volume Two: The Mid-Eighteenth Century to the Late Nineteenth Century, accompanies the late eighteenth- and nineteenth-century portion of The Oxford History of Western Music, College Edition, by Richard Taruskin and Christopher H. Gibbs. …

Condizione: good. USED book in GOOD condition. Great binding, pages and cover show normal signs of wear from use.

Spiral-bound. Condizione: Acceptable. Connecting readers with great books since 1972. Used textbooks may not include companion materials such as access codes, etc. May have condition issues including wear and notes/highlighting. We ship orders daily and Customer Service is our top priority.

Spiral-bound. Condizione: Good. Connecting readers with great books since 1972! Used textbooks may not include companion materials such as access codes, etc. May have some wear or writing/highlighting. We ship orders daily and Customer Service is our top priority.

Condizione: New.

Condizione: As New. Unread book in perfect condition.

Condizione: New. 2020. Hardcover. . . . . .

Condizione: New.

Hardback. Condizione: New. The Bolsheviks' 1917 political coup caused a seismic disruption in Russian culture. Carried by the first wave of emigrants, Russian culture migrated West, transforming itself as it interacted with the new cultural environment and clashed with exported Soviet trends. In this book, Klára Móricz explores the transnational emigrant space of Russian composers Igor Stravinsky, Vladimir Dukelsky, Sergey Prokofiev, Nicolas Nabokov, and Arthur Lourié in interwar Paris.   Their music reflected the conflict between a modernist narrative demanding innovation and a narrative of exile wedded to the preservation of prerevolutionary Russian culture. The emigrants' and the Bolsheviks' contrasting visions of Russia and its past collided frequently in the French capital, where the Soviets displayed their political and artistic products. Russian composers in Paris also had to reckon with Stravinsky's disproportionate influence: if they succumbed to fashions dictated by their famous compatriot, they risked becoming epigones; if they kept to their old ways, they quickly became irrelevant. Although Stravinsky's neoclassicism provided a seemingly neutral middle ground between innovation and nostalgia, it was also marked by the exilic experience. Móricz offers this unexplored context for Stravinsky's neoclassicism, shedding new light on this infinitely elusive term.…

HRD. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

Hardback. Condizione: New. The Bolsheviks' 1917 political coup caused a seismic disruption in Russian culture. Carried by the first wave of emigrants, Russian culture migrated West, transforming itself as it interacted with the new cultural environment and clashed with exported Soviet trends. In this book, Klára Móricz explores the transnational emigrant space of Russian composers Igor Stravinsky, Vladimir Dukelsky, Sergey Prokofiev, Nicolas Nabokov, and Arthur Lourié in interwar Paris.   Their music reflected the conflict between a modernist narrative demanding innovation and a narrative of exile wedded to the preservation of prerevolutionary Russian culture. The emigrants' and the Bolsheviks' contrasting visions of Russia and its past collided frequently in the French capital, where the Soviets displayed their political and artistic products. Russian composers in Paris also had to reckon with Stravinsky's disproportionate influence: if they succumbed to fashions dictated by their famous compatriot, they risked becoming epigones; if they kept to their old ways, they quickly became irrelevant. Although Stravinsky's neoclassicism provided a seemingly neutral middle ground between innovation and nostalgia, it was also marked by the exilic experience. Móricz offers this unexplored context for Stravinsky's neoclassicism, shedding new light on this infinitely elusive term.…

HRD. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

Condizione: New.

Condizione: As New. Unread book in perfect condition.

Condizione: New.

Condizione: New. 2020. Hardcover. . . . . . Books ship from the US and Ireland.

Hardback. Condizione: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Condizione: New. In English.

