Art music, orchestral and formal music Books

Book SynopsisThis book provides an overview of the current state of research on Machaut, the major figure of 14th-century French music and poetry, giving fair representation to the many areas of Machaut research that are pursued in fields outside music.Coverage of the current state of knowledge on each of the manuscripts includes the newly discovered Aberystwyth manuscript, described in detail here for the first time. A section on the large narrative poems pulls together recent research of several scholars and offers new views. An up-to-date concordance of the miniatures in all of the illustrated Machaut manuscripts gives information on where published studies and facsimiles may be found. The discography is the most complete list of Machaut recordings yet compiled and provides critical evaluations of recordings most valuable for instruction, according to our latest conception of performance practice in the 14th-century.A biography section organizes the documentary material in a way that will faciTrade Review"Medievalists working in the areas of musicology, literature, and codicology have already come to appreciate Earp's many scholarly contributions to Machaut studies. With the appearance of this volume, collective gratitute can only increase." -- Romance Philology"The volume is completed by three detailed indexes: an index of manuscripts; a general index of names, places, and subjects; and an index of titles, first lines, and refrains. These increase the usefulness of the volume." -- Romance Philology"This immensely useful and painstakingly thorough guide to Machaut studies will be invaluable for Machaut scholars, and indeed for all those working on fourteenth-century French music, poetry, or manuscripts. In one handy volume, Earp has provided detailed descriptions of all known Machaut manuscripts, a biographical sketch outlining all that is known of Machaut's life, and a meticulously annotated bibliography and discography. Thorough cross-referencing and indexing makes the volume extremely user-friendly, notwithstanding the mass of material that it contains." -- Romance Philology"The catalogue of manscripts is fully comprehensive, providing descriptions and complete bibliographic references not only for the large collections devoted to Machaut's complete works, but also for any manuscript containing any Machaut piece. Such a catalogue will prove an invaluable starting point for future editorial or codicological projects...of immense value for anyone contemplating an iconographic study. By collating all manuscript illuminations and grouping them by text, Earp makes it possible to view at a glance the illustration of any given text across the manuscript tradition." -- Romance Philology"Absolutely indispensable. Anyone with a serious interest in scholarship on Machaut could do no better than to invest in this book." -- Notes"Another volume in an invaluable series. It is a book with 'Must Buy' written all over it." -- Early Music Today"Earp has packed his book with useful information for the student of Machaut's life and works and has in addition provided a very adequate biography of the composer-poet. Anyone with a serious interest in Machaut will want to use this resource manual." -- Brio"This is a balanced, generous, and above all rich collection of material." -- Maney"This is the single most authoritative, accessible, comprehensive and usable source on Machaut in existence and as such can be thoroughly recommended." -- Mark Sealey, ClassicalNet

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Book SynopsisThis study is the first to consider all three of Rachmaninoff's careers in detail. After surveying his place in Russian musical history and his creative activity, the author examines, with musical examples, each working chronological order against the background of the composer's life. Among the the many subjects upon which new light is shed are the operas, the songs, and the religious music. Rachmaninoff's remarkable career as a pianist, his style of playing and repertoire are analysed along with his historically important contribution to the gramophone and his work for the reproducing piano. The book includes a survey of his activity as a conductor. There are extensive references to Russian sources and the first appearance of a complete Rachmaninoff disconography is included. This book is the only comprehensive study in any language of the three aspects of Rachmaninoff's musical career and is a stimulating read for music lovers everywhere.Trade Review'..it can readily be understood and appreciated by the general music lover and musician alike, and fills a major gap in the literature on the composer in English.' TLS 'The book ought to find a place in all public and scholastic libraries. It has been beautifully produced in all respects', The Consort. '...an invaluable contribution to our knowledge of the development of music and it will be in demand as a resource by all serious students of the subject.' Luton News. '..a much-needed assessment of Rachmaninov which amply reflects Mr Martyn's painstaking research, devotion and skill and significantly extends our understanding of this protean musician'. Yorkshire PostTable of ContentsContents: Introduction: Rachmaninoff the Composer: Rachmaninoff and Russian Musical History; Chronological Summary of Rachmaninoff's Principal Compositions; Rachmaninoff's Composing Career and Musical Style; Student Years, 1886-1892; Free Artist, 1892-1897; Moscow, 1897-1906; Dresden, 1906-1909; Ivanovka, 1909-1917; New World, 1917-1943; Rachmaninoff's Career as a Pianist; Concert Statistics; Rachmaninoff the Pianist: Rachmaninoff's Art as a Pianist; Piano Repertoire; Rachmaninoff and the Gramaphone; Discography; Rachmaninoff and the Reproducing Piano; Rachmaninoff's Career as a Conductor: Conducting Repertoire; Chronological List of Performances; Notes; Index of Rachmaninoff Works; Index of Persons and Works referred to in the Text.

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Book SynopsisJohn Ireland (1879-1962) was one of the leading composers of the English Musical Renaissance at the end of the nineteenth century and beginning of the twentieth century. Born of literary parents in Bowdon, near Manchester, he went to London at the age of fourteen to study at the newly-founded Royal College of Music where he eventually became a pupil of Charles Villiers Stanford. Among his near contemporaries at the College were Ralph Vaughan Williams, Gustav Holst, Thomas Dunhill, William Y. Hurlstone, Henry Walford Davies and Samuel Coleridge-Taylor. Ireland is best known for his songs (such as Sea Fever, The Bells of San Marie and the cycle of Housman settings, The Land of Lost Content), his piano and chamber music, his church music and his relatively small number of choral, orchestral and brass band works. This catalogue of Ireland's compositions, a revised and enlarged edition of the one published in 1993 by the Clarendon Press (Oxford University Press), in association with the John Ireland Trust, lists his compositions from 1895 to 1961. Full details are given of dates of composition; people or bodies responsible for a work's commission; instrumentation; first performance; publications; location of the autograph manuscript; critical comment in the bibliography from the contemporary press and music journals, and recordings on compact disc. Appended is a general bibliography and classified index of main works. A list of personalia supplies details of people connected with Ireland and his music during his lifetime.Table of ContentsContents: Introduction, Colin Scott Sutherland; Introduction to the 1993 editon, Geoffrey Bush; Compiler's note and acknowledgements; Chronology; Catalogue of works; Personalia; General bibliography; Alphabetical index of works; Classified index of works; Index of authors of texts; General Index.

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Book SynopsisThis Element contains information included on the commission and composition of the piece, its premiere by the Boston Symphony Orchestra conducted by Leonard Bernstein, its revision by Messiaen in 1990, and its reception history in both live and recorded performances.Table of Contents1. Introduction; 2. Context, commission, composition, and premiere; 3. Messiaen's musical style; 4. The Tristan trilogy and the extra-musical program; 5. Analysis and explanation of the Turangalîla-symphonie; 6. 1990 revisions to the score; 7. Reception history and interpretation; 8. Concluding remarks; Bibliography.

