Art music, orchestral and formal music Books

Book SynopsisAlthough we are acquainted with the music of J. S. Bach through countless performances and recordings, the composer himself continues to come across as the somewhat enigmatic figure depicted in a single, familiar portrait. Published in 2000 to mark the 250th anniversary of Bach''s death, author and leading Bach scholar Christoph Wolff presents a new picture that brings to life this towering figure of the Baroque era. Now available in paperback, this engaging biography portrays Bach as the living, breathing--and sometimes imperfect--human being that he was, while bringing to bear all the advances gained in the last half-century of Bach scholarship. Wolff demonstrates the intimate connection between the composer''s life and his music, showing how Bach''s superb inventiveness pervaded his career as a musician, composer, performer, scholar, and teacher. And throughout, we see Bach in the broader context of his time: its institutions, traditions, and influences. With this highly readable boTrade Revieweminently readable, at times even colloquial. Wolff is one of the foremost Bach scholars today, and his comprehensive knowledge of the source materials equips him admirably to write such a book ... all sorts of interesting details emerge. * John Kitchen, Early Music Today, Oct.-Nov. 2000 *Drawing on a lifetime's involvement with Bach's music, Professor Wolff has written what is undoubtedly the most authorative and up-to-date survey of the composer's life and works in English, and probably in any language. * Malcolm Boyd, The Gramophone *Musical biographies don't come much better than this ... no-one seriously interested in Bach should pass it by. * Bettina Neumann, Piano, July-Aug 2000 *this is a learned and satisfying account of Bach's work, temperament and milieu which will disappoint neither specialist nor general music lover. * Nicholas Anderson, BBC Music Magazine *Table of ContentsLIST OF ILLUSTRATIONS; PREFACE; PROLOGUE: BACH AND THE NOTION OF "MUSICAL SCIENCE"; EPILOGUE: BACH AND THE IDEA OF "MUSICAL PERFECTION"; NOTES; MUSIC EXAMPLES; 1. CHRONOLOGY; BIBLIOGRAPHY; GENRE INDEX OF BACH'S WORKS; TITLE INDEX OF BACH'S WORKS; GENERAL INDEX

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Book SynopsisMusic Saved Them, They Say: Social Impacts of Music-Making and Learning in Kinshasa (DR Congo) explores the role music-making has played in community projects run for young people in the poverty-stricken and often violent surroundings of Kinshasa, the capital city of the Democratic Republic of the Congo. The musicians described here former gang members and so-called witch children living on the streets believe music was vital in (re)constructing their lives. Based on fieldwork carried out over the course of three-and-a-half years of research, the study synthesizes interviews, focus group sessions, and participant observation to contextualize this complicated cultural and social environment. Inspired by those who have been saved by music, Music Saved Them, They Say seeks to understand how structured musical practice and education can influence the lives of young people in such difficult living conditions, in Kinshasa and beyond.... a tribute to the persisTrade Review"It has been a notable feature of Pairon’s approach to his research that it has been conducted with and for his participants. Their voices are so vivid, brought to life with a plethora of detailed quotes that one can almost feel present in the room as they make and discuss their music. In this way, the book is also a tribute to the persistence, engagement and courage of the people in these projects, who can be proud that their work is now exposed to a global audience, not just of researchers but also to practitioners around the world who could learn from and be inspired by these hitherto unknown projects. Accordingly, the language of this book is accessible and non-technical to promote maximum engagement." —John Sloboda, Research Professor, Guildhall School of Music & Drama "Lukas Pairon has given us an exhilarating and incisive read, one in which he systematically dismantles the many myths that glorify music's 'magical powers' to change lives and replaces them with insightful, analytical assessments that allow the voices of the participant musicians to be heard in more ways than one. Through the process, he powerfully demonstrates how music can realistically change people's lives, in ways that are both limited but also profound. This book is very moving but never sentimental, one of the best accounts of music's real transformative capacities that I have come across." —Lucy Green, Emerita Professor of Music Education, University College London Institute of Education "It has been a notable feature of Pairon’s approach to his research that it has been conducted with and for his participants. Their voices are so vivid, brought to life with a plethora of detailed quotes that one can almost feel present in the room as they make and discuss their music. In this way, the book is also a tribute to the persistence, engagement and courage of the people in these projects, who can be proud that their work is now exposed to a global audience, not just of researchers but also to practitioners around the world who could learn from and be inspired by these hitherto unknown projects. Accordingly, the language of this book is accessible and non-technical to promote maximum engagement." —John Sloboda, Research Professor, Guildhall School of Music & Drama "Lukas Pairon has given us an exhilarating and incisive read, one in which he systematically dismantles the many myths that glorify music's 'magical powers' to change lives and replaces them with insightful, analytical assessments that allow the voices of the participant musicians to be heard in more ways than one. Through the process, he powerfully demonstrates how music can realistically change people's lives, in ways that are both limited but also profound. This book is very moving but never sentimental, one of the best accounts of music's real transformative capacities that I have come across." —Lucy Green, Emerita Professor of Music Education, University College London Institute of Education Table of ContentsList of Figures / Foreword / Preface / Acknowledgements / Introduction / Chapter 1: The Case Studies: Espace Masolo and Beta Mbonda / Chapter 2: Practitioner Research / Chapter 3: Why Make Music at All? / Chapter 4: Artistic and Social Accompaniment: The Teaming Up of Musicians/Teachers/Mentors/Educators / Chapter 5: Behind the Wheel: The Role of Competence and Mastering / Chapter 6: Shared Ownership: The Potential of Empowerment through Participation in Internal Organization and Governance Related to Music-Making / Chapter 7: Music As an End in Itself: The Role of Enjoyment/Play / About the Author / Index

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Book SynopsisThis is the first English monograph of legendary French musique-concrete pioneer Luc Ferrari (1929-2005). Founding member of Groupe de Recherches (GRM) with Pierre Schaeffer-the group and studio were dedicated to the electronic medium that changed composition forever. This sumptuous volume includes facsimiles of Ferrari's original compositions, notebooks, and the first English translations of his writings, including poetry and fictional works and correspondence, as well as a special full-colour section that includes the composer's own collage artwork.

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Book Synopsis Foreword by Alexander Armstrong. Think you know classical music? It's time to put your knowledge to the test with this collection of questions and puzzles designed to challenge, to entertain - and to educate.Blending together basic trivia, complex wordplay and a range of visual teasers, the book calls on the knowledge of the Classic FM experts to provide hours of music-themed challenges.With difficulty levels varying from pleasantly tricky to fiendishly hard, The Classic FM Puzzle Book will entertain from the first bar until the very last note.

