string quartet no 8 (32 Ergebnisse)

Paperback. Zustand: Brand New. study edition. 4 pages. 9.75x6.75x0.25 inches. In Stock.

Paperback. Zustand: Brand New. 48 pages. 9.76x6.69x0.04 inches. In Stock.

Paperback. Zustand: Brand New. 999 pages. 11.42x8.82x0.39 inches. In Stock.

Paperback. Zustand: Very Good. Copyright 1985. Slight wear. Only some of my sheet music and scores are listed on ABE, visit my website to view all of my stock.

Paperback. Zustand: Brand New. 32 pages. 7.87x5.51x1.57 inches. In Stock.

Paperback. Zustand: Brand New. 4 pages. 11.10x8.58x0.24 inches. In Stock.

Zustand: New. 2019. Paperback. . . . . . Books ship from the US and Ireland.

Paperback. Zustand: Brand New. 999 pages. 7.87x5.51x1.57 inches. In Stock.

Paperback. Zustand: Brand New. 50 pages. 9.40x4.00x0.40 inches. In Stock.

Size: Small 8vo. 28pp. Stapled as issued in publisher's printed wrappers.

Size: 8vo. [iv], 19pp. Stapled as issued in publisher's printed wrappers. Dedicated to Lilian and Donald Peart.

Zustand: New. 2006. Paperback. . . . . . Books ship from the US and Ireland.

Size: 8vo. 48pp. Stapled as issued in publisher's printed wrappers.

Paperback. Zustand: Brand New. 46 pages. 12.00x8.00x0.15 inches. In Stock.

Not in LibraryHub. Size: Folio. [ii], 20pp. Stapled as issued in publisher's printed wrappers. Commissioned by the Naumburg Foundation for the Ying String Quartet.

Zustand: New. pp. 17.

Hardcover. Zustand: Very Good. 8vo; 19 x 13.5 cm. 26 pp. Internally clean and unmarked; minor creasing. Softcover; with original yellow paper wrappers. Light wear, slight discolouring. Overall, a very good booklet.

Paperback. Zustand: Brand New. 999 pages. 7.87x5.51x1.57 inches. In Stock.

Zustand: New. 2006. Paperback. . . . . . Books ship from the US and Ireland.

Zustand: new. Pages: 48 Language: Russian, English. Kvartet No. 8 sozdan v 1960 godu, posvjaschen pamjati zhertv fashizma i vojny. Odno iz samykh znachitelnykh liriko-epicheskikh sochinenij kvartetnogo zhanra, vosprinimaemoe vmeste s tem "na odnom dykhanii". 9790706364469.

Zustand: new. Pages: 31 Language: Russian. Shostakovich. Kvartet No. 8 dlja dvukh skripok, alta i violoncheli. Op. 110. Partitura 9790706364452.

OBrosch., kl.8°, 32 S., 28 S., 43 S., 44 S., 32 S., 48 S., 51 S., 45 S., Zustand gut-sehr gut.

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

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

Kartoniert / Broschiert. Zustand: New.

Hardcover. Zustand: Brand New. illustrated edition. 185 pages. 8.50x6.25x0.50 inches. In Stock.

Bundle. Zustand: New. David Fanning is Professor at Manchester University Music Department, where he also studied. He has pursued a combined career as scholar, performer, broadcaster and journalist. Prof. Fanning is an authority on Russian and Scandinavian music, with two books .

Sonstige Video. Zustand: Neu. Neuware - When it was first performed in October 1960, Shostakovich's Eighth String Quartet was greeted with a standing ovation and given a full encore. Its popularity has continued to the present day with over a hundred commercial recordings appearing during the last 40 years. The appeal of the work is not hard to identify; immediately communicative, the quartet also contains rich seams of deeper meaning. This book is the first to examine its musical design in detail and seeks to overthrow the charges of superficiality that have arisen as a result of the work's popular success. The core of this study is the close analysis of the work, but this is placed in context with a discussion of Shostakovich's reputation and historical position, the circumstances of the quartet's composition and the subsequent controversies that have surrounded it. The work was composed during the so-called 'Thaw' years of the Soviet Union, and the cultural and political backgrounds of this period are considered, together with Shostakovich's life and work during this time. David Fanning argues persuasively that the Eighth String Quartet is a landmark in twentieth-century music in its transcendence of the extra-musical meanings that it invokes; that it is 'music that liberates itself from the shackles of its context'. The book features an accompanying CD of the work.