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Book SynopsisThis book is a music-theoretical and critical-theoretical study of late tonal music, and, in particular, of the music of Wagner's Götterdämmerung.First, in terms of music theory, it proposes a new theory of tonal function that returns to the theories of Hugo Riemann to rediscover a development of his thought that has been covered over by the recent project of neo-Riemannian theory. Second, in terms of its philosophical approach, it reawakens the critical-theoretical examination of the relation between music and the late capitalist society that is sedimented in the musical materials themselves, and which the music, in turn, subjects to aesthetically embodied critique. The music, the theory, and the listeners and critics who respond to them are all radically reimagined.This book will be of interest to professional music theorists, undergraduates, and technically inclined musicians and listeners, that is, anyone who is fascinated by the chromatic magic of late-nineTable of Contents1. Riemannian Theory and the Problem of Chromatic Function 2. Waltraute’s Plaint: Riemannian Tonal Function and Dramatic Narrative 3. Two Nineteenth-Century Examples of Hexatonic-Diatonic Tonal Function 4. The Multiple Lives of Seventh Chords 5. ‘Here Time Becomes Space’: Schenkerising Riemann/Riemannising Schenker

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Book Synopsis  The International Who's Who in Classical Music 2022 is a vast source of biographical and contact information for singers, instrumentalists, composers, conductors, managers and more. Each entrant has been given the opportunity to update his or her information for the new improved 2022 edition. Each biographical entry comprises personal information, principal career details, repertoire, recordings and compositions, and full contact details where available. Appendices provide contact details for national orchestras, opera companies, music festivals, music organizations and major competitions and awards. International Who's Who in Classical Music includes individuals involved in all aspects of the world of classical music: composers, instrumentalists, singers, arrangers, writers, musicologists, conductors, directors and managers. Key Features:- about 8,000 detailed biographical entries<Table of ContentsPart 1: BiographiesPart 2: Directory Appendix A: Orchestras. Appendix B Opera Companies. Appendix C: Music Festivals. Appendix D: Music Organizations. Appendix E: Competitions and Awards.

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Book SynopsisExperiencing Organised Sounds investigates a wide horizon of sound-based works using a template consistently across its 16 studies. It has been written for both specialist and non-specialist readers aiming to address means of increasing appreciation and understanding related to the experience of sonic creativity (music involving any sounds, not just musical notes) across this repertoire, as well as to launch a discussion about how the reception of sonic creativity can be influenced by the circumstances of listening in particular, regarding the qualitative difference between the in-situ as opposed to mediated experience. Although listening is the volume's focus, complementary information from the musicians is offered to facilitate holistic work overviews. As the first composition presented was composed by a 15-year-old, the intention is to demonstrate that what might be considered a niche area of the contemporary arts is one in which both increased appreciation and pTrade Review“In another outstanding contribution to music analysis, Leigh Landy’s Experiencing Organised Sounds is an important text for anyone interested in understanding and discussing score-less sound-making. With each chapter, diverse sound-based art forms and analytical approaches demonstrate multiple pathways into making art and analysing it. The book is organised by umbrella topics: fixed medium, live and sound art, within which each chapter discusses an example of the most common genres. Building on Landy’s extensive history of promoting sound-based art through insightful texts, this book is an impressive addition to his bibliography.”Dr. Kerry Hagan, University of Limerick, President – International Computer Music Association“This book goes far beyond sonic creativity. It is a definitive text for those of us who create music and teach sonic creativity. Written for a wider audience and with electroacoustic music at its core, it allows us not only to understand the full potential of creative listening to organised sound, but also to identify and appropriate the concepts and strategies that underlie the listening process. The practical application of the ideas of sonic creativity and the discussion of the influence of listening circumstances are framed by a set of diverse relevant examples. The contribution of this text also lies in the possibility of understanding the listening process as a creative act and thus generating a virtuous circle that informs how to teach and create sonic art and music today. This is one of the most interesting, useful and innovative books I have read in many years.”Dr. Rodrigo Sigal, Director of the Mexican Centre for Music and Sonic Arts, Full-time professor at ENES, UNAM. Mexico"This is a book that opens new worlds of listening. Leigh Landy concentrates on perception, on hearing. In the case of a sound-based composition, analysis must take listening into account. The big step forward here is the confrontation of media-based listening (headphone listening on the bus, stereo in the living room, etc.) versus live performance. The situational nature of listening influences the perception of a piece of music enormously. Although, as he states, this is not a new insight, Landy systematically approaches this issue via case studies across highly different genres - including sound art - thus providing the reader with new insights into sound-based works. This extraordinary book broadens the musicological horizon greatly and is equally suitable for scholars, composers and the general public."Prof. Dr. Martin Supper, University of the Arts – Berlin, author of Elektroakustische Musik und ComputermusikTable of ContentsTable of Contents1 To start What this book is all about Building on the author’s previous work Regarding the central part of the book 2 Work discussions across sound-based creativity – Fixed Medium Acousmatic/1 – Florian Sulpice: C’est wiizzz!!! Acousmatic/2 – John Young: Three Spaces in Mid-Air Soundscape – Katerina Tzedaki: a soundwalk lowercase – Simon Atkinson: interiorities viii + Kerry Francksen/Simon Atkinson: Betwixt & Between Electronic/formalised – Kevin Dahan: Gravitational Landscape (with tinnitus) Visual music – Bret Battey: Three Breaths in Empty Space Text-sound + sample-based – Leigh Landy: On the Éire 3 Work discussions across sound-based creativity – Live Mixed music – Simon Emmerson: Solo Flute Quartet Improvised – James Andean: Third Space Live coding – Anna Xambó: MTI@20 – Leicester, UK DIY electronics – John Richards: Motor Music Turntablism – dj sniff (Takuro Mizuta Lippit): untitled performance Performance art – Neal Spowage: Noise Loop Bootstrap 4 Work discussions across sound-based creativity – Sound art Installations/1 – Francesc Martí: Speech cycle Installations/2 – Peter Batchelor: Contraption Objects – Sam Topley: Noisy Pompoms 5 To end References Appendix – The Intention/Reception Form Used in the Book Glossary

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Book SynopsisResearch in the 20th and 21st centuries into historical performance practice has changed not just the way performers approach music of the 17th and 18th centuries but, eventually, the way audiences listen to it. This volume, beginning with a 1915 Saint-Saà ns lecture on the performance of old music, sets out to capture musicological discussion that has actually changed the way Baroque music can sound. The articles deal with historical instruments, pitch, tuning, temperament, the nexus between technique and style, vibrato, the performance implications of musical scores, and some of the vexed questions relating to rhythmic alteration. It closes with a section on the musicological challenges to the ideology of the early music movement mounted (principally) in the 1990s. Leading writers on historical performance practice are represented. Recognizing that significant developments in historically-inspired performance have been led by instrument makers and performers, the volume also contain

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Book SynopsisMusicians are always quick to adopt and explore new technologies. The fast-paced changes wrought by electrification, from the microphone via the analogue synthesiser to the laptop computer, have led to a wide range of new musical styles and techniques. Electronic music has grown to a broad field of investigation, taking in historical movements such as musique concrÃte and elektronische Musik, and contemporary trends such as electronic dance music and electronica. The first edition of this book won the 2009 Nicolas Bessaraboff Prize as it brought together researchers at the forefront of the sonic explorations empowered by electronic technology to provide accessible and insightful overviews of core topics and uncover some hitherto less publicised corners of worldwide movements. This updated and expanded second edition includes four entirely new chapters, as well as new original statements from globally renowned artists of the electronic music scene, and celebrates a diverse array of techTable of Contents1. The origins of electronic music Andrew Hugill; 2. Electronic music and the studio Margaret Schedel; 3. Live electronic music Nicolas Collins; 4. A history of programming and music Ge Wang; Artists' statements I: Laurie Spiegel, Yasunao Tone, John Oswald, Mathias Gmachl (Farmers Manual), Erdem Helvacioglu, Pauline Oliveros, Chris Jeffs, Rodrigo Sigal, Mira Calix, Seong-Ah Shin, Carsten Nicolai, Warren Burt, Max Mathews; 5. Interactivity and live computer music Sergi Jordà; 6. Algorithmic composition Karlheinz Essl; 7. Live audiovisuals Amy Alexander and Nick Collins; 8. Network music Julian Rohrhuber; 9. Electronic music and the moving image Julio d'Escriván; Artists' statements II: Kevin Saunderson, Kanta Horio, Donna Hewitt, Alejandro Viñao, Bubblyfish Barry Truax, Lukas Ligeti (Burkina Electric), Christina Kubisch, Murat Ertel, Adina Izarra, CybOrk, Francis Dhomont, David Behrman, Kevin Blechdom (Kristin Erickson) Karlheinz Stockhausen, George E. Lewis; 10. Computer generation and manipulation of sounds Stefania Serafin; 11. Trends in electroacoustic music Natasha Barrett; 12. Electronic sound art and aesthetic experience Adinda van 't Klooster; 13. DIY and maker communities in electronic music John Richards; 14. Extending the instrumental sound world using electronics Monty Adkins; 15. The analysis of electronic music Mary Simoni; Artists' statements III: Éliane Radigue, Daniel Miller, Ikue Mori, Chris Carter and Cosey Fanni Tutti, Holly Herndon, Vince Clarke, Ralf Hütter, Hasnizam Abdul Wahid, Elsa Justel, Beatriz Ferreyra.