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Book SynopsisJohann Friedrich Franz Burgmuller (1806-1874) was a popular Parisian pianist, skilled improviser and prolific composer. These varied studies will help develop technique and are also enjoyable to play in their own right.Table of ContentsArabesque, Op. 100 No. 2 ; Ave Maria, Op. 100 No. 19 ; Ballade, Op. 100 No. 15 ; Barcarolle, Op. 100 No. 22 ; Consolation, Op. 100 No. 13 ; Douce Plainte (Sighing), Op. 100 No. 16 ; Innocence, No. 5 from 25 Easy and Progressive Studies, Op. 100 ; Inquietude (Restlessness), Op. 100 No. 18 ; L'Adieu (Farewell), Op. 100 No. 12 ; L'Harmonie des Anges (Angelic Harmony), Op. 100 No. 21 ; L'Hirondelle (The Swallow), Op. 100 No. 24 ; La Babillarde (The Chatterbox), Op. 100 No. 17 ; La Bergeronnette (The Wagtail), Op. 100 No. 11 ; La Candeur (Openness), Op. 100 No. 1 ; La Chasse (The Hunt), Op. 100 No. 9 ; La Chevaleresque (The Knight Errant), Op. 100 No. 25 ; La Gracieuse (Gracefulness), Op. 100 No. 8 ; La Petite Reunion (The Small Gathering), Op. 100 No. 4 ; La Styrienne (Austrian Dance), Op. 100 No. 14 ; Le Retour (The Return), Op. 100 No. 23 ; Pastorale, Op. 100 No. 3 ; Progress, Op. 100 No. 6 ; Tarantella, Op. 100 No. 20 ; Tendre Fleur (Tender Flower), Op. 100 No. 10 ; Le Courante Limpide (The Clear Stream), Op. 100 No. 7

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Book SynopsisOne of the most famous of all organ works, Bach''s Toccata and Fugue in D minor is presented here in an elegant arrangement for piano with practical fingerings, by Thomas A. Johnson.Toccata und Fuge d-Moll BWV 565 Bearbeitung für KlavierAls eines der berühmtesten aller Orgelwerke wird Bachs Toccata und Fuge in d-Moll hier in einer eleganten Bearbeitung für Klavier mit praktischen Fingersätzen von Thomas A. Johnson vorgestellt.

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Book SynopsisFirst published in 1948, Structural Functions of Harmony is Schoenberg''s last theoretical work and contains his ultimate thoughts on classical and romantic harmony. The opening chapters are a resume of the basic principles of the early Theory of Harmony; the subsequent chapters demonstrate the concept of ''monotonality'', whereby all modulations to different keys within a movement are analysed not in relation to each other but in terms of the irrelationship to one central tonality (tonic) as the centre of all harmonic change. Schoenberg''s music examples range from the entire development sections of classical symphonies to analyses of the harmonic progressions of Strauss, Debussy, Reger, and his own early music.

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Book Synopsis'How refreshing, to read a book about music written for a music lover and not a musicologist. In clear, lucid, entertaining prose, Jane Glover makes those of us who lack musical literacy better understand and appreciate Handel’s divinity.' - Donna Leon, author of Handel's Bestiary and the Inspector Brunetti mysteries.Handel in London tells the story of a young German composer who in 1712, followed his princely master to London and would remain there for the rest of his life. That master would become King George II and the composer was George Frideric Handel.Handel, then still only twenty-seven and largely self-taught, would be at the heart of musical activity in London for the next four decades, composing masterpiece after masterpiece, whether the glorious coronation anthem, Zadok the Priest, operas such as Giulio Cesare, Rinaldo and Alcina or the great oratorios, culminating, of course, in Messiah. Here, Jane Glover, who has conducted Handel’s work in opera houses and concert halls throughout the world, draws on her profound understanding of music and musicians to tell Handel’s story. It is a story of music-making and musicianship, of practices and practicalities, but also of courts and cabals, of theatrical rivalries and of eighteenth-century society. It is also, of course, the story of some of the most remarkable music ever written, music that has been played and sung, and loved, in this country – and throughout the world – for three hundred years.Trade ReviewHow refreshing, to read a book about music written for a music lover and not a musicologist. In clear, lucid, entertaining prose, Jane Glover makes those of us who lack musical literacy better understand and appreciate Handel’s divinity. -- Donna LeonHandel’s workload leaves one breathless. Reading, in Jane Glover’s beautiful prose, about the astonishing succession of masterpieces he composed is almost overwhelming. As is the schedule for the singers and musicians who learned one lengthy opera whilst performing another. I now have a much clearer picture of the man himself as he adapted his operas to suit the singers at his disposal, rewriting arias and nurturing young artists, and of his generosity in all he did for the Foundling Hospital. I’m full of admiration for the subject of the book, as I am for its author. -- Dame Felicity LottBehind Jane Glover's baton lurks a brilliant explainer in words, as well as music, able to unravel the threads of musical technique, performance history, and social and political events, exploring each before braiding them tightly together to weave a brightly coloured tapestry of Handel, of his music, and of the world about him. Handel in London is an education, and a delight. -- Judith FlandersDelightfully readable, informed and enlivened like no other Handel biography by Jane Glover’s understanding of a professional music director’s life. -- Dr Ruth Smith, author of Handel's Oratorios and Eighteenth-Century ThoughtJane Glover gives us a welcome portrait of Handel as a hard-working composer and conductor. She makes us feel the bruising schedule he set for himself, and for all who worked with him, from the point of view of a conductor who knows full well what it takes to mount Handel’s great opera or oratorios. She details Handel’s uncanny ability to choose his singers when given the opportunity, and she illustrates his amazing skill for writing to the strengths of all his singers, while also bringing to life the characters they portrayed. -- Professor Ellen T. HarrisTable of ContentsSection - i: List of Illustrations Section - ii: Foreword Section - iii: Author’s Note Section - iv: Preface Chapter - 1: EARLY YEARS ‘An infant rais’d by thy command’ [Saul] Chapter - 2: LONDON, 1710 ‘Populous cities please me then’ [L’Allegro] Chapter - 3: THE FINAL STUART YEARS ‘Cease, ruler of the day, to rise’ [Hercules] Chapter - 4: HANOVER IN LONDON ‘From mighty kings he took the spoil’ [Judas Maccabaeus] Chapter - 5: THE LAUNCH OF THE ROYAL ACADEMY ‘Music, spread thy voice around’ [Solomon] Chapter - 6: THE FORTUNES OF THE ROYAL ACADEMY ‘Ah! think what ills the jealous prove’ [Hercules] Chapter - 7: NEW BEGINNINGS ‘Now a different measure try’ [Solomon] Chapter - 8: NEW ENDINGS ‘Toss’d from thought to thought I rove’ [Alexander Balus] Chapter - 9: DEFIANCE ‘All danger disdaining’ [Deborah] Chapter - 10: RECOVERY AND REINVENTION ‘Strange reverse of human fate’ [Alexander Balus] Chapter - 11: ‘Hallelujah’ Chapter - 12: WINDING DOWN ‘Great in wisdom, great in glory’ [Judas Maccabaeus] Chapter - 13: THE FINAL ACT ‘With honour let desert be crown’d’ [Judas Maccabaeus] Section - v: Afterword Acknowledgements - vi: Acknowledgements Section - vii: Bibliography Section - viii: Notes Index - ix: Index

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Book SynopsisFranz Schubert''s Winterreise is at the same time one of the most powerful and one of the most enigmatic masterpieces in Western culture. In his new book, Schubert''s Winter Journey: Anatomy of an Obsession, Ian Bostridge - one of the work''s finest interpreters - focusses on the context, resonance and personal significance of a work which is possibly the greatest landmark in the history of Lieder. Drawing equally on his vast experience of performing this work (he has performed it more than a hundred times), on his musical knowledge and on his training as a scholar, Bostridge unpicks the enigmas and subtle meaning of each of the twenty-four songs to explore for us the world Schubert inhabited, bringing the work and its world alive for connoisseurs and new listeners alike. Originally intended to be sung to an intimate gathering, performances ofWinterreise now pack the greatest concert halls around the world. Though not strictly a biography of Schubert,

