Death In D Minor

When Gethesemane's brother-in-law is accused of stealing a valuable antique, she goes undercover as a musician at a charity ball.

Murder. Cold-blooded murder. For Carl Underwood, murder is his heroin. It courses through his veins like filth flowing through a sewer line. The object of his addiction to murder is his wife Dolores whose hatred for Polish composer Frederick Chopin and his notorious lover George Sand drives him to the point of utter madness. In effect, Carl Underwood’s life is a Prelude to Death in D minor, much like the gentle melody of a piano in a garden filled with roses, nightingales, and violets gently caressed by the fingers of a slut.

This volume offers a cross-section of English-language scholarship on German and Slavonic operatic repertories of the "long nineteenth century," giving particular emphasis to four areas: German opera in the first half of the nineteenth century; the works of Richard Wagner after 1848; Russian opera between Glinka and Rimsky-Korsakov; and the operas of Richard Strauss and Janácek. The essays reflect diverse methods, ranging from stylistic, philological, and historical approaches to those rooted in hermeneutics, critical theory, and post-modernist inquiry.

Rufus Hallmark interprets Schumann's famously controversial song cycle in the social, literary, and musical contexts of contemporary German society.

This tender, lyrical and passionate story of unrequited love holds a special place in Russian hearts. Tatyana's letter scene and the Polonaise are two much loved glories of the score; each act is tightly constructed around an antithesis of public and private scenes, and the dances are integral to the drama. The essence of both opera and poem is yearning, whether the artist's quest for his muse, or the lover for the beloved. Both poet and composer are true, in different ways, to this theme. The essays included in this guide explore the subtle and unexpected relationship between the words and music in Tchaikovsky's intimate 'Lyrical Scenes after Pushkin'.Contents: Pushkin into Tchaikovsky: Caustic Novel, Sentimental Opera, Caryl Emerson; Tchaikovsky's 'Eugene Onegin', Roland John Wiley; An Appreciation of 'Eugene Onegin', Natalia Challis; Eugene Onegin: Libretto by Konstantin Shilovsky and Pyotr Tchaikovsky; Eugene Onegin: English translation by David Lloyd-Jones

Eugene Onegin is the most popular of Tchaikovsky's operas. Entitled 'Lyrical Scenes after Pushkin' by the composer, the work takes as its basis the poem of the same name by the great Russian writer Alexander Pushkin. Its story of the unrequited love of Tatyana for the world-weary Onegin has exerted an irresistible hold over audiences for over a hundred years. With its combination of intimate private moments and sumptuous public scenes, the opera is one of the most fully achieved ever written.In this guide there is an article comparing Pushkin's original with its treatment in the opera, a detailed musical analysis and an appreciation of Tchaikovsky's particular skill as a word-setter. An essay on its performance history details the contributions of the most notable artists who have taken part in productions of the work. Illustrations, a thematic guide, the full libretto with English translation and reference sections are also included.Contains:Pushkin into Tchaikovsky, Caryl EmersonTchaikovsky's Eugene Onegin, Roland John WileyAn Appreciation of Eugene Onegin, Natalia ChallisA Domestic Love, Marina Frolova-WalkerEugene Onegin: A Selective Performance History, John AllisonEugene Onegin: Libretto by Pyotr Ilyich Tchaikovsky, Konstantin Shilovsky and Modest Tchaikovsky after the novel in verse by Alexander PushkinEugene Onegin: English Translation by Opernfuehrer

Authoritative guide presents 231 of the most frequently performed pieces by 55 composers. A must for music lovers and musicians alike. "No lover of chamber music should be without this Guide." — John Barkham Reviews.