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Book SynopsisA Companion not only to the historic, path-breaking ballet production by Diaghilev, Nijinsky, Roerich and Stravinsky that premiered in Paris in 1913, but also to its legacy across the centuries. The newly commissioned essays will guide students and ballet-goers as they encounter this fascinating work and enable them to navigate the complex artistic currents it set in motion, intertwining music, theatrical ballet and modern dance with the wider world of ideas. The book embraces The Rite of Spring as a spectrum of creative possibility that has impacted the arts, politics, gender, race and national identity, and even popular culture, from the 1910s to the present day. It distils an enormous body of literature, sharing insights from the very latest research while inviting readers to rethink standard scholarly narratives, and brings together contributions from specialists across multiple disciplines: music history, theory and analysis, dance and theatre studies, art history, Russian history, and European modernism.

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Book SynopsisThis is the first introductory survey of western twentieth-century music to address popular music, art music and jazz on equal terms. It treats those forms as inextricably intertwined, and sets them in a wide variety of social and critical contexts. The book comprises four sections ? Histories, Techniques and Technologies, Mediation, Identities ? with 16 thematic chapters. Each of these explores a musical or cultural topic as it developed over many years, and as it appeared across a diversity of musical practices. In this way, the text introduces both key musical repertoire and critical-musicological approaches to that work. It historicises music and musical thinking, opening up debate in the present rather than offering a new but closed narrative of the past. In each chapter, an overview of the topic''s chronology and main issues is illustrated by two detailed case studies.Trade Review''Twentieth-Century Music in the West' is a demanding read. The art of musical and social analysis is always evolving and can be challenging to understand. Despite the complexities involved, Perchard, Graham, Rutherford-Johnson, and Rogers did an outstanding job in summarizing over one hundred years of observation, discussion, and analysis.' Aaron J. West, Notes: the Quarterly Journal of the Music Library AssociationTable of ContentsPart I. Histories; Part II. Techniques and Technologies; Part III. Mediation; Part IV. Identities.

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Book SynopsisFew musical genres inspire the passionate devotion of jazz. Its mystique goes far beyond the melodies and rhythms, with its key players and singers discussed by aficionados with a respect that borders on reverence. Some books on jazz offer little more than theory or dry facts, thereby relinquishing the ''essence'' of the music. This book is different. One of the most influential and internationally known writers on the subject describes, through vivid personal contacts, reminiscences and zesty anecdotes, his life in jazz as a player, broadcaster and observer. Alyn Shipton recalls friendships with legendary musicians, while revealing fresh discoveries about such luminaries as Fats Waller, Louis Armstrong, Count Basie, Duke Ellington, Charlie Parker, Abbey Lincoln and Geri Allen. On Jazz powerfully evokes the atmosphere of clubs and dancehalls, and takes us behind the scenes and up onto the stage, so that this electrifying world is unforgettably spotlighted as never before.Trade Review'This is the back story of the gods who create the magic. I loved it.' Sonny Rollins'This immensely readable and compelling book describes unique encounters with the leading figures of jazz – including extensive interviews with Sonny Rollins and Oscar Peterson – from the perspective of one of the world's leading jazz authorities. Respected by musicians, fans and academics for his encyclopaedic knowledge, Alyn Shipton is familiar to wider audiences through his prolific writing, broadcasting, bass playing and bandleading. He now offers the reader fascinating insights from his life in jazz, and vividly narrates many great stories which appear in print here for the first time.' Catherine Tackley, Professor of Music, University of Liverpool, author of Benny Goodman's Famous 1938 Carnegie Hall Jazz Concert and co-author of Black British Jazz'I've really enjoyed the convivial chat with Roy Haynes, Harry Dial's off the cuff remarks and apocryphal stories about Bud Powell. It's not hard to be re-seduced by the music – as every page is filled with unmined gemstones, from an artform you thought you knew. All too often, jazz tomes seem unnecessarily lofty, or purely academic. However, this is both a very personal semi-autobiographical journey through jazz, and it describes the social context and cultural milieu that these great innovators emerged from.' Soweto Kinch, Musician and broadcaster'This lively book hits all the right notes and will delight both jazz aficionados and neophytes.' Carolyn M. Mulac, Library Journal'On Jazz covers a spectacularly extensive waterfront … this book is not a smorgasbord, it's a feast.' Ben Thompson, Mojo'Before you even turn the dustcover, an Alyn Shipton book deserves respect.' Jazzwise'It is hard to believe that anyone who picks up this volume with an open mind is not going to find something new, interesting, informative, or enjoyable.' Richard J Salvucci, All About Jazz'Every music genre has its champions, people who declare fealty to it above all others. Some are professional devotees: players, educators and academics, exploring music through performance, contextualization and interpretation. Some are impresarios or producers, scouting new talents and celebrating existing ones by putting them to work, making their music heard. Alyn Shipton is all these things and more, a kind of jazz superhero.' Maria Golia, Times Literary SupplementTable of Contents1. Getting started; 2. New Orleans 1976; 3. Before Katrina; 4. Women of new Orleans; 5. Finding fats; 6. Swing era legends; 7. Louis Armstrong; 8. Count Basie; 9. Duke Ellington; 10. Dizzy and bird; 11. The modern jazz quartet; 12. The 'Swing Drummer'; 13. Jackie McLean and Sonny Rollins; 14. Oscar Peterson and his trios; 15. The dawn of fusion; 16. A taste of freedom; 17. Looking back and looking forward; Bibliography; Index.

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Book SynopsisDesigned for students, aficionados of classical music, and historians, this volume offers a wide-ranging, multi-disciplinary and comprehensive view of one of the most important musicians of the twentieth century at his 100th anniversary. Scholars from diverse backgrounds and fields have contributed rich insights into Bernstein''s life and work in an approachable style, shedding light on Bernstein''s social, professional and ideological contexts including his contemporaries and rivals on Broadway, his artistic collaborations, his celebrity status as a conductor on the international concert circuit, and his involvement in music education via broadcasting. From his early education, through his conducting and composing careers, to his fame as musical and cultural ambassador to the world, this book views Bernstein the man and the artist and provides a fascinating overview of American classical music culture during Bernstein''s long career in the public spotlight.

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Book SynopsisThis Element focuses on Vienna, and an important era in the culture of arrangements in which they were widely and variously cultivated, and in which canon formation and the conception of musical works underwent crucial development. Musical arrangements have shaped the social, musical, and ideological landscape in this era to a great degree.Table of Contents1. The idea of arrangement; 2. From stage to salon in Vienna c.1800; 3. Repackaging the classical symphony; 4. Rearranging Mozart's operas; 5. Arrangement history around 1850: losing touch.