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Book SynopsisTable of ContentsA Game of Croquet (from The Theory of Everything); A Model of the Universe (from The Theory of Everything); Bað; A Sparrow Alighted Upon Our Shoulder; Be Over (from The Shadow Play soundtrack); Beauty (from Blind Massage); By the Roes, and by The Hinds of the Field; Dressing Up (from Personal Effects); The Drowned World; Eleven Thousand Six Hundred and Sixty-Nine Died of Natural Causes; Englabörn (piano version); Flight From the City; Flugeldar II; Good Morning, Midnight; He Says It’s the Future; Indian Wedding (from Personal Effects); Innocence (from Free the Mind); Já, Hemmi Minn; Jói & Karen; Linda and Walter (from Personal Effects); Melodia (III); Odi et Amo / Krókódíll; Payphone (from McCanick); The Radiant City; Ruslpóstur; The Sun’s Gone Dim and the Sky’s Turned Black; Theme from ‘Varmints’ soundtrack; The Theory of Everything (soundtrack); Time to Say Goodbye (from White Black Boy); Will’s Story (from Free the Mind)

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Book SynopsisThe modern German composer discusses his childhood, his musical development, electronic music, chance, music theater, and music education

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Book SynopsisBob Dylan has helped transform music, literature, pop culture, and even politics. The World of Bob Dylan chronicles a lifetime of creative invention that has made a global impact. Leading rock and pop critics and music scholars address themes and topics central to Dylan''s life and work: the Blues, his religious faith, Civil Rights, Gender, Race, and American and World literature. Incorporating a rich array of new archival material from never before accessed archives, The World of Bob Dylan offers a comprehensive, uniquely informed and wholly fresh account of the songwriter, artist, filmmaker, and Nobel Laureate whose unique voice has permanently reshaped our cultural landscape.Trade Review'(The World of Bob Dylan) offers a comprehensive overview of Bobdom - musical influences from sea shanties and highland ballads to blues and gospel, his interest in Brecht and the Beat poets, the politics of the civil rights movement and the counterculture, and more.' Neil Spencer, The Observer'An illuminating read for both the fanatic and the more casual fan.' Ben Phillipson, Shindig!'Latham's symposium covers huge ground … (and) many of the contributions sing.' Danny Eccleston, Mojo'Crammed with insights into Dylan's world … fans will already have it on order.' Tony Burke, Record Collector'A book filled with scholarly scruple and imaginative audacity. A true Dylanfest.' Declan Kiberd, Irish Times'The World Of Bob Dylan kicks off an archival deep dive into the legacy and cultural importance of Dylan in thoroughly academic manner that remains enjoyable. This book pairs well with Dylan's expansive discography and will more than likely lead to a greater appreciation for the singer-songwriter.' Gerrod Harris, Spill Magazine'This is an excellent volume, and the different contributions are of a uniformly high standard. The range of aspects of Dylan studies covered is impressive.' Christopher Rollason, Dylan ReviewTable of ContentsIntroduction Sean Latham; I. Creative Life: 1. A Chronology of Bob Dylan's Life Kevin Dettmar and Sean Latham; 2. The Biographies Andrew Muir; 3. Songwriting Sean Latham 4. The Singles: A Playlist for Framing Dylan's Recording Art Keith Negus; II. Musical Contexts: 5. Folk Music Ronald D. Cohen; 6. The Blues: 'Kill Everybody Ever Done Me Wrong' Greil Marcus; 7. Gospel Music Gayle Wald; 8. Country Music: Dylan, Cash, and the Projection of Authenticity Leigh H. Edwards; 9. Rock Music Ira Wells; 10. Roots Music: Born in a Basement Kim Ruehl; 11. The Great American Songbook: 'Better Duck Down the [Tin Pan] Alley Way, Lookin' for a New Friend' Larry Starr; III. Cultural Contexts: 12. American Literature Florence Dore; 13. World Literature Anne-Marie Mai; 14. The Beats Steven Belletto; 15. Theatre Damian A. Carpenter; 16. Visual Arts: Goya's Kiss Raphael Falco; 17. Borrowing Kevin Dettmar; 18. Judaism: Saturnine Melancholy and Dylan's Jewish Gnosis Elliot R. Wolfson; 19. Christianity: An Exegesis of Modern Times Andrew McCarron; IV. Political Contexts: 20. The Civil Rights Movement Will Kaufman; 21. The Counterculture Michael J. Kramer; 22. Gender and Sexuality: Bob Dylan's Body Ann Powers; 23. Justice Lisa O'Neill-Sanders; V. Reception and Legacy: 24. The Bob Dylan Brand Devon Powers; 25. The Nobel Prize: The Dramaturgy of Consecration James F. English; 26. Stardom and Fandom David R. Shumway; 27. The Bob Dylan Archive® Mark Davidson.

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Book Synopsis''Exhilarating'' - Sunday Times''Funny and moving'' - Jarvis CockerMusic critic and writer Paul Morley weaves together memoir and history in a spiralling tale that establishes classical music as the most rebellious genre of all. Paul Morley had stopped being surprised by modern pop music and found himself retreating into the sounds of artists he loved when, as an emerging music journalist in the 70s, he wrote for NME. But not wishing to give in to dreary nostalgia, endlessly circling back to the bands he wrote about in the past, he went searching for something new, rare and wondrous and found it in classical music. A soaring polemic, a grumpy reflection on modern rock, and a fan's love note, A Sound Mind rejects the idea that classical music is establishment; old; a drag. Instead, the book reveals this genre to be the most exciting and varied in music. A Sound Mind is a multi-layered memoir of Morley's shifting musical tastes, but it is also a compeTrade ReviewAn alternately funny and moving book about the most important art form on Planet Earth. Destined to become a classic (pun intended) -- Jarvis CockerAn exhilarating shredding of received wisdom, provocatively casting pop music on the side of the stagnant and conservative – a bit last century – while stressing classical music’s dynamic revolutionary potential … Morley remains a brilliant conductor – of music, of ideas, of inexplicable flashes of lightning. He knows the score -- Victoria Segal * Sunday Times *In this boundary-pushing book, the music journalist charts his increasing immersion in classical music – not as a lurch towards “maturity”, but a recognition of its revolutions and revelations -- Best Music Books of the Year * Sunday Times *His passion for centuries of music – both celebrated and obscure – is infectious * Irish Independent *

