Tonight! An Evening with Morihiko Nakahara
Calling all classical music lovers! Join us tonight in Film & Sound at the Main library. Meet the conductor of the South Carolina Philharmonic and learn about their upcoming concert schedule.
Tuesday, February 5th, 6:00-7:00 p.m. -- Main Library Film & Sound, 1431 Assembly Street
Be sure to put these upcoming SC Philharmonic events on your calendar, too:
Tuesday, April 9th, 7:00-8:30 p.m. -- Sandhills Branch Meeting Room, 1 Summit Parkway
Tuesday, April 16th, 6:00-7:00 p.m. -- Main Library Film & Sound, 1431 Assembly Street
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Beethoven cast a looming shadow over the nineteenth century. For composers he was a model both to emulate and to overcome. "You have no idea how it feels," Brahms confided, " more...
Beethoven cast a looming shadow over the nineteenth century. For composers he was a model both to emulate and to overcome. "You have no idea how it feels," Brahms confided, "when one always hears such a giant marching behind one." Exploring the response of five composers--Berlioz, Mendelssohn, Schumann, Brahms, and Mahler--to what each clearly saw as the challenge of Beethoven's symphonies, Evan Bonds richly enhances our understanding of the evolution of the symphony and Beethoven's legacy. Overt borrowings from Beethoven--for example, the lyrical theme in the Finale of Brahms' First Symphony, so like the "Ode to Joy" theme in Beethoven's Ninth--have often been the subject of criticism. Bonds now shows us how composers imitate or allude to a Beethoven theme or compositional strategy precisely in order to turn away from it, creating a new musical solution. Berlioz's Harold en Italie, Mendelssohn's Lobgesang, Schumann's Fourth Symphony, Brahms' First, and Mahler's Fourth serve as illuminating examples. Discussion focuses on such core issues as Beethoven's innovations in formal design, the role of text and voice, fusion of diverse genres, cyclical coherence of movements, and the function of the symphonic finale. Bonds lucidly argues that the great symphonists of the nineteenth century cleared creative space for themselves by both confronting and deviating from the practices of their potentially overpowering precursor. His analysis places familiar masterpieces in a new light. less...
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The years of the Great Depression, World War II, and their aftermath brought a sea change in American music. This period of economic, social, and political adversity can truly more...
The years of the Great Depression, World War II, and their aftermath brought a sea change in American music. This period of economic, social, and political adversity can truly be considered a musical golden age. In the realm of classical music, Aaron Copland, Samuel Barber, Howard Hanson, Virgil Thompson, and Leonard Bernstein—among others—produced symphonic works of great power and lasting beauty during these troubled years. It was during this critical decade and a half that contemporary writers on American culture began to speculate about "the Great American Symphony" and looked to these composers for music that would embody the spirit of the nation.In this volume, Nicholas Tawa concludes that they succeeded, at the very least, in producing music that belongs in the cultural memory of every American. Tawa introduces the symphonists and their major works from the romanticism of Barber and the "all-American" Roy Harris through the theatrics of Bernstein and Marc Blitzstein to the broad-shouldered appeal of Thompson and Copland. Tawa's musical descriptions are vivid and personal, and invite music lovers and trained musicians alike to turn again to the marvelous and lasting music of this time. less...