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Book SynopsisFirst Published in 2004. 19th-Century Piano Music focuses on the core composers of the 19th-century repertoire, beginning with 2 chapters giving a general overview of the repertoire and keyboard technique of the era, and then individual chapters on Beethoven, Schubert, Weber, Mendelssohn, Chopin, Schumann, Brahms, Liszt, and the women composers of the era, particularly focusing on Fanny Hensel and Clara Schumann.

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Book SynopsisBetween 1958 and 2002, Luciano Berio wrote fourteen pieces entitled Sequenza, along with several versions of the same work for different instruments, revisions of the original pieces and also the parallel Chemins series, where one of the Sequenzas is used as the basis for a new composition on a larger scale. The Sequenza series is one of the most remarkable achievements of the late twentieth century - a collection of virtuoso pieces that explores the capabilities of a solo instrument and its player, making extreme technical demands of the performer whilst developing the musical vocabulary of the instrument in compositions so assured and so distinctive that each piece both initiates and potentially exhausts the repertoire of a new genre. The Sequenzas have significantly influenced the development of composition for solo instruments and voice, and there is no comparable series of works in the output of any other composer. Series of pieces tend to be linked by the instruments for which Trade Review’... contains much valuable, insightful commentary...’ Studies in Musical Theatre ’...the first serious contribution to the understanding of this very important part of Berio's compositional output....in addition to these specialist essays covering different aspects of confronting Berio's compositions and abounding in examples from the scores, statistical and graphical respresentation of the research results etc., the book offers an extensive bibliography on Berio and his work, listing of the editions of the Sequenza and the Chemins, a discography register and an index. As such, it surely represents a piece of inevitable literature for experts researching both Berio's work, and composition of the 20th century in general.’ International Review of the Sociology and Aesthetics of Music '... a number of musicological fields - solo performance studies, later 20th-century aesthetics, issues of the work-concept - are all the richer for this stimulating volume.' TempoTable of ContentsContents: Foreword; Introduction, David Osmond-Smith. Part 1 Performance Issues: Rhythm and timing in the two versions of Sequenza I for flute solo: psychological and musical differences in performance, Cynthia Folio and Alexander Brinkman; Rough romance: Sequenza II for harp as study and statement, Kirsty Whatley; Phantom rhythms, hidden harmonies: the use of the Sostenuto pedal in Berio's Sequenza IV for piano, leaf and sonata, Zoe Browder Doll; A dress or a straightjacket? Facing the questions of structure and periodicity posed by the notation of Berio's Sequenza VII for oboe, Patricia Alessandrini; Shadow boxing: Sequenza X for trumpet and piano resonance, Jonathan Impett. Part 2 Berio's Compositional Process and Aesthetics: Provoking acts: the theatre of Berio's Sequenzas, Janet K. Halfyard; The Chemins series, Paul Roberts; The compass of communications in Sequenza VIII for violin, Eugene Montague; Sequenza IX for clarinet: text, pre-text, con-text, Andrea Cremaschi; Proliferations and limitations: Beroi's reworking of the Sequenzas, Edward Venn. Part 3 Analytical Approaches: Vestiges of twelve-tone practice as compositional process in Berio's Sequenza I for solo flute, Irna Priore; Sonic complexity and harmonic syntax in Sequenza IV for piano, Didier Guigue and Marcílio Fagner Onofre; The nature of expressivity in Berio's Sequenza VI for viola, Amanda Bayley; A polyphonic type of listening in and out of focus: Berio's Sequenza XI for guitar, Mark D. Porcaro; ...and so a chord consoles us: Berio's Sequenza XIII (Chanson) for accordion, Thomas Gartmann. Bibliography; Discography; Index.

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Book SynopsisMary Cyr addresses the needs of researchers, performers, and informed listeners who wish to apply knowledge about historically informed performance to specific pieces. Special emphasis is placed upon the period 1680 to 1760, when the viol, violin, and violoncello grew to prominence as solo instruments in France. Part I deals with the historical background to the debate between the French and Italian styles and the features that defined French style. Part II summarizes the present state of research on bowed string instruments (violin, viola, cello, contrebasse, pardessus de viole, and viol) in France, including such topics as the size and distribution of parts in ensembles and the role of the contrebasse. Part III addresses issues and conventions of interpretation such as articulation, tempo and character, inequality, ornamentation, the basse continue, pitch, temperament, and special effects such as tremolo and harmonics. Part IV introduces four composer profiles that examine peTrade Review'Careful consideration of the intersection of written and unwritten music is of the utmost importance to all musicians, but particularly to those whose chosen repertory was born in years long before audio recordings were possible. French music composed between 1680 and 1760 presents stylistic and aesthetic challenges into which viol players in particular have been given insights by player-composers of the time. Mary Cyr generously shares not only her knowledge as a performer, but also her expertise as a musicologist researching seventeenth- and eighteenth-century music in a rigorous scholarly examination of the bowed strings and their techniques and repertory. This book is essential reading, not only for bowed string instrument players, but for anyone who wishes to perform the glorious music of the French Baroque.' Wendy Gillespie, Professor of Music, Indiana University, USA 'This is a beautifully-written account of string instruments, technique, style and repertoire in France during the Baroque era. Mary Cyr knows her sources intimately and discusses them with a fine musical intelligence. This volume is a welcome addition to the literature on historical performance practice.' Peter Walls, Emeritus Professor of Music, Victoria University of Wellington, New Zealand 'Mary Cyr’s work is a welcome and much needed addition to the gambist’s library... The value of this work is unquestionable, especially for musicians who may be taking their first steps with a baroque string instrument or historical performance practice. More experienced early music performers and musicologists may find this work an eye opener to repertoires or techniques with which they are less familiar.' Viola da Gamba Society Journal 'Cyr's handbook on French style neatly fills a gap in the literature, bringing together a wealth of primary source material in a way that performers will find easy to use... Her organized, lucid approach will pique interest in the topic and inspire the curious readeTable of ContentsPart I Sources and Style in French Baroque Music; Chapter 1 Historical Context, Musical Works, and Performance; Chapter 2 French and Italian Musical Style: The Great Divide; Part II Bowed String Instruments in French Ensembles; Chapter 3 Strings in French Ensembles; Chapter 4 Bass Instruments of the Violin and Viol Families in Solo and Ensemble Roles; Part III Interpretation and Style in French Music for String Players; Chapter 5 Articulation; Chapter 6 Tempo, Character, and Inequality; Chapter 7 Ornamentation and Special Effects; Chapter 8 Basse Continue, Pitch, and Temperament; Part IV Composer Profiles; Chapter 9 Marin Marais: Viol Player, Composer, and Teacher extraordinaire; Chapter 10 Élisabeth Jacquet de La Guerre's Violin Sonatas: What the Sources Do (and Do Not) Tell Us; Chapter 11 Jean-Baptiste Barrière, Virtuoso French Cellist and Composer; Chapter 12 Forqueray's Pieces de viole avec la Basse Continuë: Authorship and Performance Issues;

