981 resultados para Cumberland, Richard, 1732-1811.
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Preface signed: Nevil Maskelyne, astronomer royal.
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The Fantasy, as the term suggests, is a genre that composers have found congenial for exploring innovative and imaginative processes. Works in this genre are numerous in the solo piano literature, and extend even to works for piano and orchestra and to chamber music with piano. I was curious to explore how a specific genre of music maintained similar characteristics but evolved over time. A fantasy is primed to be inventive and I wanted to see how composers from different eras and backgrounds would handle their material in this genre. I have learned that composers worked through formal developments while making innovations within this genre. The heart of my dissertation is presented through the recording project. Because ofthe abundance ofpiano fantasies, many works had to be excluded from this project for time's sake. On two compact discs, I have recorded approximately two hours of solo piano music. I have included some shorter fantasies to magnify significant developments from era to era, country to country, and composer to composer. The first disc has recordings of eighteenth and nineteenth-century fantasies: Chromatic Fantasy and Fugue, BWV 903 by J.S. Bach (1685-1750); Fantasia inC major, H. XVII, 4 by Franz Joseph Haydn (1732-1809); Fantasy inc minor, K. 475 by Wolfgang Amadeus Mozart (1756- 1791); Fantasia inf-sharp minor, Op. 28 by Felix Mendelssohn (1809-1847); and Polonaise-Fantaisie in A-flat major, Op. 61 by Frederic Chopin (1810-1849). On the second disc I have included mid-19th, 20th and 2151-century piano fantasies: Fantasy and Fugue on the Theme B-A-C-H by Franz Liszt (1811-1886); Fantasia Baetica by Manuel de Falla (1876-1946); Three Fantasies by William Bergsma (1921-1994); Fantasy, Aria and Fugue by Frederic Goossen (1927-2011); and Piano Fantasy ("Wenn ich einmal sol! scheiden") by Richard Danielpour (b. 1956). The accompanying document includes program notes for each of the pieces recorded. They were recorded on a Steinway "D" in Dekelboum Concert Hall at the University of Maryland by Antonino D'Urzo ofOpusrite Productions. This document is available in the Digital Repository at the University of Maryland and the CO's are available through the Library System at the University of Maryland.
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Interleaved second-edition copy of Robert Treat Paine's poem "The Invention of Letters" with handwritten excerpts of 18th century poetry copied by Charles Pinckney Sumner. The excerpts appear to be verses alluded to, or emulated, by Paine in the poem. For example, Paine's verse includes "Beneath the shade, which Freedom's oak displays" and Sumner on the opposite page quoted Alexander Pope's poetry, "Beneath the shade a spreading beech displays." The excerpts include poetry by Alexander Pope, James Thompson, Robert Dodsley, William Falconer, William Hayley, Samuel Rogers, Richard Brinsley Sheridan, Thomas Gray, and John Denham.
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This legal document, a counterbond, was created on May 14, 1722 and involved John Oldham, James Clark, and Richard Moores. All three men were residents of Cambridge at the time of its creation. The document specifies Oldham's financial obligations to Clark, a cordwainer, and Moores, a tailor and was "Sign[ed], sealed & [delivered] in the presence of Nathaniel Sparhawk and Noah Sparkhawk." The document also refers to the "trustees for the town of Cambridge" Spencer Shipps, Nathaniel Sparhawk and John Dickson.
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"With introductions from Thackeray's English humorists'."
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Mode of access: Internet.
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Mode of access: Internet.
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Without music (adapted from Grétry by Thomas Linley)
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Duke of Milan.--The inconstant.--The good-natured man.--Introduction to Shakespeare's plays.--King John.--The Quaker.--Edward the Black prince.--The belle's stratagem.--Winter's tale.--George Barnwell.--The conscious lovers.--King Richard II.--The Grecian daughter.--The brothers.--Lady Jane Grey.--The Merchant of Venice.--Coriolanus.--The way to keep him.--The gamester.--The hypocrite.--Julius Cæsar.--Conclusion.
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For errors in paging see Upcott.
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Photocopy.
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Each play has half-title only, and continuous paging.
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Special Collections copy: Title on cover appears to be handwritten in ink.