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Stylistic change in the Lieder of C.M. von Weber, from the time of Abu Hassan (1811) to that of Der Freischütz (1820).January 1992 (has links)
by Wu Yuet-wah, Ruth. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1992. / Includes bibliographical references (leaves 93-99). / Chapter Chapter One : --- Introduction --- p.1 / Chapter Chapter Two: --- The background of the Lieder and the two operas 一 Abu Hassan and Der Freischutz --- p.4 / Chapter Chapter Three: --- The Style of Weber's Lieder Composed between 1810 and 1820 --- p.26 / Chapter Chapter Four: --- The Stylistic Relationship of the Solo Songs of Abu Hassan and Der Freischutz with the Lieder --- p.73 / Chapter Chapter Five: --- The Reception of Weber's Lieder --- p.82 / Bibliography --- p.93
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The Nineteenth Century Oboe Concertino: An Overview of its Structure with Two Performance GuidesMurray, Lauren Baker 08 1900 (has links)
Music written for oboe and orchestra in the nineteenth century falls into three categories: Classical Concerto, Opera Fantasy, and Concertino. The classical, or standard, three movement, sonata-ritornello format was only sparingly used. Instead, composers chose more the experimental forms of the Opera Fantasy and Concertino. The Opera Fantasy was used as a way for oboe players to play popular opera arias of the time, while showcasing their virtuosity and expression. It is in the Concertino where composers expanded the oboe repertoire to its highest form in the nineteenth century, experimenting with structure, and using the oboe to the height of its expressive powers. In addition to discussion on the Concertino in general, performance guides have been provided for two concertinos, Concertino for Oboe and Winds, by Carl Maria von Weber and Concertino for Oboe and Orchestra, Op. 18, by August Klughardt. Information is provided regarding composer biography, compositional/historical perspective, technical and stylistic considerations, and structure. By examining the two very different pieces, one from the beginning of the nineteenth century and one from the end, the evolution of the Concertino can be seen, as well as gaining an understanding of the wide variety of repertoire written for the oboe in the nineteenth century.
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