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Saint-Saëns, Camille Musical Memories ISBN 13: 9781443209281

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9781443209281: Musical Memories
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Reseña del editor:
In bygone days I was often told that I had two mothers and- as a matter of fact; I did have twothe mother who gave me life and my maternal great-aunt- Charlotte Masson.' (Excerpt from Chapter 1)

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  • EditorialBooks LLC, Reference Series
  • Año de publicación2015
  • ISBN 10 1443209287
  • ISBN 13 9781443209281
  • EncuadernaciónTapa blanda
  • Número de páginas50

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Camille Saint-Saëns
ISBN 10: 1443209287 ISBN 13: 9781443209281
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BuchWeltWeit Ludwig Meier e.K.
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Descripción Taschenbuch. Condición: Neu. This item is printed on demand - it takes 3-4 days longer - Neuware -Excerpt: . of annihilation. When the Requiem was played at the Trocadéro, the audience was greatly impressed and filed out slowly. They did not say, 'What a masterpiece!' but 'What an orchestra leader!' Nowadays people go to see a conductor direct the orchestra just as they go to hear a tenor, and they arrogate to themselves the right to judge the conductors as they do the tenors. But what a fine sport it is! The qualities of an orchestra conductor which the public appreciates are his elegance, his gestures, his precision, and the expressiveness of his mimicry, all of which are more often directed at the audience than at the orchestra. But all these things are of secondary consideration. What makes up an orchestra conductor's worth are the excellence of execution he obtains from the musicians and the perfect interpretation of the author's meaning--which the audience does not understand. If such an important detail as the author's meaning is obscured and slighted, if a work is disfigured by absurd movements and by an expression which is entirely different from what the author wanted, the public may be dazzled and an execrable conductor, provided his poses are good, may fascinate his audience and be praised to the skies. Formerly the conductor never saluted his audience. The understanding was that the work and not the conductor was applauded. The Italians and Germans changed all that. Lamoureux was the first to introduce this exotic custom in France. The public was a little surprised at first, but they soon got used to it. In Italy the conductor comes on the stage with the artists to salute the audience. There is nothing more laughable than to see him, as the last note of an opera dies away, jump down from his stand and run like mad to reach the stage in time. The excellence of the work of English choristers has been highly and justly praised. Perhaps it would be fairer not to praise them so unreservedly when we. 50 pp. Englisch. Nº de ref. del artículo: 9781443209281

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Camille Saint-Saëns
Publicado por Books LLC, Reference Series (2010)
ISBN 10: 1443209287 ISBN 13: 9781443209281
Nuevo Taschenbuch Cantidad disponible: 1
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AHA-BUCH GmbH
(Einbeck, Alemania)

Descripción Taschenbuch. Condición: Neu. nach der Bestellung gedruckt Neuware - Printed after ordering - Excerpt: . of annihilation. When the Requiem was played at the Trocadéro, the audience was greatly impressed and filed out slowly. They did not say, 'What a masterpiece!' but 'What an orchestra leader!' Nowadays people go to see a conductor direct the orchestra just as they go to hear a tenor, and they arrogate to themselves the right to judge the conductors as they do the tenors. But what a fine sport it is! The qualities of an orchestra conductor which the public appreciates are his elegance, his gestures, his precision, and the expressiveness of his mimicry, all of which are more often directed at the audience than at the orchestra. But all these things are of secondary consideration. What makes up an orchestra conductor's worth are the excellence of execution he obtains from the musicians and the perfect interpretation of the author's meaning--which the audience does not understand. If such an important detail as the author's meaning is obscured and slighted, if a work is disfigured by absurd movements and by an expression which is entirely different from what the author wanted, the public may be dazzled and an execrable conductor, provided his poses are good, may fascinate his audience and be praised to the skies. Formerly the conductor never saluted his audience. The understanding was that the work and not the conductor was applauded. The Italians and Germans changed all that. Lamoureux was the first to introduce this exotic custom in France. The public was a little surprised at first, but they soon got used to it. In Italy the conductor comes on the stage with the artists to salute the audience. There is nothing more laughable than to see him, as the last note of an opera dies away, jump down from his stand and run like mad to reach the stage in time. The excellence of the work of English choristers has been highly and justly praised. Perhaps it would be fairer not to praise them so unreservedly when we. Nº de ref. del artículo: 9781443209281

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