Wolfgang Amadeus Mozart And Ludwig Van Beethoven Masters Of Classical Music The Biography Collection

Probably the most naturally gifted musician the world has ever known, Mozart began his career early as a child prodigy. By the age five, he was already proficient on the violin, the harpsichord and piano keyboard, and had begun composing music that had integrity. He was a showman as well, according to contemporary documents, and charmed many of the crowned heads of Europe with his performance and his manner.Inside you'll read aboutEarly Years of ProdigyThe Grand Tour 1763-66Setbacks and Success in ViennaThe Solo Trip to ItalySalzburg to ViennaAugsburg, Mannheim, Paris, and MunichMunich and IdomeneoAnd much more!Unlike other child prodigies though, Mozart developed gradually into a mature musician, composing operas, concertos, forty-one symphonies, string quartets, piano sonatas, and many other kinds of music. Although he died when he was only thirty-five years old, he is still one of the most prolific composers who ever lived.***Ludwig van Beethoven is a crucial figure in the transition between the Classical and Romantic eras in Classical music. Beethoven displayed his musical talents at an early age and was taught by his father Johann van Beethoven and by composer and conductor Christian Gottlob Neefe.Inside you'll read aboutBackground and early lifeEstablishing his career in ViennaMusical maturityLoss of hearingPatronageMiddle periodPersonal and family difficultiesLate worksIllness and deathAnd much more!At the age of 21, he moved to Vienna, where he began studying composition with Joseph Haydn and gained a reputation as a virtuoso pianist. He lived in Vienna until his death. By his late 20s his hearing began to deteriorate, and by the last decade of his life, he was almost completely deaf. In 1811 he gave up conducting and performing in public but continued to compose; many of his most admired works come from these last 15 years of his life.

Featuring authentic keyboard pieces exclusively from the Classical Period, this collection serves as an excellent introduction to classical keyboard literature for late-elementary to early-intermediate level performers. Well-placed fingerings, minimal dynamic markings, suggested realizations of ornaments in footnotes, limited articulations, and well-spaced engraving make this an ideal transitional book to introduce students to standard repertory. Outstanding literature selected for its quality and accessibility include: Allego, K.3 (Mozart) * Country Dance in D (Beethoven) * Ecossaise, WoO23 (Beethoven) * German Dance in A, WoO 42 (Beethoven) * German Dance in D (Haydn) * German Dance in E (Haydn) * Gigue (Arnold) * Little Dance and Rondo (Turk) * Melody and Sonatina Op. 168, No. 2 (Diabelli) * Menuett K.1, K. 2, and K. 6 (Mozart) * Minuet in G (Haydn) * Two Minuets (L. Mozart) * Minuetto (Hook) * Sonatina in C (Duncombe) * Sonatina in C (Haslinger).

This volume covers the history of classic music with individual chapters on its medieval and renaissance roots, the baroque era, classical period, romantic era, modern era, and classical music in the new millennium. Informative sidebars, numerous quotations from authoritative sources, annotated bibliographies, and a complete index make this volume a valuable research tool for students.

“The only love affair I have ever had was with music.” Maurice Ravel A compelling celebration of more than 90 of the world’s most influential composers from the medieval period to the present day, Composers reveals the fascinating stories of their lives, loves, and works. Biographical entries – introduced with a stunning portrait of each featured composer – trace the friendships, loves, and rivalries that inspired each musical genius. Profiles offer revealing insights into what drove each individual to create the musical masterpieces – symphonies, concertos, and operatic scores – that changed the direction of classical music and are still celebrated and treasured today. Lavishly illustrated with paintings or photographs of each composer, alongside original musical scores and personal correspondence, images of their homes and where they worked, and personal effects and other important artifacts, the book introduces the key influences, themes, and working methods of each individual, setting their works within a wider historical and cultural context. Charting the development of classical music and music movements across the centuries, Composers provides a compelling glimpse into the personal lives, loves, and influences of the giants of the classical music canon.

