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Monarch of the Flute : The Life of Georges Barrere, Paperback by Toff, Nancy,...
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Specificaties
- Objectstaat
- Book Title
- Monarch of the Flute : The Life of Georges Barrere
- ISBN
- 9780199942459
- Subject Area
- Music, Biography & Autobiography
- Publication Name
- Monarch of the Flute : the Life of Georges Barrère
- Publisher
- Oxford University Press, Incorporated
- Item Length
- 9.1 in
- Subject
- History & Criticism, Printed Music / Woodwinds, Composers & Musicians, Musical Instruments / Woodwinds
- Publication Year
- 2012
- Type
- Textbook
- Format
- Trade Paperback
- Language
- English
- Item Height
- 1 in
- Item Weight
- 22.9 Oz
- Item Width
- 9.1 in
- Number of Pages
- 464 Pages
Over dit product
Product Identifiers
Publisher
Oxford University Press, Incorporated
ISBN-10
0199942455
ISBN-13
9780199942459
eBay Product ID (ePID)
117200475
Product Key Features
Number of Pages
464 Pages
Publication Name
Monarch of the Flute : the Life of Georges Barrère
Language
English
Subject
History & Criticism, Printed Music / Woodwinds, Composers & Musicians, Musical Instruments / Woodwinds
Publication Year
2012
Type
Textbook
Subject Area
Music, Biography & Autobiography
Format
Trade Paperback
Dimensions
Item Height
1 in
Item Weight
22.9 Oz
Item Length
9.1 in
Item Width
9.1 in
Additional Product Features
Intended Audience
Scholarly & Professional
Dewey Edition
22
Number of Volumes
1 vol.
Illustrated
Yes
Dewey Decimal
788.3/2/092 B
Table Of Content
Introduction1. The Fifer, 1876-932. The Faun, 1893-943. The Jeune Ecole, 1895-984. Fin de Siecle, 1898-995. 1900: In the Vanguard of Progress6. The New Century, 1901-057. 1905: Enter Walter Damrosch8. The World of the Damrosch Brothers, 1905-099. "A Musical Envoy from France," 1909-1210. Yankee Entrepreneur, 1913-1511. Alliances Francaises, 1915-1712. Over Here, 1917-1813. "The World's Greatest Flutist," 1918-2114. "Pan Himself," 1921-2615. "The Casals of the Flute," 1926-2816. Jubilee, 1929-3017. "I Heard The Great Barrere," 1931-3618. "The Last Word in Chamber Music," 1936-4019. "The Last Survivor," 1940-44Epilogue: Monarch of the FluteAppendix 1: Works Dedicated to Barrere and His EnsemblesAppendix 2: Works Premiered by Barrere and His EnsemblesNotes/ Bibliography, Introduction 1.The Fifer, 1876-93 2.The Faun, 1893-94 3.The Jeune Ecole, 1895-98 4.Fin de Siecle, 1898-99 5.1900: In the Vanguard of Progress 6.The New Century, 1901-05 7.1905: Enter Walter Damrosch 8.The World of the Damrosch Brothers, 1905-09 9."A Musical Envoy from France," 1909-12 10.Yankee Entrepreneur, 1913-15 11.Alliances Francaises, 1915-17 12.Over Here, 1917-18 13."The World's Greatest Flutist," 1918-21 14."Pan Himself," 1921-26 15."The Casals of the Flute," 1926-28 16.Jubilee, 1929-30 17."I Heard The Great Barrere," 1931-36 18."The Last Word in Chamber Music," 1936-40 19."The Last Survivor," 1940-44 Epilogue: Monarch of the Flute Appendix 1: Works Dedicated to Barrere and His Ensembles Appendix 2: Works Premiered by Barrere and His Ensembles Notes/ Bibliography
Synopsis
Georges Barr'ere (1876-1944) holds a preeminent place in the history of American flute playing. Best known for two of the landmark works that were written for him--the Poem of Charles Tomlinson Griffes and Density 21.5 by Edgard Var'ese--he was the most prominent early exemplar of the Paris Conservatoire tradition in the United States and set a new standard for American woodwind performance.Barr'ere's story is a musical tale of two cities, and this book uses his life as a window onto musical life in Belle Epoque Paris and twentieth-century New York. Recurrent themes are the interactions of composers and performers; the promotion of new music; the management, personnel, and repertoire of symphony orchestras; the economic and social status of the orchestral and solo musician, including the increasing power of musicians' unions; the role of patronage, particularly women patrons; and the growth of chamber music as a professional performance medium.A student of Paul Taffanel at the Paris Conservatoire, by age eighteen Barr'ere played in the premiere of Debussy's Prelude to the Afternoon of a Faun. He went on to become solo flutist of the Concerts Colonne and to found the Sociètè Moderne d'Instruments á Vent, a pioneering woodwind ensemble that premiered sixty-one works by forty composers in its first ten years. Invited by Walter Damrosch to become principal flute of the New York Symphony in 1905, he founded the woodwind department at the Institute of Musical Art (later Juilliard). His many ensembles toured the United States, building new audiences for chamber music and promoting French repertoire as well