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Book SynopsisLittle is known outside of Russia about the nation''s musical heritage prior to the nineteenth century. Western scholarship has tended to view the history of Russian music as not beginning until the end of the eighteenth century. Marina Ritzarev''s work shows this interpretation to be misguided. Starting from an examination of the rich legacy of Russian music up to 1700, she explores the development of music over the course of the eighteenth century, a period of especially intense Westernization and secularization. The book focuses on what is characteristic and crucial to Russian music during this period, rather than seeking to provide a comprehensive survey. The musical culture of the time is discussed against the rich background of social, political and cultural life, tying together many of the phenomena that used to be viewed separately. The book highlights the importance of previously marginalized sectors - serf culture, choral sacred culture, the contribution of foreign musicianTrade Review�Marina Ritzarev (Rytsareva) has been writing about eighteenth-century Russian music for several decades now, and this new book finally makes her labours available in comprehensive fashion to an English-language readership. The work is full of strengths, particularly in her mastery of the huge repertory and her equal and very welcome control of the complex archival holdings... The book's historiographical detours are among its strengths and surprises... The volume hits its stride in chapter 4, at mid-century, where the author begins her discussion of the crucial composer Maxim Berezovsky. This is where Ritzarev's many years in the archives pay off and her confidence, authority, and ease of communication really come to the fore. The chapters focusing on the development of the concerto in the hands of both Russian and Western composers are particularly strong... [The] brief concluding section bristles with stimulating information, suggestions, and hypotheses...� Music and Letters '... a valuable and very interesting book... There is a wealth of information in this book...' Early Music Review �... Ritzarev�s book it is to be welcomed as an important major work by a major scholar ... Ritzarev is familiar with the relevant sources, has worked extensively in archives and is well placed to comment on existing critical approaches from both Russian and western perspectives... The book is enhanced by a large number of black-and-white illustrations and over a hundred musical examples... Both Ritzarev and Ashgate are to be congratulated on having produced...a book that will satisfy and stimulate readers from a variety of scholarly backgrounds.� Journal for Eighteenth-Century Studies �... a much awaited publication that fills up a large gap in the history of music... Ritzarev is also one of the world's most knowledgeable, meticulous and yet remarkably interesting-to-read writers about Russian music in general... With the patience and pedantic conscientiousness ofTable of ContentsContents: List of figures and tables; List of music examples; Preface; Acknowledgements; Notes on abbreviations and transliteration; Rethinking eighteenth century Russian music; PrePetrine legacy; Toward the new Russian idiom: between Germans and Italians; between Italians and Russians; At the court of Grand Duke Peter Fedorovich; The thaw of the 1760s; Lessons of the 1770s: Berezovsky and Bortniansky in Italy; The city in the 1770s; Bortniansky and the 1780s; The late eighteenth century Russian salon; Sarti in Russia; 1790s: muses and cannons; Master and serf; The choral concerto in the 1790s; Bortniansky in the nineteenth century; Bibliography; Index.

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Book SynopsisJohn Taverner was the leading composer of church music under Henry VIII. His contributions to the mass and votive antiphon are varied, distinguished and sometimes innovative; he has left more important settings for the office than any of his predecessors, and even a little secular music survives. Hugh Benham, editor of Taverner's complete works for Early English Church Music, now provides the first full-length study of the composer for over twenty years. He places the music in context, with the help of biographical information, discussion of Taverner's place in society, and explanation of how each piece was used in the pre-Reformation church services. He investigates the musical language of Taverner's predecessors as background for a fresh examination and appraisal of the music in the course of which he traces similarities with the work of younger composers. Issues confronting the performer are considered, and the music is also approached from the listener's point of view, initially Trade Review'... the author not only [has] an excellent understanding of his composer but a remarkable ability to describe what is happening in his music in a way that is as meaningful to the enthusiastic amateur singer as to the professional scholar...Benham can write about music in a way that draws the reader into the sort of detailed description of how the music works that from other hands would be unreadable.' Early Music Review 'This outstanding volume is a welcome addition to the resurgent literature on pre-Reformation English music.' Choice 'Here we have a scholar's book from an eminent scholar... Benham has an easy, readable literary style, and this is a significant and authoritative book...' Church Music Quarterly 'Who better than Hugh Benham [...] to write the latest study of the composer and his music? With a commanding and long standing knowledge of the subject [...] Benham has substantial credentials as an advocate for this repertory... with more than 120 music examples, numerous tables and illustrations, a discography and complete transcriptions of several archival documents by way of appendices, this is evidently a book intended to serve as the definitive text on Taverner for the foreseeable future... Benham largely fulfils his dual brief, communicating an engaging and coherent account of a subject which he knows intimately.' Early Music '... I believe that Hugh Benham has produced a powerful exemplar of the presentist method of harmonic desription. But this is only one of the many fine attributes of this long-awaited book on the most prominent English composer of his time. It has been well worth the wait.' Music and Letters It can be safely said that Hugh Benham has done an excellent job. The present title is likely to stand way ahead of those earlier dissertations and monographs in terms of content, presentation, breadth and depth. This book must now be considered the standard scholarly work on Taverner; it is thoroughly recommended... This book, tTable of ContentsContents: Introduction; The life of John Taverner; The sources of Taverner's music; Some performance issues; Music and worship, with a catalogue of Taverner's work; Taverner's musical background; Taverner's style and technique: Gaude Plurimum; Ave Dei Patris Filia and O Splendor Gloriae; Mater Christi, O Christe Jesu Pastor Bone and the incomplete antiphons; The masses Gloria Tibi Trinitas, Corona Spinea, and O Michael; The masses for five and four voices; Music for the Office; The songs, and Quemadmodum; Conclusion; Appendices; Notes; Bibliography; Discography; Index.

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Book SynopsisAmerican composer Morton Feldman is increasingly seen to have been one of the key figures in late-twentieth-century music, with his work exerting a powerful influence into the twenty-first century. At the same time, much about his music remains enigmatic, largely due to long-standing myths about supposedly intuitive or aleatoric working practices. In Composing Ambiguity, Alistair Noble reveals key aspects of Feldman''s musical language as it developed during a crucial period in the early 1950s. Drawing models from primary sources, including Feldman''s musical sketches, he shows that Feldman worked deliberately within a two-dimensional frame, allowing a focus upon the fundamental materials of sounding pitch in time. Beyond this, Feldman''s work is revealed to be essentially concerned with the 12-tone chromatic field, and with the delineation of complexes of simple proportions in ''crystalline'' forms. Through close reading of several important works from the early 1950s, Noble shows tTrade Review'Noble was too modest when he said he hoped ’to place a few solid foundation stones for future scholars in this field to build upon’; in fact, he has supplied the foundation itself. With this book, Feldman scholarship enters a new stage of maturity.' American Record Guide ’... Noble’s remarkable text offers a much deeper insight and covers a notably more extensive range of circumstantial issues than the Table of Contents may humbly indicate. The main content of every chapter consists of a chain of analytical attempts that lead one to a concluding section, where the particular piece of music is being discussed in a more general context. Seemingly unrelated content finally appears to be interconnected in multiple ways, creating in a masterly fashion a fine web of recognizable lines of thought. As a pianist himself, Noble approaches Feldman’s pieces with a subtle performer’s sensitivity for the sonority, touch, registral and dynamic richness of his instrument - a sense of technical and artistic proficiency he shares with the composer himself. The manifold original insights into Feldman’s compositional practice based upon the investigation of primary sources make this book worthy of recommendation to any reader curious to explore the technical aspect of this music or to seek a different approach to his distinctive sonorities’. IRASM (Recenzije i obavijesti o izdanjima)Table of ContentsContents: Listening to process, playing the system; ’To create music as if on a canvas’: Intermission 5 (1952); Piano Piece (1952): ’a discipline of vagueness’; Intermission 6 (1953): ’the outlines of becoming’: ’Primitive designs’: hearing and thinking through Intersection 3; Playing Feldman; Bibliography; Index.