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Book SynopsisTHE NEW YORK TIMES BESTSELLER'A virtuosic memoir . . . elegant, frank and well-structured, that entirely resists cliche . . . readable for both diehard classical music fans and complete newcomers alike . . . A rare feat.' - The GuardianA uniquely illuminating memoir of the making of a musician, in which renowned pianist Jeremy Denk explores what he learned from his teachers about classical music: its forms, its power, its meaning - and what it can teach us about ourselves.In this searching and funny memoir, based on his popular New Yorker article, renowned pianist Jeremy Denk traces an implausible journey. Life is difficult enough as a precocious, temperamental, and insufferable six-year-old piano prodigy in New Jersey. But then a family meltdown forces a move to New Mexico, far from classical music’s nerve centers, and he has to please a new taskmaster while navigating cacti, and the perils of junior high schoTrade ReviewDenk . . . has written a book that shows what it’s like to be a pianist, but also what it’s like to be Jeremy Denk. As if that were not enough, it is also about the elements of music, and beyond that an account of the ways in which music and life mirror each other. It is a book like none other. -- Simon Callow * New York Review of Books *I can't stop telling everyone I know about it . . . It's one of the most beautiful books I've ever read. * Los Angeles Review of Books *A treasure . . . Denk addresses quite complex issues with extraordinary clarity, illustrating musical points with (frequently very witty) similes and metaphors. He informs, reminisces and entertains in equal measure. -- Steven IsserlisWonderful . . . a lesson for the reader in how to listen with more care and wonder to what’s behind the notes we hear. It also makes a strong case for why classical music, with its beauty and ecstasy, matters more than ever. -- Stephen HoughJeremy Denk really is that rarest of finds . . . An absolute must read for beginners and experts alike who wish to further explore the soul of the greatest music ever written in the company of a fine and virtuoso guide. -- Edward DocxA love letter to the art of paying deep attention. -- Susan TomesA one-of-a-kind musical autobiography by one of our most brilliant and perceptive classical musicians. -- John Adams, composer of Nixon in ChinaAmong the many virtues of this funny and moving book - its frankness, its generous preservation of wisdom from mentors past, its breathtaking insights about how and why music affects us - one stands out above the rest: it makes me want to practice. -- Conrad TaoSometimes you read the first paragraph and know you’ll read to the end. They say writing about music is like dancing about architecture. Jeremy Denk’s book reminds us that dancing about architecture sounds sort of great. -- John Jeremiah Sullivan, author of PulpheadJeremy Denk’s writing is as engaged and probing as his playing. Every Good Boy Does Fine hits the spot - a scintillating account of his way into music. -- Ian BostridgeLike Bach . . . Denk knows how to spin rich counterpoint out of multiple lines. And like Mozart . . . Denk knows how to make art out of 'a love for the steps, the joys of growing and outgrowing and being outgrown'. * The New York Times *Denk . . . has thought deeply and creatively about what a memoir is, and how to write it. By turns hilarious, original, and painfully revealing, Every Good Boy Does Fine is both an open-hearted coming-of-age story and a meditation on music’s inner secrets . . . Denk . . . is a dizzyingly inventive writer . . . That inventiveness is evident in the book’s conceit — its use of the piano lesson as the vehicle with which to tell his story. * The Boston Globe *

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Book SynopsisJustus Johann Friedrich Dotzauer (1783-1860) performed as a cellist with the Leipzig Gewandhaus Orchestra and later in the orchestra of the Dresden Staatskappelle where he played in the premieres of Wagner''s operas Rienzi and The Flying Dutchman. In 1842 he was singled out for praise by Hector Berlioz: Besides the outstanding artists whom I have already named, there is the excellent professor Dotzauer. He leads the violoncellists. The 3 volumes of Dotzauer''s Violoncellschule (Cello School), and the 4 volumes of his 113 Exercises are among the foundations of the educational cello literature. This first volume of Exercises contains the first 34 of the 113 progressive exercises, edited by Johannes Klingenberg.113 Violoncello-Etüden, Heft 1Friedrich Dotzauer war zu Lebzeiten ausgebildeter Cellist und veröffentlichte neben einer Auswahl an Eigenkompositionen aller Art, besonders natürlich für Solo-Cello, mehrere Schulen für den Instrumentalunterricht. Von

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Book SynopsisJohann Sebastian Bach is one of the most unfathomable composers in the history of music. How can such sublime work have been produced by a man who seems so ordinary, so opaque - and occasionally so intemperate?In this remarkable book, John Eliot Gardiner distils the fruits of a lifetime''s immersion as one of Bach''s greatest living interpreters. Explaining in wonderful detail how Bach worked and how his music achieves its effects, he also takes us as deeply into Bach''s works and mind as perhaps words can. The result is a unique book about one of the greatest of all creative artists.Trade ReviewGardiner has joined the select ranks of luminary musicians articulating their experience, with this long, sumptuously illustrated survey of Bach's life and times. The result is dazzling -- Iain Burnside * Observer *There could be no better-qualified guide to the mysteries behind Bach's music than the conductor who has breathed new life into its performance . . . As an exploration of Bach's labyrinthine thought-processes, and as an analysis of his music's overwhelming power, this book will now be required reading . . . for listeners and performers alike -- Michael Church * Independent *Gardiner weaves industrial-strength scholarship, musical analysis and performing insight into a highly readable narrative ... extraordinary -- Richard Morrison * The Times *

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Book SynopsisWhat was Mozart really like? Wild? Sublime? Responsible? Fun-loving? Bright? Foul-mouthed? Reading these sparkling new translations of Mozart''s letters, we learn in his own words that he was all of these and much more. Here is the composer at his most intimate and unguarded, expressing his feelings about life, love, music and the world around him.

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Book SynopsisWill fascinate and enthrall anyone interested in music.' Stephen FryWho dreams of becoming a conductor?What does it take to get there and stay in the game?In Good Hands: The Making of a Modern Conductor invites us to think anew about one of the signature roles in classical music.In a frank, fascinating portrait, Alice Farnham, one of Britain's leading conductors, explores what modern conducting really entails, and what it takes to lead, unite and inspire people.Takes readers behind the scenes of the eccentric world of classical music.' GuardianConducting, Alice Farnham writes, is an elusive art. Her book, part memoir and part study of the craft, pins it down . . . Accessible [and] engaging.' Matthew Giley, New StatesmanAlice Farnham's enchanting blend of insight, experience, musical understanding, sparkling good sense and intelligence brings alive and demystifies what it i

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Book SynopsisTable of ContentsBouree I and II (Suite No.3) (J.S. Bach); An Evening In The Village (Bartok); Hungarian Dance No.5 (Brahms); Salut d'Amour (Elgar); Larghetto from Sonatina (Dvorak); Largo from Sonata in F major, No. 2 (Handel); Allegro and Menuetto from Serenade No. 2 (Mozart) **Trinity Guildhall selected piece: Violin syllabus 2010-2012; Allegro Molto from Sonata in D (Schubert); Allegro from Sonata in D minor (Senaille); Chanson Triste (Tchaikovsky); Chanson Polonaise (Wienawski)

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Book SynopsisOffers some of the best of the grade 1 pieces selected by the major examination boards. This book also provides quality music that is suitable as a sight-reading resource for more advanced students.Trade ReviewEvery teacher and pupil have favourite pieces in their yearly programmes and Anthony Williams has certainly made excellent choices in these new compilations from old, forgotten examination syllabuses. There are five separate volumes, one for each grade, with twenty of the old favourites in each of grades 1, 2 and 3. These pieces usually disappear into oblivion once out of date, with new generations of pupils unable to experience the thrills and delights of ten years worth of fun repertoire. Now, they are able to relive many old favourites as well as forgotten gems in their early days of piano lessons. Although selected by grades, the entire collection would make excellent sight reading material for more advanced players. Piano Professional, Summer 2008 All these pieces are tried and tested favourites of exam-takers, so whatever your tastes you're statistically bound to find a motivating choice. These volumes can be strongly recommended as repertoire books. Pianist Magazine, May 2008 Table of ContentsSonata In F (Attwood); Menuet In G (attrib. Bach); Quasi Adagio (Bartok); Air From Little Russia (Beethoven); Air (Blow); Flying Above The Clouds (Bullard); The Swinging Sioux (Gillock); Creepy Crawly (Gritton); German Dance (Haydn); The Quiet Wood (Head); Piano Piece For The Young (Henkel); Eeyore's March (Jackson); Allegro In F (Mozart); Menuett In F (Mozart); Allegretto (Neefe); Air (Purcell); Melody (Schumann); Soldier's March (Schumann); Gavotte (Telemann); Allegretto In F (Witthauer).

