Symphonie Espagnole, Opus 21 - Inhalt, Kategorie und bibliografische Infos

Symphonie Espagnole, Opus 21: Inhalt, Einordnung und bibliografische Details

Mit Symphonie Espagnole, Opus 21 liegt ein Buch von Édouard Victor Antoine Lalo vor, das der Kategorie Sachbuch zugeordnet wird und sich für alle eignet, die gezielt nach Literatur mit diesem Schwerpunkt suchen. für Violine und Orchester : Klavierauszug = for violin and orchestra : piano reduction fungiert als präzisierende Ergänzung zu Symphonie Espagnole, Opus 21 und macht die Zielsetzung des Buches schneller erfassbar. Inhaltlich lässt sich Symphonie Espagnole, Opus 21 folgendermaßen zusammenfassen: The Symphonie espagnole for violin and orchestra, perhaps Lalo's best-known composition, is found in the repertoire of violinists everywhere. The première on 7 February 1875 was greeted by storms of applause from the Parisian audience and marked Lalo's breakthrough. He wrote the work for his friend Pablo de Sarasate, who played it at his concerts and quickly made it known throughout Europe. This edition is the first to make use of Lalo's autograph manuscripts. - Publisher. This concerto-like work is one of the favorite large-scale violin works of the Romantic era. Its colorful Spanish quality and its flowing, attractive melodies, along with its copious display of violin tricks, have kept it before a public that has largely forgotten the other works of its composer. Stimulated by Pablo de Sarasate's playing of his First Violin Concerto in 1874, Lalo decided to write another concerto, this time paying tribute to Sarasate's Spanish nationality and his own Spanish descent. Lalo tailor-made the new Symphonie Espagnole to fit Sarasate's playing style, which was innovative for stressing a bright, light attack rather than the powerhouse style that had characterized earlier violinists. It is likely that Sarasate collaborated with Lalo in the details of the violin part, for it features the singing line and effervescent arpeggio and scale work that was a trademark of his playing and which are featured in Sarasate's own recital music. Sarasate played it for the first time in Paris on February 7, 1875. It immediately pleased the audience, and happened to hit in the middle of a vogue for Spanish music recently touched off by Bizet's opera Carmen. It has frequently been said that it is not a concerto or a symphony at all, although it does have elements of symphonic form. It is really a suite, whose five movements add up to the dimensions of a symphony, about 30 minutes. - Joseph Stevenson at allmusic.com Als Veröffentlichungsdatum ist 2001 hinterlegt; verlegt wurde der Titel von G. Henle Verlag in München.

Was diese Ausgabe besonders interessant macht

Mit G. Henle Verlag in München ist die verlegerische Zuordnung der Ausgabe klar nachvollziehbar. Für alle, die Bücher von Édouard Victor Antoine Lalo recherchieren oder vergleichen, ist Symphonie Espagnole, Opus 21 eine relevante Ausgabe. Wer Literatur aus dem Bereich Sachbuch sucht, findet in Symphonie Espagnole, Opus 21 einen gut klassifizierbaren Titel. Symphonie Espagnole, Opus 21 liegt in Deutsch vor, was für die inhaltliche Nutzung ebenso wichtig ist wie für die bibliografische Suche. Für Recherchen nach Veröffentlichungszeitraum ist Symphonie Espagnole, Opus 21 mit dem Datum 2001 eindeutig zuordenbar.

Was behandelt Symphonie Espagnole, Opus 21?

