Oldani robert william (9 Ergebnisse)

Zustand: Good. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Zustand: Very Good. Former library copy. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Cloth. Zustand: Good. No Jacket. Slight wear. Previous owner's inscription (Prof. David Brown).

Hardcover. Zustand: Like New. First Edition. A firm and square hardback with sharp corners and strong joints, just showing a few very minor rubs. Hence a non-text page has a small 'damaged' stamp. Despite such this book is actually in nearly new condition and appears unread. Thus the contents are crisp, fresh and tight. Also, no pen-marks and not from a library so no such stamps or labels. Now offered for sale at a very sensible price.…

Zustand: New. In English.

Hardcover. Zustand: Near Fine. No Jacket. 2nd Edition. 9 1/4" x 6", xiii, 339 pages, black and white frontispiece, 16 black and white illustrations, 2 tables, musical illustrations, extensive notes, discography, bibliography. Hb, no dw, bumped at lower corner, tiny surface loss to upper spine, otherwise a very clean, near fine copy. …

Paperback. Zustand: Brand New. 339 pages. 9.00x2.00x1.00 inches. In Stock.

Zustand: New. In English.

Buch. Zustand: Neu. Druck auf Anfrage Neuware - Printed after ordering - Caryl Emerson (a literary specialist) and Robert William Oldani (a music historian) take a comprehensive look at the most famous Russian opera, Modest Musorgsky's Boris Godunov. The result is both a historical study of a famous work and an interpretative piece of scholarship. The topics discussed include: the 'Boris Tale' in history; Karamzin's history and Pushkin's drama as literary sources; Musorgsky's innovations as a librettist and as a theorist of the sung Russian word; the strange story of the opera's composition and revision; its first productions at home and abroad; and an in-depth musical analysis. In the process, several often-met errors in Musorgsky scholarship are clarified and corrected. A final chapter speculates on the opera's themes of political murder, guilt and legitimacy - so important to Russian literary and national identity in the nineteenth and twentieth centuries - and the new role the 'Boris plot' and its composer might come to play in more recent phases of Russian cultural life.…