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Book SynopsisPopular Musicology and Identity paves new paths for studying popular music's entwinement with gender, sexuality, ethnicity, class, locality, and a range of other factors. The book consists of original essays in honour of Stan Hawkins, whose work has been a major influence on the musicological study of gender and identity since the early 1990s. In the new millennium, musicological approaches have proliferated and evolved alongside major shifts in the music industry and popular culture. Reflecting this plurality, the book reaches into a range of musical contexts, eras, and idioms to critically investigate the discursive structures that govern the processes through which music is mobilised as a focal point for negotiating and assessing identity. With contributions from leading scholars in the field, Popular Musicology and Identity accounts for the state of popular musicology at the onset of the 2020s while also offering a platform for the further advancement of the critTrade ReviewPopular Musicology and Identity attests to Stan Hawkins’s visionary approach in collaborating and bonding with today’s and tomorrow’s leading voices on matters popular. This volume is required reading for anyone interested in how gender, sexuality, class, and identity are expressed through – and manipulated by – popular music’s tools, artists, and audiences. Nina Eidsheim (UCLA Herb Alpert School of Music)Over the last 25 years Stan Hawkins' subtly subversive musicology has revealed a rich new pop world of sexual show-offs and dandies. This collection of essays is an affectionate and instructive exploration of that world, a celebration of the fluidity of the borderlands between art and entertainment, surface and depth, truth and invention, and the look and the sound of music. Simon Frith (University of Edinburgh)From nineteenth-century British music hall through Nordic cool to cultural celebrity in Canada, this is a fitting tribute to Stan Hawkins’s pioneering musicological imagination; linking pop sounds to the multiple identities and varied voices of its performers. It is a compelling compendium; evidence of Hawkins’s major contribution to Northern European and Transatlantic music scholarship.Keith Negus (Goldsmiths, University of London)Table of ContentsIntroduction: a musicology of popular music and identityKAI ARNE HANSEN, EIRIK ASKERØI, AND FREYA JARMAN1 The British dandy on the popular musical stage (1866–1915)DEREK B. SCOTT2 ‘She Said She Said’: the influence of feminine ‘voices’ on John Lennon’s music 32MATTHEW BANNISTER AND MEGAN ROGERSON-BERRY3 The classical closetSUSAN MCCLARY4 Perfect duet? Paradoxes of gender representation and mixedgender collaborations on the Billboard charts from 1955 to 2017BARBARA BRADBY5 The pleasure(s) of the pop text: subversion and theatricality in Cloroform and Tove LoJON MIKKEL BROCH ÅLVIK6 ‘Everyone is a little bit gay’: LGBTIQ activism in Finnish pop music of the 21st century SUSANNAVÄLIMÄKI7 ‘Keeping it real’, ‘Keeping it dandy’? Male blackness and the popular music mainstreamANNE DANIELSEN8 Global success, identitarian performance, and Canadian popular musicWILL STRAW9 ‘Very’ British: a pop musicological approach to the Pet Shop Boys’ ‘Always on My Mind’SHARA RAMBARRAN10 Pulp: a paradigm for perversion in pornosonic popKENNETH SMITH11 Regina Spektor’s Small Bill$: the cute and the manic-zany as body-political strategiesJOHN RICHARDSON AND ANNA-ELENA PÄÄKKÖLÄ12 Masculinity and the illness narrative in Pain of Salvation’s In the Passing Light of DayLORI BURNS

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Book SynopsisThis book, first published in 1934, contains the recollections of the varied and coloured life of a great pianist and composer, who is one of the most striking figures of the musical world. Rachmaninoff dictated his memoires to the author of this book, and much of the story is therefore told in the first person. The final chapter is Riesemannâs own contribution. It is an estimate of Rachmaninoffâs qualities as composer; it shows knowledge of all his more important works; and it shows discrimination. The whole book is an authoritative and interesting study of a popular artist. Table of ContentsPreface; 1. Happy Childhood in the Country 2. The St. Petersburg Conservatoire 3. Moscow. Sverev and Arensky 4. A Dramatic Incident. The Moscow Conservatoire 5. The "Free Artist" In Moscow. Performance of the First Symphony and its Consequences 6. Serious Mental Shock and Mental Recovery 7. Growing Popularity as Composer and Conductor 8. An Idyll in Dresden 9. The Summit of Life 10. War and Revolution 11. America 12. Rachmaninoff as Composer; Note on the Family of Rachmaninoff; List of Works; Index

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Book Synopsis40 tangos by the revolutionary tango musician and composer Astor Piazzolla, arranged for solo piano. These crowd-pleasing tangos borrow from classical, jazz, and Latin traditions. The collection includes Piazzolla''s most famous tangos, Libertango and Oblivion.40 PIAZZOLLA TANGOS - press reviewsAnyone interested in exploring this musical media by Piazzolla should look no further... Here is the most complete volume ever printed. - EPTA PIANO JOURNALThe selection of works encompasses a wide range of moods and styles to suit anyone interested in exploring this composer''s tango music. In short, this is the best single volume of Piazzolla''s piano music available. - PIANIST MAGAZINEInstrumentation:piano

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Book Synopsis25 Piazzolla TangosFor violin and piano- 25 original tangos- Arranged for violin by Hywel Davies- Suitable for intermediate standard players25 tangos by the revolutionary tango musician and composer Astor Piazzolla, arranged for violin and piano. These crowd-pleasing tangos borrow from classical, jazz, and Latin traditions. The collection includes Piazzolla's most famous tangos, Libertango and Oblivion. Besetzung:violin and piano

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Book SynopsisCompositional Choices and Meaning in the Vocal Music of J. S. Bach collects seventeen essays by leading Bach scholars. The authors each address in some way such questions of meaning in J. S. Bach's vocal compositionsincluding his Passions, Masses, Magnificat, and cantataswith particular attention to how such meaning arises out of the intentionality of Bach's own compositional choices or (in Part IV in particular) how meaning is discovered, and created, through the reception of Bach's vocal works. And the authors do not consider such compositional choices in a vacuum, but rather discuss Bach's artistic intentions within the framework of broader cultural trendssocial, historical, theological, musical, etc. Such questions of compositional choice and meaning frame the four primary approaches to Bach's vocal music taken by the authors in this volume, as seen across the book's four parts: Part I: How might the study of historical theology inform our understanding of Bach's compositionaTrade ReviewDon Franklin is a preeminent Bach scholar, and this volume of enlightening case studies on meaning in Bach’s vocal music by his colleagues and former students is a marvelous tribute that does both Franklin and Bach a signal honor. -- Michael Marissen, author of Bach & GodAn admirable set of essays about an important body of music. Taken together, this collection significantly advances scholarly discourse about the vocal works of J. S. Bach. -- Stephen Crist, Emory UniversityTable of ContentsSeries Editor ForewordRobin A. LeaverPrefaceMark A. Peters and Reginald L. Sanders Paragram for Professor Dr. Don O. FranklinRuth TatlowPart I: Bach’s Vocal Music in Theological Context1. In Honor of God and the City: Strategies of Theological and Symbolic Communication in Bach’s Cantata Gott ist mein König (BWV 71)Markus Rathey2. Two “Johannine” Cantatas: Darzu ist erschienen der Sohn Gottes (BWV 40) and Sehet, welch eine Liebe (BWV 64)Eric Chafe3. Death to Life, Sorrow to Joy: Martin Luther’s Theology of the Cross and J. S. Bach’s Eastertide Cantata Ihr werdet weinen und heulen (BWV 103)Mark A. Peters4. Toward an Understanding of J. S. Bach’s Use of Red Ink in the Autograph Score of the Matthew PassionMary Greer5. The Theological in Bach Research (2007)Martin PetzoldtPart II: Analytical Perspectives6. Formal and Motivic Design in the Opening Chorus of J. S. Bach’s MagnificatReginald L. Sanders7. The Tonally Open Ritornello in J. S. Bach’s Church CantatasKayoung Lee8. The Christian Believer and the Sleep of Jesus: “Mache dich, mein Herze, rein” from J. S. Bach’s Matthew PassionWye J. Allanbrook Part III: Bach’s Self-Modeling: Parody as Compositional Impetus9. Parody and Text Quality in the Vocal Works of J. S. BachHans-Joachim Schulze10. J. S. Bach’s Parodies of Vocal Music: Conservation or Intensification?Robin A. Leaver11. J. S. Bach’s Dresden Trip and His Earliest Serenatas for KöthenGregory Butler12. Bach’s Second Thoughts on the Christmas Oratorio: The Compositional Revisions to “Bereite dich, Zion,” BWV 248/4Steven Saunders13. The Passions as a Source of Inspiration? A Hypothesis on the Origin and Musical Aim of Well-Tempered Clavier IIYo TomitaPart IV: The Reception of Bach’s Vocal Works14. The Leipzig Audiences of J. S. Bach’s Matthew Passion to 1750Tanya Kevorkian15. The Vocal Music of the Bach Family in Carl Philipp Emanuel Bach: The Complete WorksJason B. Grant16. The Need for a New Music: J. S. Bach in Contemporary Context (1946)William H. Scheide17. Bach at the Boundaries of Music History: Preliminary Thoughts on the B-minor Mass and the Late Style ParadigmRobert L. MarshallAbout the Authors