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Book SynopsisTable of ContentsAuld Lang Syne (Trad.); Away In A Manger (Trad.); The Christmas Song (arr. Stephan Moccio); Christmas Time Is Here (Vince Guaraldi Trio); Coventry Carol (Trad.); Crystal Winter (Christopher Ferreira); Duvet (Niklas Paschburg); Good King Wenceslas (arr. James Morgan & Juliet Pochin); Have Yourself A Merry Little Christmas (arr. Alexis Ffrench); Hymn (Luke Howard); Ice (Brian Crain); I’ll Be Home For Christmas (arr. The Theorist); In The Bleak Midwinter (arr. Chilly Gonzales); Jesu, Joy Of Man’s Desiring (J.S. Bach); Merry Christmas, Mr. Lawrence (Ryuichi Sakamoto); O Christmas Tree (Trad.); O Come, O Come, Emmanuel (Trad.); O Holy Night (arr. Oliver Weeks); River (Joni Mitchell); Silent Night (Franz Xaver Gruber); Snowflake (Kate Bush); The Sussex Carol (arr. Oliver Weeks); The Wassail Song (arr. Brad Jacobsen); What Child Is This (arr. Johannes Bornlof)

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Book SynopsisJane Austen, widely acclaimed as one of the greatest English novelists, possessed another talent that enriched her life and work - music. She played and sang draws on the newly digitised music books of the Austen family, granting us a deeper understanding of the writer's artistic prowess and the influences that shaped her literary masterpieces. --

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Book SynopsisRobert Schumann''s 34 Vocal Duets for two Voices and Piano, edited by Max Friedlander. Duets with Piano: SS (5), SA (13), ST (12), SBar (1), AB (1),TB (2).34 Duette für 2 Singstimmen und KlavierRobert Schumanns 34 Gesangsduette für zwei Stimmen und Klavier, herausgegeben von Max Friedlander. Duette mit Klavier: SS (5), SA (13), ST (12), SBar (1), AB (1), TB (2).

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Book SynopsisSchubert's Liederbuch, edited by Paul Losse. 60 selected songs for educational purposes. This edition is for low voice.Schuberts Liederbuch, herausgegeben von Paul Losse, enthält 60 ausgewählte Lieder für den Unterricht. Die vorliegende Ausgabe ist für tiefe Stimme.

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Book SynopsisClara Schumann's cadenzas to piano concertos by Beethoven (Opp. 37 and 58) and Mozart (K466) not only give a unique insight into her performing and composing style; they also throw light on her relationship with Johannes Brahms, whose cadenzas have considerable similarities to those of Schumann. This Urtext edition of the cadenzas includes a preface in which the renowned Canadian pianist Ludwig Sémerjian explores the interaction between Schumann and Brahms. The edition also marks the first publication of Clara Schumann's early cadenzas for Mozart's D minor Piano Concerto, previously only available in the manuscript in the Library of Congress in Washington DC.Clara Schumanns Kadenzen zu Klavierkonzerten von Beethoven (op. 37 und op. 58) und Mozart (KV 466) geben nicht nur einen einzigartigen Einblick in ihren Interpretations- und Kompositionsstil, sondern werfen auch ein neues Licht auf ihre Beziehung zu Johannes Brahms, dessen Ka

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Book SynopsisJan Swafford''s biographies of composers Charles Ives and Johannes Brahms have established him as a revered music historian, capable of bringing his subjects vibrantly to life. His magnificent new biography of Ludwig van Beethoven peels away layers of legend to get to the living, breathing human being who composed some of the world''s most iconic music. Swafford mines sources never before used in English-language biographies to reanimate the revolutionary ferment of Enlightenment-era Bonn, where Beethoven grew up and imbibed the ideas that would shape all of his future work. Swafford then tracks his subject to Vienna, capital of European music, where Beethoven built his career in the face of critical incomprehension, crippling ill health, romantic rejection, and ''fate''s hammer'', his ever-encroaching deafness. At the time of his death he was so widely celebrated that over ten thousand people attended his funeral.This book is a biography of Beethoven the man and musician, n

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Book SynopsisAn indelible and irresistible portrait of the crucial formative years of the legendary rock band KISS and the music scene they changed forever—culminating with the groundbreaking success of their classic 1975 album Alive! and the smash single "Rock and Roll All Nite"Including original interviews with: Paul Stanley, Gene Simmons, Ace Frehley, Peter Criss, Bob Seger, Alice Cooper, and Ted Nugent, as well as members of Aerosmith, Black Sabbath, Rush, Slade, Blue Öyster Cult, Mott the Hoople, Journey, REO Speedwagon, Styx, Raspberries, the James Gang, the New York Dolls, Iggy & the Stooges, the Ramones, Suzi Quatro, Argent, and Uriah Heep.Trade Review"Nothin' to Lose brought back great memories of our days touring with KISS in the '70s. The book is an incredible ride through KISS's early days and a must read for any KISS fan!" -- Don Powell, Slade "Like taking a time machine back to the '70s, Nothin' to Lose is a wild and no holds barred look at the rise of KISS." -- Eric Carmen, Raspberries "In Nothin' to Lose you witness first-hand the extraordinary transformation of four struggling musicians from New York City overcoming almost insurmountable odds to become worldwide superstars. This is the definitive account of KISS's early years." -- Kevin Cann, author of David Bowie: Any Day Now "The KISS boys will go down in history for their indefatigable work ethic, spirit, and insatiable appetite for all things honest-to-God outrageous rock 'n' roll. KISS is the real deal and this book is the real story of the American rock 'n' roll dream." -- Ted Nugent "Nothin' to Lose is an electrifying look at a band that changed the course of rock and roll history by sticking to their guns and blazing their own trail of heavy metal thunder. I couldn't put it down. Two thumbs up!" -- Joe Perry, Aerosmith "Rises above the standard cookie-cutter anecdotes... [for] a unique look at the origins of one of the greatest rock bands of all time. Anyone who wants to know what it was like to make it in rock 'n' roll in the seventies will need to pick this up." -- Dale Sherman, author of Black Diamond: The Unauthorized Biography of KISS "Told with complete accuracy and attention to detail... Mandatory reading for every new artist. This is a masterpiece!" -- Kenny Kerner, Co-producer of KISS and Hotter Than Hell "A joyous and mesmerizing exploration of the early history of the 'Hottest Band in the World'... This book is addictive. You won't be able to put it down!" -- Julian Gill, author of the Kiss Album Focus series "From KISS's earliest days playing crummy bars in front of 50 people to headlining arenas, Nothin' to Lose is a gripping look at the underbelly of rock 'n' roll. And as one of the members of KISS's original road crew, I should know, I was there." -- Peter "Moose" Oreckinto, KISS roadie (1973-1976) "The ultimate KISS book... Nothin' to Lose gives the insider's perspective any KISS fan must have -- Charles R. Cross, author of Heavier than Heaven: A Biography of Kurt Cobain "Even casual fans will be enthralled." -- Robert Rodriguez, author of Revolver: How The Beatles Reimagined Rock 'N' Roll "Revel in the roar of the greasepaint and the smell of the crowd as they share it all, blow-by-blow, first hand." -- Paul Myers, author of A Wizard A True Star: Todd Rundgren In The Studio "A fascinating read about one of rock's most outrageous bands." -- Simon Kirke, Bad Company/Free "I found the story of KISS's fanatical determination, shockingly rare matter-of-fact common sense, raw luck, exquisite timing-not to mention the sheer brinksmanship of the whole lunatic enterprise-exhilarating and inspiring." -- Binky Philips, My Life in the Ghost of Planets: The Story of a CBGB Almost-Was "A vivid oral history of the early days of one of rock's most outrageous and enduring bands, Nothin' to Lose makes every reader an eyewitness to the dawn of Kiss. Here's a book that screams out: C'mon and read me." -- David Browne, author of Goodbye 20th Century: A Biography of Sonic Youth "An incredibly vivid and gripping oral history that illustrates how Kiss went through a slow and steady transformation from a loft party band to the hottest concert attraction capable of blowing anybody and everybody off the stage." -- Daniel Siwek, House of Blues "If you thought you knew everything there was to know about KISS ... well, you'd be wrong... Buy this book or just KISS off!" -- Alice Cooper "A fascinating chronicle of the construction of a multimedia phenomenon." -- Publishers Weekly A rollicking oral history. -- Kirkus Does the world really need another KISS book? Perhaps not, but the world really needs Sharp's ... KISS book... Full of extraordinary primary-source material that will keep KISS fans up at night, Sharp's excellent work should serve as a blueprint for future rock oral histories." -- Library Journal (starred review)

