aloys-schmitt

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Aloys Schmitt is best remembered for his Op. 16 exercises. The collection is divided into three sections. The first aids students in developing finger independence through a variety of single and double-note patterns within the range of a fifth. The second section emphasizes passing the thumb under fingers to prepare for scales and arpeggios. The final section provides traditional scales and arpeggios in a notated format with fingering.

This reference book is an invaluable resource for teachers, students and performers for evaluating and selecting piano solo literature. Concise and thoroughly researched, thousands of works, from the Baroque through the Contemporary periods, have been graded and evaluated in detail. Includes an alphabetical list of composers, explanations of works and much more.

Hans Christian Andersen was the most prominent Danish author of the nineteenth century. Now known primarily for his fairy tales, during his lifetime he was equally famous for his novels, travelogues, poetry, and stage works, and it was through these genres that he most often reflected on the world around him. With the bicentennial of Andersen's birth in 2005, there is still much about the writer that is not yet common knowledge. This book explores a single aspect of that void - his interest in and relationship to the musical culture of nineteenth-century Europe. Why look to Andersen for information about music? To begin, Andersen had a musical background. He enjoyed a brief career as an opera singer and dancer at the Royal Theater in Copenhagen, and in later years he went on to produce opera libretti for the Danish and German stage. Andersen was also an avid music devotee. He made thirty major European tours during his seventy years, and on each of these trips he regularly attended opera and concert performances, recording his impressions in a series of travel diaries. In short, Andersen was a well-informed listener, and as this book reveals, his reflections on the music of his age serve as valuable sources for the study of music reception in the nineteenth century. Over the course of his life, Andersen embraced and then later rejected performers such as Maria Malibran, Franz Liszt, and Ole Bull, and his interest in opera and instrumental music underwent a series of dramatic transformations. In his final years, Andersen promoted figures as disparate as Wagner and Mendelssohn, while strongly objecting to Brahms. Although such changes in taste might be interpreted as indiscriminate by modern-day readers, this study shows that such shifts in opinion were not contradictory, but rather quite logical given the social and cultural climate of the age.

Hans Christian Andersen is indisputably the best known of all Scandinavian writers, his tales and stories having been translated probably into more languages than any other work except the Bible. He is also one of the greatest travelers of nineteenth-century belles lettres and few were the major European cities, capitals, and countries he did not visit, many of them several times: Vienna, Berlin, Dresden, Leipzig, Weimar, Paris, and London. He met and became friends with some of the most outstanding representatives of the European artistic community: Charles Dickens, Victor Hugo, Alexandre Dumaspère, Franz Grillparzer, Heinrich Heine, the Brothers Grimm, Wilhelm von Kaulbach, Franz Liszt, Felix Mendelssohn-Bartholdy, Clara and Robert Schumann, to mention a few.Andersen was the first notable Danish writer of proletarian origin, and even though he was never able to overcome his personal traumas, he became extremely successful in climbing the social ladder receiving invitations wherever he went from nobility and royalty and being showered with recognition and decorations. He read aloud to and was feted by Maximilian II of Bavaria, Friedrich Wilhelm IV of Prussia, Grand Duchess Sophia of Austria, and Friedrich August II of Saxony. Even though he also was a frequent visitor at the Danish court Andersen always felt more appreciated abroad.In spite of Andersen's status as a world-renowned writer, no critical treatment has thus far discussed him as a key figure in European contemporary culture and a cosmopolitan personality. The contributors to the present volume — all of whom are acclaimed Andersen scholars — have made extensive use of the vast material available in Andersen's diaries, almanacs, autobiographies, and letters. Most of this material, now made available in English for the first time, allows a new Andersen to emerge, different from the traditional portrayal of him as a content and happy storyteller — a myth indeed! To the contrary, all contributors of this volume discuss his complexity, the traumas and disillusionments of a professional artist constantly struggling to maintain his position and incessantly worried about running out of inspiration.This volume — besides presenting biographical information in an international perspective — focuses on Andersen's fascinating psychological make-up, his taste in music, literature, and the pictorial arts, the contemporary critical reception of his work, and explores his creative universe in a more general sense including his poetry, novels, plays, and travelogues. Andersen's overall artistic achievements are viewed in the context of world literature.

Reproduction of the original: Frederick Chopin as a Man and Musician by Frederick Niecks

Born Jakob Ludwig Felix Mendelssohn Bartholdy, but generally referred to as Felix Mendelssohn-Bartholdy, the German composer was one of the?most celebrated of the early Romantic era. Recognized as a musical prodigy at age seven, Bartholdy went on to write over 100 operas, symphonies, piano solos, chorals and more. This volume details his life and career.

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