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Book SynopsisExperimentations provides a detailed historical and theoretical analysis of the first three decades of experimental composer John Cage's aesthetic production (ca. 1940-1972). Paying particular attention to Cage's inter- and cross-disciplinary engagements with the visual arts and architecture during this period, the book sheds new light on some of Cage's most controversial and influential innovations, such as the use of noise, chance techniques, indeterminacy, electronic technologies, and computerization, as well as upon lesser known but important ideas and strategies such as transparency, multiplicity, virtuality, and actualization. Ultimately, it traces the development of Cage's avant-garde aesthetic and political project as it transformed from the emulation of historical avant-garde precedents such as futurism and the Bauhaus, to the development of important precedents for the post-World War II movements of happenings and Fluxus, to its ultimate abandonment in the aftermath ofTrade ReviewBranden W. Joseph's formidable Experimentations: John Cage in Music, Art and Architecture throws open the terrain [of Cagean studies] once again. * The Wire *Branden Joseph gradually unfolds the role of chance, transformation, performativity and transparency in music, and provides an interesting multi-layered understanding of the latter’s intercourse with other disciplines ... The book provides an innovative understanding of the examined ideas that remains open, allowing for other disciplines to enter into the suggested discourse ... In this way Joseph offers to artists and architects valuable tools to work on the further development on the role of tracing, documenting, scoring and attuning in the performative understanding of their areas. * The Journal of Architecture *Experimentations: John Cage in Music, Art, and Architecture is a brilliant and vital critical contribution to the growing body of art historical scholarship on John Cage’s multidisciplinary legacy. The readymade Cage of chance and silence is replaced by a rich and nuanced narrative of a compositional practice nourished by its evolving and often conflicted exchanges with the artistic, architectural and political avant-gardes. * Ina Blom, Professor, Department of Philosophy, Classics, History of Art and Ideas, University of Oslo, Norway *With great musical and historical sensitivity Joseph unpacks John Cage’s struggles, on the one hand, with Beethoven, Schoenberg, Stockhausen—the whole weighty European musical tradition, and on the other, with changing notions of experimentation and the avant-garde. What emerges is an artist who places music in the service of remaking the entire institution of art. Joseph succeeds in writing a brilliant book that is equally captivating for musicians and art historians. * Alexander Rehding, Professor of Music, Harvard University, USA *...Experimentations: John Cage in Music, Art, and Architecture provides its reader with an overview of Branden W. Joseph’s two-decade engagement with John Cage and represents some of the most intellectually rigorous writing about the composer … nuanced and important. * Critical Inquiry *Table of ContentsI. Introduction II. A Therapeutic Value for City Dwellers III. Hitchhiker in an Omnidirectional Transport IV. The Architecture of Silence V. Chance/Indeterminacy/Multiplicity VI. Ghost or Monster? Bibliography Index

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Book Synopsis(Piano/Vocal/Guitar Songbook). All the pieces from the album Disney Goes Classical presented in classical versions of iconic Disney themes, arranged for solo piano, and piano/vocal/guitar where appropriate. Songs include: Almost There (from The Princess and the Frog ) * The Bare Necessities (from The Jungle Book ) * Beauty and the Beast * Can You Feel the Love Tonight? (from The Lion King ) * Colors of the Wind (from Pocahontas ) * Go the Distance (from Hercules ) * How Far I''ll Go (from Moana ) * I See the Light (from Tangled ) * Let It Go (from Frozen ) * Overture from Mary Poppins * Part of Your World (from The Little Mermaid ) * Reflection (from Mulan ) * When She Loved Me (from Toy Story 2 ) * When You Wish Upon a Star (from Pinocchio ) * A Whole New World (from Aladdin ).

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Book SynopsisThis long-awaited study of the life and music of Anglo-Irish composer Ernest John Moeran (1894-1950) finally provides a full biography of the last senior figure in early twentieth-century British Music to have been without one. This long-awaited study of the life and music of Anglo-Irish composer Ernest John Moeran (1894-1950) finally provides a full biography of the last senior figure in early twentieth-century British Music to have been without one. Although Moeran's work was widely performed during his lifetime, he suffered neglect in the years following his death. It was not until a re-awakening of appreciation for the music of the folksong-inspired English pastoralism in the latter part of the twentieth century that Moeran's tuneful, well-crafted and approachable music began to attract a new audience. However, widely accepted misconceptions about his life and character have obscured a clearunderstanding of both man and composer. Written with the benefit of access to previously unknown or unresearched archives, Ernest John Moeran: His Life and Music strips away a hitherto unchallenged mythological framework, and replaces it by a thorough-going examination and analysis of the life and work of a musician that may reasonably be asserted as having been unique in British music history.Trade ReviewThis is a very human story of a man who produced a small but treasured body of work which transcends the time and manner of its creation... Dr. Maxwell has added a major contribution both to our understanding of Moeran as well as the musical society in which he moved. His writing style is objective and clear. With the precision of a surgeon and the authority of a lawyer he presents facts with supporting evidence, offers a considered interpretation of those facts but ultimately leaves it to the reader to interpret as they see fit.... As compelling a biography as I have read in several years. -- Nick Barnard * MusicWeb International *Table of ContentsIntroduction Part 1: Ancestry, Childhood and Education Chapter 1: Irish and Victorian Origins Chapter 2 (1894-1908): Childhood and Early Education Chapter 3 (1908-1912): Uppingham School Chapter 4 (1912-1914): The Music Student Part 2: The First World War Chapter 5 (1914-1917): In the Army Chapter 6 (1917): A Composer Goes to War Chapter 7 (1918): Ireland, and Recovery Part 3: Rise and Fall Chapter 8 (1919-1920): The Establishment of a Composer Chapter 9 (1921-1922): London Chapter 10 (1923-1924): Meteoric Rise Chapter 11 (1925-1927): The Composer Ruined Part 4: Reconstruction Chapter 12 (1928-1931): Starting Again Chapter 13 (1932-1935): Rebuilding a Reputation Chapter 14 (1936-1942): Return to Ireland Part 5: Maturity, Marriage and Last YearsChapter 15 (1943-1944): 'Wonderful Things Together' Chapter 16 (1944-1945): Muse Chapter 17 (1945-1946): 'My Word as a Gentleman' Chapter 18 (1947-1948): Masterpiece? Chapter 19 (1949-1950): 'No More Partings' Chapter 20: Last Days and Death Appendix I: The Moeran Mythology Appendix II: List of Works Select Bibliography Index