as new American music. Toff narrates Barr'ere's relationships with the finest musicians and artists of his day, among them Isadora Duncan, Yvette Guilbert, Andr'e Caplet, Paul Hindemith, Albert Roussel, Wallingford Riegger, and Henry Brant. The appendices of the book, which list Barr'ere's 170 premieres and the 50 works dedicated to him, are a resource for a new generation of performers.Based on extensive archival research and oral histories in both France and the United States, this is the first biography of Barr'ere., Georges Barr re (1876-1944) holds a preeminent place in the history of American flute playing. Best known for two of the landmark works that were written for him--the Poem of Charles Tomlinson Griffes and Density 21.5 by Edgard Var se--he was the most prominent early exemplar of the Paris Conservatoire tradition in the United States and set a new standard for American woodwind performance. Barr re's story is a musical tale of two cities, and this book uses his life as a window onto musical life in Belle Epoque Paris and twentieth-century New York. Recurrent themes are the interactions of composers and performers; the promotion of new music; the management, personnel, and repertoire of symphony orchestras; the economic and social status of the orchestral and solo musician, including the increasing power of musicians' unions; the role of patronage, particularly women patrons; and the growth of chamber music as a professional performance medium. A student of Paul Taffanel at the Paris Conservatoire, by age eighteen Barr re played in the premiere of Debussy's Prelude to the Afternoon of a Faun . He went on to become solo flutist of the Concerts Colonne and to found the Soci t Moderne d'Instruments Vent, a pioneering woodwind ensemble that premiered sixty-one works by forty composers in its first ten years. Invited by Walter Damrosch to become principal flute of the New York Symphony in 1905, he founded the woodwind department at the Institute of Musical Art (later Juilliard). His many ensembles toured the United States, building new audiences for chamber music and promoting French repertoire as well as new American music. Toff narrates Barr re's relationships with the finest musicians and artists of his day, among them Isadora Duncan, Yvette Guilbert, Andr Caplet, Paul Hindemith, Albert Roussel, Wallingford Riegger, and Henry Brant. The appendices of the book, which list Barr re's 170 premieres and the 50 works dedicated to him, are a resource for a new generation of performers. Based on extensive archival research and oral histories in both France and the United States, this is the first biography of Barr re., Georges Barrère (1876-1944) holds a preeminent place in the history of American flute playing. Best known for two of the landmark works that were written for him--the Poem of Charles Tomlinson Griffes and Density 21.5 by Edgard Varèse--he was the most prominent early exemplar of the Paris Conservatoire tradition in the United States and set a new standard for American woodwind performance. Barrère's story is a musical tale of two cities, and this book uses his life as a window onto musical life in Belle Epoque Paris and twentieth-century New York. Recurrent themes are the interactions of composers and performers; the promotion of new music; the management, personnel, and repertoire of symphony orchestras; the economic and social status of the orchestral and solo musician, including the increasing power of musicians' unions; the role of patronage, particularly women patrons; and the growth of chamber music as a professional performance medium. A student of Paul Taffanel at the Paris Conservatoire, by age eighteen Barrère played in the premiere of Debussy's Prelude to the Afternoon of a Faun . He went on to become solo flutist of the Concerts Colonne and to found the Sociètè Moderne d'Instruments á Vent, a pioneering woodwind ensemble that premiered sixty-one works by forty composers in its first ten years. Invited by Walter Damrosch to become principal flute of the New York Symphony in 1905, he founded the woodwind department at the Institute of Musical Art (later Juilliard). His many ensembles toured the United States, building new audiences for chamber music and promoting French repertoire as well as new American music. Toff narrates Barrère's relationships with the finest musicians and artists of his day, among them Isadora Duncan, Yvette Guilbert, André Caplet, Paul Hindemith, Albert Roussel, Wallingford Riegger, and Henry Brant. The appendices of the book, which list Barrère's 170 premieres and the 50 works dedicated to him, are a resource for a new generation of performers. Based on extensive archival research and oral histories in both France and the