Wer wissen möchte, worauf Symphonie Espagnole, Opus 21 inhaltlich abzielt, findet in dieser Zusammenfassung einen ersten Ansatzpunkt: The Symphonie espagnole for violin and orchestra, perhaps Lalo's best-known composition, is found in the repertoire of violinists everywhere. The première on 7 February 1875 was greeted by storms of applause from the Parisian audience and marked Lalo's breakthrough. He wrote the work for his friend Pablo de Sarasate, who played it at his concerts and quickly made it known throughout Europe. This edition is the first to make use of Lalo's autograph manuscripts. - Publisher. This concerto-like work is one of the favorite large-scale violin works of the Romantic era. Its colorful Spanish quality and its flowing, attractive melodies, along with its copious display of violin tricks, have kept it before a public that has largely forgotten the other works of its composer. Stimulated by Pablo de Sarasate's playing of his First Violin Concerto in 1874, Lalo decided to write another concerto, this time paying tribute to Sarasate's Spanish nationality and his own Spanish descent. Lalo tailor-made the new Symphonie Espagnole to fit Sarasate's playing style, which was innovative for stressing a bright, light attack rather than the powerhouse style that had characterized earlier violinists. It is likely that Sarasate collaborated with Lalo in the details of the violin part, for it features the singing line and effervescent arpeggio and scale work that was a trademark of his playing and which are featured in Sarasate's own recital music. Sarasate played it for the first time in Paris on February 7, 1875. It immediately pleased the audience, and happened to hit in the middle of a vogue for Spanish music recently touched off by Bizet's opera Carmen. It has frequently been said that it is not a concerto or a symphony at all, although it does have elements of symphonic form. It is really a suite, whose five movements add up to the dimensions of a symphony, about 30 minutes. - Joseph Stevenson at allmusic.com Die Kapitel- und Inhaltsübersicht macht deutlich, wie das Buch aufgebaut ist: Vorwort / Preface / Préface / Peter Jost | I. Allegro non troppo | II. Scherzando : Allegro molto | III. Intermezzo : Allegretto non troppo | IV. Andante | V. Rondo : Allegro Mit einem Umfang von 1 Seiten und dem Format pocket verbindet die Ausgabe inhaltliche Tiefe mit einer klar beschriebenen physischen Form. Die Angabe Peter Jost (Editor), Kurt Guntner (Editor) ergänzt den Eintrag um weitere relevante Personen oder Beteiligte.

ISBN, Revision und weitere Referenzdaten

Die verlegerische und zeitliche Einordnung wird durch G. Henle Verlag, München und 2001 präzise ergänzt. Die Open-Library-Zuordnung über OL19652141W und OL26871876M verbessert die externe Nachvollziehbarkeit des Werkes.

Bibliografische Daten auf einen Blick

1. Ergänzender Titelzusatz: für Violine und Orchester : Klavierauszug = for violin and orchestra : piano reduction
2. Verlagsort: München
3. Weitere Beteiligte: Peter Jost (Editor), Kurt Guntner (Editor)
4. Format: pocket
5. Open-Library-Editions-IDs: OL26871876M
6. Titel: Symphonie Espagnole, Opus 21
7. Inhaltsübersicht: Vorwort / Preface / Préface / Peter Jost | I. Allegro non troppo | II. Scherzando : Allegro molto | III. Intermezzo : Allegretto non troppo | IV. Andante | V. Rondo : Allegro
8. Verlag: G. Henle Verlag
9. Verfügbare Sprache dieser Ausgabe: Deutsch
10. Primäre Kategorie: Sachbuch
11. Erscheinungsdatum: 2001
12. Abmessungen: 31 x x cm
13. Open-Library-Work-ID: OL19652141W
14. Autor beziehungsweise Autoren: Édouard Victor Antoine Lalo
15. Umfang: 1 Seiten
16. Internationale Standardbuchnummer (ISBN-13): 9790201807096
17. Inhaltliche Kurzcharakteristik: The Symphonie espagnole for violin and orchestra, perhaps Lalo's best-known composition, is found in the repertoire of violinists everywhere. The première on 7 February 1875 was greeted by storms of applause from the Parisian audience and marked Lalo's breakthrough. He wrote the work for his friend Pablo de Sarasate, who played it at his concerts and quickly made it known throughout Europe. This edition is the first to make use of Lalo's autograph manuscripts. - Publisher. This concerto-like work is one of the favorite large-scale violin works of the Romantic era. Its colorful Spanish quality and its flowing, attractive melodies, along with its copious display of violin tricks, have kept it before a public that has largely forgotten the other works of its composer. Stimulated by Pablo de Sarasate's playing of his First Violin Concerto in 1874, Lalo decided to write another concerto, this time paying tribute to Sarasate's Spanish nationality and his own Spanish descent. Lalo tailor-made the new Symphonie Espagnole to fit Sarasate's playing style, which was innovative for stressing a bright, light attack rather than the powerhouse style that had characterized earlier violinists. It is likely that Sarasate collaborated with Lalo in the details of the violin part, for it features the singing line and effervescent arpeggio and scale work that was a trademark of his playing and which are featured in Sarasate's own recital music. Sarasate played it for the first time in Paris on February 7, 1875. It immediately pleased the audience, and happened to hit in the middle of a vogue for Spanish music recently touched off by Bizet's opera Carmen. It has frequently been said that it is not a concerto or a symphony at all, although it does have elements of symphonic form. It is really a suite, whose five movements add up to the dimensions of a symphony, about 30 minutes. - Joseph Stevenson at allmusic.com

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