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Book SynopsisAn intimate conversation about music and creativity, between the internationally bestselling writer Haruki Murakami and world-class conductor, Seiji Ozawa. Haruki Murakami's passion for music runs deep. Before turning his hand to writing, he ran a jazz club in Tokyo, and the aesthetic and emotional power of music permeates every one of his much-loved books. Now, in Absolutely on Music, Murakami fulfills a personal dream, sitting down with his friend, acclaimed conductor Seiji Ozawa, to talk about their shared interest. They discuss everything from Brahms to Beethoven, from Leonard Bernstein to Glenn Gould, from record collecting to pop-up orchestras, and much more.'Absolutely on Music is an unprecedented treasure... Talking about music is like dancing about architecture, it's often said, but what joy to watch these two friends dance.' GuardianTrade ReviewAbsolutely on Music is an unprecedented treasure… Talking about music is like dancing about architecture, it’s often said, but what joy to watch these two friends dance. * Guardian *Hardly a soul writes of the listening and playing of music with such insight and tenderness -- Patti Smith * New York Times Book Review *Their words tessellate perfectly, forcing the neurons in your brain into a brave new quest for artistic divinity… A book for people transfixed by the minutia of creativity. * Shortlist *High Fidelity for classical music fans. * Publishers Weekly *These dialogues...add up to a sprawling feast of Mahler-style “polytonality” - or, alternatively, the sort of protean jam-session that Monk and Parker relished. -- Boyd Tonkin * Arts Desk *

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Book SynopsisA unique Companion to J S Bach''s iconic Cello Suites from internationally-renowned cellist Steven Isserlis.The very model of how to write about music.' Philip PullmanAn essential companion.' Jeremy Denk, New York TimesIlluminating, accessible and detailed.' ObserverBach's six cello suites for solo cello are among the most cherished works in musical literature. Little-known for some two hundred years after their composition, they have acquired an aura that enthrals audiences worldwide.Internationally renowned cellist Steven Isserlis goes deep into the history and the emotional journey of the suites, bringing to bear all his experience of performance to offer a rewarding companion for everyone, from the casual listener to the performing musician.Trade Review'In his writing, as in his playing, Steven makes hard work seem effort-less. He's the master of the material, yet always able to make it accessible. In The Bach Cello Suites he explains often difficult technical detail with great joy and humour. For someone like me, who doesn't know their gavotte from their elbow, it is an absolute treat to be led to this sublime music by such an enthusiastic expert.'- Michael Palin'The book I've always wanted: an accessible, eloquent guide to the world's greatest - and maybe most elusive - pieces of music. And written by the man I'd want to tell me about it. This is such a delight.'- Derren Brown

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Book SynopsisThis is the first book which deals with the school of American repetitive music, also know as minimal music. The early work of La Monte Young, Terry Riley, Steve Reich and Philip Glass is discussed in the context of traditional Western music. Minimal music thus emerges as the latest stage in a development leading from Schoenberg, Webern, Stockhausen and Cage. In considering the philosophical thinking of Deleuze and Lyotard, the representatives of the so-called French ' libidinal philosophy', and of Adorno, the author examines the degree to which the 'ecstatic dimension' is present in this music or is even consciously introduced to it.Trade Review'...Merten's book ...is both analytical and polemical, distant and personal, limited to the music itself and yet posiitoning that music in a wider aesthetic/ideological context than is customary' - Michael NymanTable of ContentsPreface by Michael Nyman, Part One: American Minimal Music: 1.1 La Monte Young, 1.2 Terry Riley, 1.3 Steve Reich, 1.4 Philip Glass, 1.5 Basic Concepts of Minimal Music, Part Two: The Historical Developments of Basic Concepts: 2.1 Arnold Schoenberg, 2.2 Webern and Post-serialism, 2.3 Stockhausen, 2.4 John Cage, Part Three: Ideology: 3.1 T W Adorno, 3.2 Libidinal Philosophy, Bibliography, Acknowledgements

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Book Synopsis__________________________''Fascinating ... Haste paints a portrait of a woman who was born to triumph, not surrender'' - Harper's Bazaar''Written in elegant, lucid prose ... a treasure trove of European cultural riches and scandalous intrigue Compelling'' - Economist''Lively, well illustrated and enjoyably juicy'' - Miranda Seymour, Financial Times__________________________The life of an extraordinary artist and intellect: the composer, author and socialite Alma Mahler, whose life spanned one of the most captivating and dramatic periods in historyAlma Mahler was once at the epicentre of Vienna's artistic and intellectual life. A talented composer in her own right, she was open, generous, remarkably creative, curious, challenging and zealous in her pursuit of love. Artists, architects, musicians and writers jostled to join her coterie. Gustav Klimt was her first kiss; Gustav MTrade ReviewFascinating ... Haste paints a portrait of a woman who was born to triumph, not surrender * Harper’s Bazaar *Cate Haste’s seductively accessible biography offers a sympathetic interpretation of Alma’s life. Written in elegant, lucid prose, her book is a treasure trove of European cultural riches and scandalous intrigue … [Alma] emerges as a tough, lively, cultured and wilful woman … Compelling * Economist *Lively, well illustrated and enjoyably juicy -- Miranda Seymour * Financial Times *A welcome and engaging narrative of a life that, surely, has not yet been fully explored -- Gillian Moore * Literary Review *[An] absorbing biography ... Through reference to diaries, letters and interviews with Mahler’s granddaughter, Haste draws a portrait of a complex, highly accomplished woman … Mahler is depicted as a woman who not only facilitated the creative pursuits of her husbands, but was an intellectual force in her own right -- Hannah Beckerman * Observer *

