Elements of Musical Composition (1830) (Classic Texts in by William Crotch, Bernarr Rainbow
By William Crotch, Bernarr Rainbow
The traditional paintings followed via critical scholars of tune through the first half the 19th century, Crotch's handbook used to be two times reprinted and remained sufficiently influential to benefit yet another variation in 1856, 9 years after his dying.
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Additional info for Elements of Musical Composition (1830) (Classic Texts in Music Education), II Edition
Example text
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.