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By Alfred Brendel

'This publication distils what, at my complicated age, i believe in a position to say approximately song, musicians, and issues of my pianistic profession.'

Ever due to the fact Alfred Brendel bid farewell to the live performance degree after six a long time of acting, he has been passing on his perception and event within the kind of lectures, readings and master-classes. This reader for fans of the piano distils his musical and linguistic eloquence and substantial wisdom, and should end up valuable to an individual with an curiosity within the method, historical past and repertoire of the piano.

Erudite, witty, enlightening and deeply own, A Pianist's A to Z is definitely the right publication for all piano fans, musicians and song aficionados: infrequently has the tool been defined in such an exciting and clever model.

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The ideal of art, the absolute relation of  Palestrina and the German Romantic imagination form and content, is to be found in the art of antiquity, more specifically Greek sculpture: The perfection of art reached its peak here precisely because the spiritual was completely drawn through its external appearance; in this beautiful unification it realized the natural and made it into an adequate embodiment of the spirit’s own substantial individuality. Therefore classical art became a completely adequate representation of the ideal, the consummation of the realm of beauty.

In assessing the relation between Romantic ironic reflection and the various ideational strategies sustaining the compositional products of the Palestrina revival, it will be necessary to take into account Heine’s brand of irony as well as that of Schlegel. While it will become clear that the reflective construction  Palestrina and the German Romantic imagination of a mythological basis for modern creation provides a useful perspective in examining the Palestrina revival, Heine’s subversion of such a foundation through the ‘little devil of frivolous irony’ may seem a less helpful means of approaching Romantic church music.

For Hegel, the course of the Historicism in nineteenth-century art, aesthetics and culture  Christian Romantic era charts an ever-increasing polarity of form and content, a divergence moving inevitably and irretrievably towards their total severance.  Importantly, the use of earlier artistic materials need not result in the dissolution of the relation between form and content. ’ For Hegel, the use of earlier styles can be either legitimate or illegitimate: the illegitimate use of historical materials results in an incommensurability of form and content, or produces a work alien to the modern world-view.

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