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Book SynopsisThe music of J.S.Bach has a unique power and attraction some 300 years after it was written. From annual performances of the great Passions and BBC Radio 3''s hugely successful Bach Christmas, to its use in adverts, films and popular arrangements, the imaginative strength of Bach''s music continues to draw listeners to explore its mysteries.This new Pocket Guide looks at all Bach''s music, sacred and secular, and explores why he speaks so profoundly to our age about both the spiritual and the sensual in life.Among the features of this easy-to-use book:The Bach Top TenBach: The music work by workPerforming Bach today Bach: The life year by yearWhat people said about Bach

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Book SynopsisA tale of passion and obsession from a philosophy professor who teaches himself to play Bach on the piano.Dan Moller grew up listening to heavy metal in the Boston suburbs. But something changed when he dug out his mother's record of The Art of the Fugue, inexplicably wedged between 16 ABBA Hits and Kenny Rogers. Moller became fixated on Bach and his music, but only learned to play it for himself as an adult. In The Way of Bach, Moller draws us into the strange and surprisingly funny world of the composer and his scene. Did you know The Goldberg Variations contain a song about having to eat too much cabbage? Or that Handel nearly died in a duel he fought while conducting an opera? Along the way, Moller takes up such questions as, just what is so special about Bach’s music? What can Americans—steeped in pop culture—learn from European craftsmanship? And why do some people see a connection between Bach's music and God? By turns witty and thought-provoking, Moller infuses The Way of Bach with insights into music, culture, and philosophy alike.Trade Review“Intellectual rigor yielding pure musical art. Will move anyone seeking to grasp the power of music in human existence.” -- Booklist, starred review"Moller’s encounter with Bach’s music faces him off with an entity as stubborn and searching as he is. In this confrontation, the piano becomes a tool of spiritual and physical struggle, a glorious contraption that elicits from its player philosophical reflections not just on music but on work, art, love, teaching, learning, God, humanity, life and death. Moller packs these and other big ideas into wisecracks and freewheelingly erudite comparisons and cultural references. He reveals much of himself while struggling with Bach’s fugues at the keyboard and away from it: stretches of frustration lead to epiphanies; musical setbacks and successes interlock in counterpoint both comic and profound. The intelligence and beauty of Bach’s works can never be fully explained, but Moller illuminates and inspires with his unique appreciation. We experience anew how this music can transform those unafraid of its intimate, yet far-reaching challenges." -- David Gaynor Yearsley, author of BACH AND THE MEANING OF COUNTERPOINT and BACH'S FEET“A superb biographical vignette. Alternately scholarly and effusive. An eccentric, adoring tribute to Bach.” -- Kirkus Reviews"A bright, honest, and refreshing reminder that the most worthy pursuits in life are not those that come easily, but those that come from painstaking craftmanship and devotion. Anyone who has ever pursued a passion will find joy in this story.” -- Audrey Wright, Associate Concertmaster, the Baltimore Symphony Orchestra“Highly personal, beautifully written, hugely inspiring.” -- Jerrold Levinson, professor Emeritus, University of Maryland, author of Musical Concerns

