Sergei Taneyev (1856–1915)
Autor(a) de Convertible Counterpoint in the Strict Style
About the Author
Obras de Sergei Taneyev
Rachmaninoff : The Bells, Op.35 + Taneyev : John of Damascus, Op.1 [sound recording] (2001) — Compositor — 3 cópias
Tanejew: Piano Chamber Music [2 CD] 2 cópias
The Complete Quintets 2 cópias
Symphony No 4 2 cópias
Complete Trios 1 exemplar(es)
Sergei Iwanowitsch Tanejew - String Quintets Op. 14 & Op. 16 / Utrecht String Quartet; Alexander Zemtsov, viola; Pieter… 1 exemplar(es)
Sunrise 1 exemplar(es)
Piano Concerto; Prelude in F major; Lullaby in B flat major; Theme and Variations; Allegro in E flat major; Andantino… (2006) 1 exemplar(es)
String Quartet No. 3 for two violins, viola and violincello: Kalmus Chamber Music Series 1 exemplar(es)
Piano Quartet; Violin Sonata 1 exemplar(es)
Klavierquinett op. 30 // The Amsterdam Chamb. Music Society 1 exemplar(es)
Symphonies nos. 1 and 3 1 exemplar(es)
Taneyev: Orchestral Works - Oresteia Overture 1 exemplar(es)
String Quintet in C Op. 16 (2 vlns. 2 vlas, cello) 1 exemplar(es)
Quintetto in G for 2 violins, viola, 2 cellos Op. 14 1 exemplar(es)
S. Taneiev: The Oresteia 1 exemplar(es)
Taneyev & Tcherepnin: Piano Trios 1 exemplar(es)
[No title] 1 exemplar(es)
S Taneyev - The Oresteia (A Bokov, V Chemobayev, L Galushkina, I Dubrovnin, T Kolomijzeva-Belorussian State Chorus) 1 exemplar(es)
Orchestral works 1 exemplar(es)
Etiquetado
Conhecimento Comum
- Data de nascimento
- 1856-11-25
- Data de falecimento
- 1915-06-19
- Sexo
- male
- Nacionalidade
- Russian Empire
- Ocupação
- composer
Membros
Resenhas
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Associated Authors
Estatísticas
- Obras
- 32
- Membros
- 47
- Popularidade
- #330,643
- Avaliação
- 4.4
- Resenhas
- 1
- ISBNs
- 3
I quickly highlight that the book assumes knowledge of simple counterpoint on the part of the reader. "The study of vertical-shifting counterpoint consists of an investigation of those combinations from which derivatives are obtained by means of shifting the voices upward or downward." (p. 25) Taneiev has developed a method by which the study of counterpoint is put on a basis of pure mathematics; i.e., an algebraic basis for a theory of complex counterpoint. Rimsky-Korsakov wrote that it would seem that his method ought to result in a dry and academic composition, devoid of the shadow of inspiration. In reality, however, "his own Oresteia proved quite the reverse--for all its strict premeditation, the opera was striking in its wealth of beauty and expressiveness." (p. 1) Indeed, Igor Stravinsky adds, "Taneiev was a good teacher, and his treatise on counterpoint--one of the best books of its kind--was highly valued by me in my youth.
Taneiev notes that skill in the handling of counterpoint is of such advantage in composition that the beginner should devote part of his time to its study, and indicates that this will be attained with the least expenditure of time and labor by following the methods he provides. The "result will be a greater assurance and freedom in part-writing, skill in improving the musical content of the individual voices, the development--of special value in thematic work--of the ability to extract derivative combinations, the profit to be gained by acquaintance with an infinite variety of contrapuntal forms as means of artistic expression, and the subordination of the whole realm of tonal material to the creative imagination." (p. 300)
The book has two major parts related to vertical and horizontal-counterpoint for two and three voices. The text includes both rules as well as musical scores and includes specific algebraic notations.
Music Education scholars take note: Tschaikowsky, fifteen years senior to Taneiev would submit to criticism from this pupil of his which he would tolerate from no one else. Indeed Rimsky-Korsakow, with all his technical brilliance, felt like a student musician in the presence of Taneiev, and admitted it. Given the major composers supporting this book and the author, need I even say that this is a MUST addition to your library!… (mais)