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Book SynopsisA must-have for any conductor, conducting student and orchestral librarian. How does a conductor know whether the score they use is what the composer wrote? How do orchestral players know that their parts are reliable and reflect the latest scholarship? As Jonathan Del Mar reminds us in this ground-breaking book, editions of the orchestral repertoire are beset by textual problems: simple misprints, mistakes in the score or player's part, or hopelessly outdated scores at odds with current scholarship. Driven by a fundamental respect for what the composer actually wrote, Jonathan Del Mar addresses these problems through textual reports on over 100 orchestral masterpieces of classical music. Each report is introduced with essential guidance and succinct commentary on the first performance and publication of the work. Critical editions are compared with commonly used editions, and in those cases where no Urtext Edition exists, this much-needed reference work functions as a replacement for an Urtext Edition. Orchestral Masterpieces under the Microscope will be an indispensable reference tool for all who care about performances honouring the correct text that composers have left us. It serves as an essential survival guide for conductors and musicians to make informed choices, and it offers much-needed clarity on the latest scholarship for musicologists and music librarians alike.Trade ReviewAt last our orchestral prayers will be answered! -- Sir Mark ElderJonathan Del Mar is the outstanding music editor of our time. His book will be invaluable to all conductors as well as of great interest to other musicians and scholars. -- David MatthewsDecision making is at the heart of conducting,and in almost every major piece we work on there are a wealth of problems and conundrums to solve. Short of telephoning the composer ourselves,an option rarely available,we all need assistance. What did the composer REALLY write, and what exactly does it mean? Jonathan Del Mar has characteristically cut to the chase by compiling this treasure trove of answers to so many of those thorny questions. This book is beyond valuable: it will doubtless be on every conductor's bookshelf and countless scholars as well. Bravo!! -- Sir Simon RattleHis book is an indispensable reference for all musicians. -- Mary Nemet * AUSTA *This book is probably unique in its detail and coverage of the most important composers in Western classical music and will help veteran and student musicians alike. * MUSIC OPINION QUARTERLY *Table of ContentsPreface Editorial Conventions Bartok Piano Concerto No.1 Violin Concerto No.2 Dance Suite Beethoven Symphonies: some supplementary remarks Overture Leonore No.2 Overture Leonore No.3 Overture King Stephen Berlioz Symphonie fantastique Harold in Italy Overtures Bloch Schelomo: Hebraic rhapsody for cello and orchestra Brahms Four Symphonies Piano Concerto No.1 in D minor Violin Concerto in D Hungarian Dances: a brief guide Bruch Violin Concerto No.1 in G minor Busoni Piano Concerto Debussy Prélude à l'après-midi d'un faune Dvořák Scherzo capriccioso Symphonic Variations Romance for violin and orchestra Serenade for strings Elgar Variations on an Original Theme ('Enigma') Concert-Overture: Froissart Concert-Overture: Cockaigne Concert-Overture: In the South (Alassio) Sea Pictures Serenade for Strings in E minor Fauré, orch. Aubert Fantaisie for Flute Franck Symphony in D minor Haydn Symphonies with High Horns Symphony No.100 in G ('Military') Symphony No.104 in D ('London') Liszt Piano Concerto No.1 in E flat Piano Concerto No.2 in A Mahler Symphony No.2 in C minor Martinů Rhapsody-Concerto for viola and orchestra Mendelssohn Symphony No.3 in A minor ('Scottish') Symphony No.4 in A ('Italian') Violin Concerto in E minor Overture The Hebrides Mozart Piano Concertos Mussorgsky, orch. Ravel Pictures from an Exhibition Nielsen Sinfonia espansiva (Symphony No.3) Prokofiev Classical Symphony (Symphony No.1) Peter and the Wolf Rachmaninov Symphony No.2 in E minor Piano Concerto No.2 in C minor Ravel Piano Concerto La Valse Le Tombeau de Couperin Pavane pour une infante défunte Respighi Fontane di Roma Rimsky-Korsakov Symphonic Suite: Scheherazade Capriccio Espagnol Rossini Overture William Tell Saint-Saëns Symphony No.3 in C minor Cello Concerto No.1 in A minor Schubert Overture Die Zauberharfe ('Rosamunde') Schumann Symphony No.4 in D minor Overture, Scherzo and Finale Cello Concerto in A minor Overture Genoveva Shostakovich Cello Concerto No.1 in E flat Sibelius Symphony No.2 in D Symphony No.3 in C Symphony No.4 in A minor Symphony No.5 in E flat Symphony No.6 in D minor Symphony No.7 in C Violin Concerto in D minor Tapiola Smetana Má Vlast: 2. Vltava Má Vlast: 3. Šárka Strauss Ein Heldenleben Horn Concerto No.1 in E flat Oboe Concerto Metamorphosen: Study for 23 Solo Strings Tchaikovsky Symphony No.2 in C minor Symphony No.3 in D Symphony No.4 in F minor Symphony No.5 in E minor Symphony No.6 in B minor, 'Pathétique' Piano Concerto No.1 in B flat minor Violin Concerto in D Fantasy-Overture after Shakespeare, Romeo and Juliet Tippett Symphony No.2 in C Vaughan Williams A London Symphony (Symphony No. 2) Pastoral Symphony (Symphony No. 3) Tuba Concerto Wagner Prelude Die Meistersinger von Nürnberg Walton Cello Concerto Weber Overture Der Beherrscher der Geister Overture Der Freischütz Overture Oberon Bibliography

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Book SynopsisThe full range of traditional fiddle repertoire is now at your fingertips! Using these generous collections, you can create your own ceilidh, barn dance, jazz club or Sarajevo street-café. Some of this music is familiar, some more exotic, but all of it is absolutely authentic, faithfully arranged and, above all, hugely enjoyable.Each title in the series is available in two formats: the Violin Edition (with an optional easy violin part and guitar chords); or the Complete Edition, which also includes both keyboard and violin accompaniments. Either format is hugely flexible, which means the music can be played as solos, duets or trios as well as with larger ensembles.Edward Huws Jones has travelled extensively researching fiddle-playing traditions. In each book he explains the background of the particular musical style, giving his own suggestions for a lively performance.Instrumentation:violin (2 violins) and piano, guitar ad libitum

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Book SynopsisThisbook is the first detailed study of the life and music of British composerMadeleine Dring (19231977). From her life in London through her numerousaccomplishments as performer and musician, her achievements are highlightedthrough her remarkable story and diverse musical works.

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Book SynopsisThe poet, Wendy Cope, conjures a heartwarming image of Christmas in the home. This setting of her comforting poem translates this imagery into a classic Christmas choral sound - a simple, memorable tune, accompanied by mellow, warm harmonies, and a natural lilt as the metre alternates between triple and quadruple time. In the second verse, which is filled with references to light, each voice part expands, up to a blooming chord on 'shine', and this section features more exploratory harmonic inflection while retaining the original melody. The final verse begins with a return to the opening music in the lower voices, before growing into a richly scored ending. Instrumentation:mixed choir (SATB divisi) a cappella

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