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Book SynopsisBecoming an Orchestral Musician takes you on a journey into the musical profession. It is the first comprehensive guide for professional musicians on how to succeed in joining an orchestra or ensemble, and how to survive as an orchestral musician. Such crucial topics as how to obtain the right tuition, music college versus university, auditioning, nerves, the secrets of ensemble playing and intonation, conductors, the mechanics of the orchestra, performing philosophies and strategies for survival are covered in separate sections. The matter of how to explore and adapt one's musical psyche, the pitfalls of a career in music and the highs and lows of performing are also discussed. The history, mythology and science of music-making and numerous anecdotes provide a vivid background. It is essential reading for all orchestral musicians, including players of every instrument, whether at college or university or during their career, whether full-time or part-time, and whether professional or amateur, and also for the parents of budding instrumentalists. There are probably more orchestras and ensembles in the length and the breadth of Britain today than ever before.With the renewed recognition in schools of the importance of music, the competition among younger musicians has become intense. Schools and colleges need to be well informed about career guidance for their students. Richard Davis's book will give the answers to many of the questions those students will be asking. It has been warmly welcomed by his colleagues in the BBC Philharmonic, and by other musicians, too. Twenty of them have been interviewed by him specially for it on their experiences and on advice they would like to give to younger musicians on many different themes. They include principals and rank and file players, soloists, academics, music critics, fixers, chamber musicians and people involved in management.Trade ReviewJohn Clare in Daily Telegraph: recommended, in 'Any Questions?' Sir Edward Downes: 'Thanks so much for your marvellous book...You should be very proud of it - and [Joan and I] both feel it ought to be a "set book" at Music Colleges for all prospective orchestral players.' Classical Music: '...[his] practical guide invites systematic reading from cover to cover...Experienced players will nod in agreement with something on every page...newcomers will be profoundly grateful for page after page of advice just not obtainable from normal conservatoire training...the many tips on relationships with colleagues often overlooked by full-time performers...Beautifully laid out on good-quality opaque paper...Davis's book is an unbeatable-value master-class.' Classic FM, The Magazine (four stars): '...[his] invaluable... book. It certainly fills a gap in the market: no one previously has thought to spell out what it takes to become (and survive) as an orchestral musician. Davis, principal flute of the BBC Philharmonic and a senior lecturer at the Royal Northern College of Music, is better qualified than most to tackle the subject. He has a pragmatic, detached view of the business...This should be required reading for all music students.' Maggie Cotton, percussionist with City of Birmingham Symphony Orchestra for forty years: 'Richard Davis's most excellent book...a gem of unvarnished, thoughtful advice...it should be required that every music teacher in the land should have a copy, digest it thoroughly and pass on the messages to their young...[it] is worth its weight in gold.' Musician (Musicians' Union Magazine): 'Essential reading.' (December 2005) Glasgow Herald: '...it will undoubtedly prove helpful to anyone considering a career in music...for any concert goer who has ever wondered how the orchestra onstage functions...it also offers an illuminating glimpse into [its] workings and dynamics...' Pan, Journal of the British Flute Society: 'Almost everything you've always wanted to know, but didn't dare ask, is tackled: counting, nerves, trials, politeness, high finance, Pythagorean tuning...it's all in there...I must express nothing but admiration for the genial style and content of [his] book.' Education: '...a unique insight into the world of professional performers...I would strongly recommend this book to everyone studying or teaching music at a more advanced level, and...essential reading for anyone associated with children who aspire to be professional musicans.' Clarinet & Saxophone Society Magazine (editor's choice): 'No aspiring musician can afford to be without this comprehensive guide to entering the music profession...It [should be] kept within easy reach on the bookshelf at home and in the music and career libraries of all schools and colleges...All the practical advice and information is as essential... as a map and guide book is to the discerning traveller.' Jennifer Cluff, principal flute of Vancouver Island Symphony Orchestra, in reply to a college first-year student's question on her website, 'What is the best advice for becoming a professional soloist or symphonic flautist...[and] on the process of auditioning/joining a symphony and/or becoming a professional soloist?' she wrote: 'See Becoming an Orchestral Musician...this is a phenomenal book! Read it cover to cover!!...[it]is the best book ever written on the subject... and I have read hundreds. I loved it and read it cover to cover in one day.' Reviewer (Chris Downing) on Amazon.co.uk (five stars), from UK: 'I love these books that relate careers as they really are rather than how a journalist or a professional writer sees them from the outside. This book covers all aspects of being a working musician and can be related to any instruments easily...reading this book will help you avoid the pitfalls, enjoy the successes and understand what you'll need to be doing every day to earn a crust.' Rachel Brown, distinguished flautist, lecturer and author, London: 'Just finished reading your wonderful book. It only arrived two days ago. I've read it from cover to cover as I couldn't put it down. It's so eloquent and so readable. Time after time I heard a voice in my head saying "Yes! Exactly!" Now I'm completely behind with the work I should have been doing but I feel like working...I'm sure the book will be an inspiration to so many.' Reviewer on Amazon.co.uk (five stars), from Moscow: '[It] transported me from the audience, my normal vantage point, to behind the scenes of an orchestra...I read this book from cover to cover in one day, never losing interest -- and I'm not a musician! Strongly recommended for any serious music fan, and an absolute must for any music student (and his or her parents).' Winds: '...it will have balanced suggestions for any query you might have about the music business...[it] should be in every school library and on the bookshelf of every music teacher and professional player.' All Flutes Plus bookshop: Congratulations on an excellent book. We are certainly very pleased to recommend it as a "must have" to all aspiring young professional musicians and their parents. A much needed publication, I'm sure it will be deservedly successful.' Jo Buckland, freelance graduate violinist: 'I have never read such an inspiring book...an eye-opener...[at] Dartington this summer, I wasn't the only one talking about it -- so many others were saying how inspiring it was...I just wish I'd known about it at college...[where] it should be on the reading list.'Perfect Fifths, Resources and Reviews for Violin, Viola and 'Cello Players: '...a lovely, well written, informative book...this all-encompassing guide...' Leo Eroed, Linz, Austria, orchestral bassoonist: '...a fantastic book that covers nearly [everything you need] to know about the business...I was inspired to find a publication of this quality...' Gerloff Music Studio, California (five stars): '...[it] gives great insight not just into what it takes to become a good ensemble player, but what it takes to be a great musician. I love this book...highly recommended.'Table of Contentspage Preface by Sir Peter Maxwell Davies vii Prologue 1 Foreword 3 Acknowledgements 7 1 Introduction to the Orchestral Profession 13 What Are the Chances of Success? 2 The Formative Years 19 Persistence, Music Competitions, Is Your Teacher Right for You? Quality of Instrument, How Dear Can They Be? Stolen Instruments, Wrong Notes, Learn the Score, Goals, Play Music With and For People, Music School, You Are Not Doing Enough Practice! Warming Up, Injuries, Music College...,... Or University? Are You Sure You Want to Do This? The Right Personality, After College 3 Performing Philosophies 43 A Musical Vision, The Je Ne Sais Quoi, The Journey, Singers in the Coffee Queue, Learn to Conduct, The Composer's Condensed Universe, Style, The Bar, CD Culture, How Many Takes Does It Take? Study or Mimic, Soul Music 4 Auditions 52 When Should You Start Applying? Students, CV Versus Resume, The Audition Loophole - Back Door, The Audition, The Panel, How Long Will I Be in There? What Are We Looking For in an Audition? Orchestral Excerpts, What Do You Do with the Bars' Rest? Sight-Reading, The Truth About Sight-Reading in the Profession, Audition Nerves, The Warm-Up Room, Rumours, Auditions for Extra Work, Subsidiary Instruments, Pre-Audition, Post-Audition, Rejection Letter, At What Point Should I Quit? 5 Ensemble 85 All Orchestras Are Different, Know Your Role, Accompanying, Blending, Vibrato, Note-Endings, Articulation, Rhythm, Rubato, Dynamics, ppp-fff, Back-Desk Soloists, Finally 6 Nerves 112 Why Do You Get Nervous? Practice, Nerve Targets, Split It Up, Visualization, Don't Worry..., The Public, The Performing Circle, Red-Light Nerves, Re-takes, Nerves: the 'Virus', Diet, Drugs, Alcohol, Lucky Charms, Controlling Your Nerves Before the Performance, Controlling Your Nerves During the Performance, Still Nervous? Should You Give Up? Towel in the Bidet 7 Counting 133 Look Out, The Domino Factor, Counting Strategies, What Do You Do? Sounds Wrong? Sounds Right? Not Sure? Asking for Help, Still Lost, Emergency Mode, Count Upwards, Complex Music Shouldn't Mean Complicated Counting, You Are Not Alone, Lost Souls 8 Conductors 143 The Player's Wish: A Clear Up-Beat, Do You Know Exactly When You Are About to Play? Upsetting the Apple Cart, What Difference Do Conductors Make? Bad Conductors, Why We Need Them, Where Did They Come From? Conductors' Traits, How to Cook a Conductor, The Baton Makes No Sound, There Are Wonderful Conductors, Too, When to Play, a Possible Answer 9 Intonation 156 Science Lesson, Hearing, Natural Harmonics, Harmonic Mixtures, Maths Lesson, Singing Lesson, Making Cents, History Lesson, Pythagorean Tuning, Meantone Tuning, Well-Tempered Tuning, Equal Temperament Tuning, Orchestral Temperament, Warning! Practical Experiment, Wolves and Ghosts, Second Maths Lesson, The Oboe's A, Tuning Up Orchestras, Which is Best: Sharp or Flat? Tuning Tips, Still Out of Tune? How Much Work? 10 The Mechanics of the Orchestra 185 Behind the Scenes, How Much Does an Orchestra Cost to Run? Do Any Orchestras Make a Profit? The Duty Sheet, We Don't Work Very Hard! Maintenance, 'Cello Strings, Oboe Reeds, Bumping, Breathing and Bowing, Transposing Instruments, How to Transpose, The Clarinet Problem, The Union, Rotation in the Ranks, Working Your Way Up the Ranks, What Are We Worth? 11 Surviving in the Orchestral Profession 205 Being Booked, The Fixer, A Fixer's Top Tips, The Route to Work, All Those Notes to Learn, Networking and Common Mistakes, Keeping in Shape, Waiting in the Green Room, Tours, Holidays, Survival Tips 12 Alternative Careers 220 Chamber Music, Strike Up the Band, Original Instruments, Management or Administration, Music Critic Epilogue 230 Index 233

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Book SynopsisTable of ContentsSometimes Someone; Destiny of Love; Lost in Island; Shining Smile; Spring Waltz; River Flows in You; Joy; 27 May; The Sunbeams, They Scatter; I; If I Could See You Again; It’s Your Day; Kiss The Rain; Lord Hold My Hand

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Book Synopsis'The loveliest and certainly the most human book about pop music I've ever read A delightful and humane soap opera, a real page-turner, full of rounded and entirely recognisable characters.' Jon Ronson, Daily TelegraphTrade Review‘THE LAST PARTY is a title that deserves to stick around the book charts.' Mark Lawson, Guardian 'THE LAST PARTY is that rare thing, a book principally about rock musicians that is a compulsive page-turner.’ The Sunday Times 'Compelling … it reminds us what a corrosive and mean place the pop world can be.' Mojo 'A fine, bittersweet read.' Q Magazine

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