By Susan McClary
During this booklet, Susan McClary examines the mechanisms during which seventeenth-century musicians simulated severe affective states—desire, divine rapture, and ecstatic excitement. She demonstrates how each significant style of the interval, from opera to non secular track to instrumental items in keeping with dances, used to be a part of this striving for heightened passions via performers and listeners. whereas she analyzes the social and ancient purposes for the excessive worth put on expressive depth in either secular and sacred track, and he or she additionally hyperlinks hope and enjoyment to the various technical recommendations of the interval. McClary exhibits how musicians—whether operating in the contexts of the Reformation or Counter-Reformation, Absolutists courts or advertisement businesses in Venice—were in a position to control identified techniques to supply appreciably new methods of experiencing time and the Self.
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Additional info for Desire and Pleasure in Seventeenth-Century Music
Nikolai Sokolov, another marvelous musician and pedagogue, became his counterpoint teacher. Dmitri also attended Alexander Ossovsky’s lectures on music history, which he found highly interesting. In 1924, he studied conducting with Nicolai Malko, violin with Victor Valter, and chamber music with Alexander Glazunov. Shostakovich proved to be an extremely conscientious student who blossomed in his new environment in spite of the harsh conditions of everyday life in post-revolutionary Petrograd. The entire city had been devastated, the Conservatory building had no heating, and meagre food rations provided little relief for people’s constant hunger.
13 Prelude in E minor: bars 1–3. tenacious – containing within itself a clearly defined rhythmic momentum and, at the same time, possessing a great variety of expressive shadings. 45 In his memoirs, Nicolai Malko confirms Bogdanov-Berezovsky’s description in his own way: “I shall not call his playing artistic. It lacked a certain expressiveness and was devoid of certain artistic impulses inherent in the performance of a great artist. It was as if, in his playing of the score, he was presenting the music itself rather than a performance of it.
This cultured, polite, and soft-spoken woman presented a striking contrast to the dogmatically severe Glyasser, who, when necessary, never hesitated to express his anger openly. Patient and kind, Rozanova tirelessly polished her students’ pieces, paying a great deal of attention to dynamics and the various minute details of interpretation. In all likelihood, she inspired Shostakovich to strive for greater refinement and sensitivity in his playing. She also demonstrated a keen interest in Dmitri’s compositions, thus creating an immediate and warm rapport with her new student.