Curso de formas musicales. Con numerosos ejemplos musicales by ZAMACOIS

By ZAMACOIS

"Este libro no es un «Tratado de Composición», puesto que no pretende enseñar a componer. Nuestras ambiciones son más limitadas: servir simplemente de guía a quien desee capacitarse para los angeles comprensión y somero análisis de las obras escritas bajo el concepto tradicional de l. a. Forma, cosa que consideramos critical para quien aspire a ser un buen intérprete o un buen profesor.

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En este libro seguimos las directrices de nuestros «Tratado de Armonía» y «Teoría de los angeles Música», publicados en l. a. Colección exertions, o sea: criterio ecléctico, ausencia de doctrinarismos personales, sinceridad ante el lector -no silenciándole las divergencias de opiniones, cuando existen y tienen cierta importancia- y brevedad en las explicaciones, en lo suitable con las exigencias de las materias que tratamos y con el enfoque que a las mismas hemos querido dar."

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Apart from Debussy's marital misconduct, many who were keen on Pelleas et Melisande were upset by the marked change in the composer's style. Where the sea had been remote and muted in the opera, it now sounded strident and forward. Debussy had moved on. An intriguing review came from a critic who had, after some persuasion, been a staunch supporter of Pelleas. Pierre Lalo failed to hear the sea: Think of the grotto scene in Pelleas: a few chords and a single orchestral rhythm give you the entire atmosphere of night and of the sea .

Deviations from the score vary: the majority of conductors make a substantial rit. in bar 63 and begin the gradual accel. afresh in bar 65, a few simply ignore the instruction altogether (not those sampled), and most carry the accel. beyond the Tempo primo of bar 72, often making a striking increase in speed at the start of, or during, the ostinato of bars 94ff. Coppola and Toscanini are extreme in the range of tempos used: both increase the pulse by around fifty percent between bars 56 and 118.

Many came to regard this as the real first performance of La mer. As well as having in the composer a sympathetic interpreter, the climate in Paris had changed: Debussy's sexual misdemeanours were no longer the main concern - these had been forgotten in the wave of Debussyism now sweeping France. ValeryRadot recalled the great event: I remember this Sunday where, at three o'clock, at the Chatelet, Debussy appeared from behind the desks of the violins. A sort of frenetic delirium arose from the Debussyists spread around the hall.

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