United States, this is the first biography of Barrère., Georges Barrère (1876-1944) holds a preeminent place in the history of American flute playing. Best known for two of the landmark works that were written for him--the Poem of Charles Tomlinson Griffes and Density 21.5 by Edgard Varèse--he was the most prominent early exemplar of the Paris Conservatoire tradition in the United States and set a new standard for American woodwind performance. Barrère's story is a musical tale of two cities, and this book uses his life as a window onto musical life in Belle Epoque Paris and twentieth-century New York. Recurrent themes are the interactions of composers and performers; the promotion of new music; the management, personnel, and repertoire of symphony orchestras; the economic and social status of the orchestral and solo musician, including the increasing power of musicians' unions; the role of patronage, particularly women patrons; and the growth of chamber music as a professional performance medium. A student of Paul Taffanel at the Paris Conservatoire, by age eighteen Barrère played in the premiere of Debussy's Prelude to the Afternoon of a Faun. He went on to become solo flutist of the Concerts Colonne and to found the Sociètè Moderne d'Instruments á Vent, a pioneering woodwind ensemble that premiered sixty-one works by forty composers in its first ten years. Invited by Walter Damrosch to become principal flute of the New York Symphony in 1905, he founded the woodwind department at the Institute of Musical Art (later Juilliard). His many ensembles toured the United States, building new audiences for chamber music and promoting French repertoire as well as new American music. Toff narrates Barrère's relationships with the finest musicians and artists of his day, among them Isadora Duncan, Yvette Guilbert, André Caplet, Paul Hindemith, Albert Roussel, Wallingford Riegger, and Henry Brant. The appendices of the book, which list Barrère's 170 premieres and the 50 works dedicated to him, are a resource for a new generation of performers. Based on extensive archival research and oral histories in both France and the United States, this is the first biography of Barrère., Georges Barr'ere (1876-1944) holds a preeminent place in the history of American flute playing. Best known for two of the landmark works that were written for him - the Poem of Charles Tomlinson Griffes and Density 21.5 by Edgard Var'ese - he was the most prominent early exemplar of the Paris Conservatoire tradition in the United States and set a new standard for American woodwind performance.Barr'ere's story is a musical tale of two cities, and this book uses his life as a window onto musical life in Belle Epoque Paris and twentieth-century New York. Recurrent themes are the interactions of composers and performers; the promotion of new music; the management, personnel, and repertoire of symphony orchestras; the economic and social status of the orchestral and solo musician, including the increasing power of musicians' unions; the role of patronage, particularly women patrons; and the growth of chamber music as a professional performance medium.A student of Paul Taffanel at the Paris Conservatoire, by age eighteen Barr'ere played in the premiere of Debussy's Prelude to the Afternoon of a Faun. He went on to become solo flutist of the Concerts Colonne and to found the Soci'et'e Moderne d'Instruments 'a Vent, a pioneering woodwind ensemble that premiered sixty-one works by forty composers in its first ten years. Invited by Walter Damrosch to become principal flute of the New York Symphony in 1905, he founded the woodwind department at the Institute of Musical Art (later Juilliard). His many ensembles toured the United States, building new audiences for chamber music and promoting French repertoire as well as new American music. Toff narrates Barr'ere's relationships with the finest musicians and artists of his day, among them Isadora Duncan, Yvette Guilbert, Andr'e Caplet, Paul Hindemith, Albert Roussel, Wallingford Riegger, and Henry Brant. The appendices of the book, which list Barr'ere's 170 premieres and the 50 works dedicated to him, are a resource for a new generation of performers.Based on extensive archival research and oral histories in both France and the United States, this is the first biography of Barr'ere., The first biography of Barrère, this book examines the profound influence of this Frenchman on twentieth century American musical life, through his development of the flute and flute pedagogy, his promotion of new genres and repertoire, and new works dedicated to him.
LC Classification Number
ML419.B185T64 2012
ebay_catalog_id
4
Copyright Date
2012
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