HRD. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

Taschenbuch. Condizione: Neu. Neuware -With the 'Concerto for Orchestra,' Henle inaugurates a series of affordable study scores based on the text of the Bartók Complete Edition. When Bartók received the commission to compose this piece from Serge Koussevitsky in May 1943, it meant not only financial support, but also an important creative impetus for the gravely ill composer. By October, the five-movement concerto, which Koussevitsky enthusiastically dubbed 'the best orchestral work of the last 25 years,' was already complete. The first performances in the winter of 1944-45 were also very successful. Nevertheless, Bartók was moved to set down an alternate ending, which the composer, who passed away in September 1945, would never be destined to hear. Bartók specialist Klára Móricz includes both versions in her edition and summarises the history and transmission of the 'Concerto for Orchestra' in a fascinating foreword. A brief commentary section provides information about the principles underlying the edition.Read more about this edition in the Henle Blog.; C'est avec le «Concerto pour orchestre» que Henle ouvre la série des Éditions d'étude à prix abordable réalisée d'après le texte de l'Édition complète des oeuvres de Bartók. En mai 1943, quand Bartók en reçut la commande des mains de Serge Koussevitzky, cela signifiait non seulement un soutien matériel, mais aussi une impulsion créatrice importante pour le compositeur, qui était alors gravement malade. Dès le mois d'octobre les cinq mouvements du Concerto étaient prêts, une oeuvre que Koussevitzky, enthousiaste, dépeignit comme étant «la meilleure pièce pour orchestre des 25 dernières années». Les premières exécutions de l'hiver 1944/1945, elles aussi, furent très favorables. On demanda toutefois à Bartók de trouver une conclusion alternative à la fin de l'oeuvre, que le compositeur, décédé en septembre 1945, ne devait toutefois jamais entendre. Spécialiste de Bartók, Klára Móricz fait figurer les deux versions dans son édition, et résume dans une passionnante préface l'histoire et la transmission du «Concerto pour orchestre». De brefs commentaires renseignent sur les fondements essentiels de l'édition.Voir le Henle-Blog pour savoir plus sur cette édition.; Mit dem 'Konzert für Orchester' eröffnet Henle die Reihe preiswerter Studien-Editionen nach dem Notentext der Bartók-Gesamtausgabe. Als Bartók im Mai 1943 von Serge Koussevitzky den Kompositionsauftrag erhielt, bedeutete dies nicht nur eine finanzielle Unterstützung, sondern auch einen wichtigen schöpferischen Impuls für den schwer kranken Komponisten. Schon im Oktober lag das fünfsätzige Konzert vor, das Koussevitzky begeistert als 'das beste Orchesterwerk der letzten 25 Jahre' bezeichnete. Auch die ersten Aufführungen im Winter 1944/45 waren sehr erfolgreich. Gleichwohl wurde Bartók zur Fixierung eines alternativen Endes bewogen, das der schon im September 1945 verstorbene Komponist allerdings nicht mehr hören sollte. Bartók-Spezialistin Klára Móricz liefert in ihrer Ausgabe beide Versionen und fasst in einem spannenden Vorwort Geschichte und Überlieferung des 'Konzert für Orchester' zusammen. Ein knapper Bemerkungsteil informiert über die wesentlichen Grundlagen der Edition.Mehr zu dieser Ausgabe im Henle-Blog. 159 pp. Englisch, Deutsch, Französisch.…

Taschenbuch. Condizione: Neu. Neuware -With the 'Concerto for Orchestra,' Henle inaugurates a series of affordable study scores based on the text of the Bartók Complete Edition. When Bartók received the commission to compose this piece from Serge Koussevitsky in May 1943, it meant not only financial support, but also an important creative impetus for the gravely ill composer. By October, the five-movement concerto, which Koussevitsky enthusiastically dubbed 'the best orchestral work of the last 25 years,' was already complete. The first performances in the winter of 1944-45 were also very successful. Nevertheless, Bartók was moved to set down an alternate ending, which the composer, who passed away in September 1945, would never be destined to hear. Bartók specialist Klára Móricz includes both versions in her edition and summarises the history and transmission of the 'Concerto for Orchestra' in a fascinating foreword. A brief commentary section provides information about the principles underlying the edition.Read more about this edition in the Henle Blog.; C'est avec le «Concerto pour orchestre» que Henle ouvre la série des Éditions d'étude à prix abordable réalisée d'après le texte de l'Édition complète des oeuvres de Bartók. En mai 1943, quand Bartók en reçut la commande des mains de Serge Koussevitzky, cela signifiait non seulement un soutien matériel, mais aussi une impulsion créatrice importante pour le compositeur, qui était alors gravement malade. Dès le mois d'octobre les cinq mouvements du Concerto étaient prêts, une oeuvre que Koussevitzky, enthousiaste, dépeignit comme étant «la meilleure pièce pour orchestre des 25 dernières années». Les premières exécutions de l'hiver 1944/1945, elles aussi, furent très favorables. On demanda toutefois à Bartók de trouver une conclusion alternative à la fin de l'oeuvre, que le compositeur, décédé en septembre 1945, ne devait toutefois jamais entendre. Spécialiste de Bartók, Klára Móricz fait figurer les deux versions dans son édition, et résume dans une passionnante préface l'histoire et la transmission du «Concerto pour orchestre». De brefs commentaires renseignent sur les fondements essentiels de l'édition.Voir le Henle-Blog pour savoir plus sur cette édition.; Mit dem 'Konzert für Orchester' eröffnet Henle die Reihe preiswerter Studien-Editionen nach dem Notentext der Bartók-Gesamtausgabe. Als Bartók im Mai 1943 von Serge Koussevitzky den Kompositionsauftrag erhielt, bedeutete dies nicht nur eine finanzielle Unterstützung, sondern auch einen wichtigen schöpferischen Impuls für den schwer kranken Komponisten. Schon im Oktober lag das fünfsätzige Konzert vor, das Koussevitzky begeistert als 'das beste Orchesterwerk der letzten 25 Jahre' bezeichnete. Auch die ersten Aufführungen im Winter 1944/45 waren sehr erfolgreich. Gleichwohl wurde Bartók zur Fixierung eines alternativen Endes bewogen, das der schon im September 1945 verstorbene Komponist allerdings nicht mehr hören sollte. Bartók-Spezialistin Klára Móricz liefert in ihrer Ausgabe beide Versionen und fasst in einem spannenden Vorwort Geschichte und Überlieferung des 'Konzert für Orchester' zusammen. Ein knapper Bemerkungsteil informiert über die wesentlichen Grundlagen der Edition.Mehr zu dieser Ausgabe im Henle-Blog. 159 pp. Englisch, Deutsch, Französisch.…