Ludwig Van Beethoven A Genius Composer One of the most recognized and influential of all composers Download for FREE on Kindle Unlimited + Free Bonus Inside! Read on your Computer, Mac, Smart phone, Kindle Reader, iPad, or Tablet. Ludwig van Beethoven is a crucial figure in the transition between the Classical and Romantic eras in Classical music. Beethoven displayed his musical talents at an early age and was taught by his father Johann van Beethoven and by composer and conductor Christian Gottlob Neefe. Inside you

If for no other reasons than because of the long time and monumental patience expended upon its preparation, the vicissitudes through which it has passed and the varied and arduous labors bestowed upon it by the author and his editors, the history of Alexander Wheelock Thayer’s Life of Beethoven deserves to be set forth as an introduction to this work. His work it is, and his monument, though others have labored long and painstakingly upon it. There has been no considerable time since the middle of the last century when it has not occupied the minds of the author and those who have been associated with him in its creation. Between the conception of its plan and its execution there lies a period of more than two generations. Four men have labored zealously and affectionately upon its pages, and the fruits of more than four score men, stimulated to investigation by the first revelations made by the author, have been conserved in the ultimate form of the biography. It was seventeen years after Mr. Thayer entered upon what proved to be his life-task before he gave the first volume to the world—and then in a foreign tongue; it was thirteen more before the third volume came from the press. This volume, moreover, left the work unfinished, and thirty-two years more had to elapse before it was completed. When this was done the patient and self-sacrificing investigator was dead; he did not live to finish it himself nor to see it finished by his faithful collaborator of many years, Dr. Deiters; neither did he live to look upon a single printed page in the language in which he had written that portion of the work published in his lifetime. It was left for another hand to prepare the English edition of an American writer’s history of Germany’s greatest tone-poet, and to write its concluding chapters, as he believes, in the spirit of the original author. Under these circumstances there can be no vainglory in asserting that the appearance of this edition of Thayer’s Life of Beethoven deserves to be set down as a significant occurrence in musical history. In it is told for the first time in the language of the great biographer the true story of the man Beethoven—his history stripped of the silly sentimental romance with which early writers and their later imitators and copyists invested it so thickly that the real humanity, the humanliness, of the composer has never been presented to the world. In this biography there appears the veritable Beethoven set down in his true environment of men and things—the man as he actually was, the man as he himself, like Cromwell, asked to be shown for the information of posterity. It is doubtful if any other great man’s history has been so encrusted with fiction as Beethoven’s. Except Thayer’s, no biography of him has been written which presents him in his true light. The majority of the books which have been written of late years repeat many of the errors and falsehoods made current in the first books which were written about him. A great many of these errors and falsehoods are in the account of the composer’s last sickness and death, and were either inventions or exaggerations designed by their utterers to add pathos to a narrative which in unadorned truth is a hundredfold more pathetic than any tale of fiction could possibly be. Other errors have concealed the truth in the story of Beethoven’s guardianship of his nephew, his relations with his brothers, the origin and nature of his fatal illness, his dealings with his publishers and patrons, the generous attempt of the Philharmonic Society of London to extend help to him when upon his deathbed.

His bristly strokes adorn a vast canvas, creating a colossal compilation of poems. “Across Mirage of Life” marks his third published work, a poetic Mausoleum dedicated to his beloved wife Saroja Satheesh. These poetic Mausoleums have become a signature of his soulful vision – across mirage of life. A Passionate hug a passionate hug, I hear your heart, your heartbeat, the chirp of your soul. Lovebird sings. I hear mine too. Through soft music, song of souls. Lovebirds sing. Together we hear the Symphony of millions, the music of souls. Echo of spirits, deep in and out, vibrate in rhythm, love boundless. In the ocean of love, one with the cosmos, we merge in every atom, one soul; one song. I embrace, merging in oneness. I breathe in breathe out. Turning into a dream, I fly high, and as I float, my wings cover the entire universe. We disappear in subtle softness. When you call I reverberate, from silence the world around replies to my wish! End my monologue.

A comprehensive history of opera that traces each milestone in opera history from the 16th century Camerata through the next 400 years, and featurrd in depth analysis of all important genres: the Baroque, Classical, and Romantic eras, Bel Canto, Opera Buffa, German Romanticism, Wagner and music drama, Verismo, Impressionism, Expressionism, Serialism, and much more.