Originalbroschur. 18cm. Zustand: Wie neu. 142,49,40,60,46 109,62,44 Seiten. Noten. FRISCHE REIHE. Sprache: Deutsch Gewicht in Gramm: 750.

Zustand: new. Pages: 180 Language: Russian. ABRAM LVOVICH STASEVICH AND HIS TRANSCRIPTION OF DMITRI SHOSTAKOVICH'S EIGHTH QUARTET One of the most prominent Soviet conductors of the mid-20th century, Abram Lvovich Stasevich (1907-1971) has gone down in the history of our culture as a true knight of contemporary Russian music. Perhaps one of the most impelling initial reasons for this was the fact that the artiste himself composed music throughout his entire life and has a long list of his opuses to his name. But conducting was always his main claim to fame. In 1931, he graduated from the conservatory having completed Semyon Kozolupov's violoncello class, and in 1937, he graduated from Leo Ginsburg's conducting class. All this time, the student gained experience playing in orchestras under outstanding conductors, both Soviet and foreign. In 1936-1937, Stasevich was the assistant of well-known Hungarian conductor Eugen Szenkar, who at that time worked with the orchestra of the Moscow Philharmonic. The young conductor also debuted with this orchestra in April 1937. It is worth noting that his debut programme featured three works by contemporaries-Nikolai Myaskovsky's Sixteenth Symphony, Vladimir Enke's Concerto for Orchestra, and fragments of Ivan Dzerzhinsky's "Quiet Flows the Don". After that, the conductor put all his heart and soul into promulgating Soviet music. Throughout his professional life, Stasevich had occasion to perform with many different orchestras. In particular, he worked with the orchestra of the Leningrad Philharmonic in Novosibirsk (1942-1944) and with the Big Symphony Orchestra of All-Union Radio (1944-1952), and then travelled all over the Soviet Union. Contemporary music occupied a significant place in all of his diverse and substantial programs. It was in Stasevich's execution that many audiences in different cities came to know the works of Nikolai Myaskovsky, Aram Khachaturian, Dmitri Kabalevsky, Nikolai Peiko, Mikhail Chulaki, and Lev Knipper, as well as those of masters of various Soviet republics-Kara Karaev, Fikret Amirov, Sultan Gajibekov, Artur Kapp, Andrei Shtogarenko, Revaz Lagidze, Otar Taktakishvili, and others. His repertoire featured ten of Nikolai Myaskovsky's symphonies (he performed the premiere of one of them, the Twenty-Second, in Tbilisi in 1941). Stasevich was particularly devoted to the music of Sergey Prokofyev. He conducted many of this great composer's works and also was the first to perform suites from the ballet Cinderella in his own interpretation. His arrangement of the oratorio based on Prokofyev's music to the film "Ivan the Terrible" still enjoys great popularity to this day. Stasevich also had a particularly reverent attitude towards the creative work of Dmitri Shostakovich, whose compositions were regularly performed under his baton and who found in him a profound and sensitive interpreter. It is obvious that the great composer himself was also very fond of the conductor. One of the orchestra musicians recalled that Shostakovich brought Stasevich with him to rehearsals "as usual". Incidentally, let us hear what Evgeny Svetlanov has to say: "Stasevich often performed Shostakovich's works. He thought they were of an extremely dramatic nature, resonating with the heart strings of this musician, who was a contemporary of the great composer. I remember how Stasevich arranged Shostakovich's Eighth Quartet for a large string orchestra and called it 'Sinfonietta'. In that arrangement, the composition made an enormous impression. It stands to reason that Dmitri Dmitriyevich, who liked Stasevich's work very much, gave this his personal approval. There were many new elements in his interpretations of the Fifth, Sixth, Seventh, Eighth, Ninth, Tenth, Eleventh, and Twelfth symphonies. Stasevich was able to convey the dramatic intensity of Shostakovich's music, his unique subtle lyricism, and the philosophical depth and faith in man that penetrated the creative work of our outstanding composer." There can be no doubt that this piece of authoritative evidence in itself makes the current publication of this orchestral transcription very opportune. It will certainly be of interest to a large number of conductors both in Russia and beyond. Lev GINZBURG 9790706364285.