Art music, orchestral and formal music Books
Yale University Press The Christian West and Its Singers
Book SynopsisTraces the rise and consolidation of singers and their art in the Christian West. This book is suitable for historians, musicologists, performing musicians and the general reader keen to explore the beginnings of Western musical art.Trade Review"Shrewd and perceptive. . . . Virtually every sentence bristles with detail and the meticulous care required to negotiate such complex and contested territory."--Jeremy Begbie, Books and Culture -- Jeremy Begbie * Books and Culture *"[This] is a magnificent book, brimming with fresh insights and with unexpected pieces of information drawn from little known sources and unpublished manuscripts."--Robert L. Wilken, First Things -- Robert L. Wilken * First Things *“Once or twice in a generation a book comes along that crosses disciplinary boundaries to make unexpected connections, open up new imaginative vistas, and refocus what had seemed familiar historical landscapes. Christopher Page’s musician’s-eye view of the evolution of Western Christendom is one of those books.”—Eamon Duffy, The New York Review of Books -- Eamon Duffy * The New York Review of Books *“Replete with creative insights and compelling new interpretations, astonishingly rich in detail and breadth of coverage, this book is Page’s crowning accomplishment to date. Only he could have told this tale, not only because of the knowledge and skills that he brings to it, but also, perhaps more importantly, because of the imagination that characterizes all of his research…It will provide information and inspiration to the disciplines of musicology, literary studies, liturgical studies, and medieval his- tory for a long time to come."--Elizabeth Aubrey, Journal of the American Musicological Society -- Elizabeth Aubrey * Journal of the American Musicological Society *“Christopher Page has challenged the entire field to follow where he has led, and to undertake the painstaking work of exploring with care the citations he has unearthed, thereby drawing as closely as we can to the singers of the Christian West."--Margot Fassler, Plainsong and Medieval Music -- Margot Fassler * Plainsong and Medieval Music *
£40.38
Yale University Press Ravel
Book SynopsisA biography of Maurice Ravel (1875-1937), by one of the leading scholars of nineteenth- and twentieth-century French music, that is based on a wealth of written and oral evidence, some newly translated and some derived from interviews with the composer's friends and associates.Trade Review"'An insightful biography.' (Michael Downes, Times Literary Supplement) 'A quite superb book, simply entitled Ravel, written by the Englishman who knows his work better than any other, Roger Nichols.' (Simon Heffer, The Sunday Telegraph) 'reliable and agreeably readable.' (Norman Lebrecht, New Statesman) 'To anyone with a special interest in Ravel, this book will be essential reading... Surely the composer's most comprehensive and authoritative English-language biography.' (Daniel Snowman, Literary Review) 'A compelling new biography unravels the mysteries surrounding Ravel... Mysterious to the end, the fascination of its subject remains fresh throughout this thorough and sympathetic account.' (Robert Maycock, BBC Music Magazine)"
£18.99
Yale University Press Béla Bartók
Book SynopsisThe definitive account of the life and music of Hungary’s greatest twentieth-century composerTrade Review“David Cooper offers a rounded, all-encompassing portrait of the man and the musician in this authoritative biography”—Stringendo'Béla Bartók was without a doubt one of the most important composers of the twentieth century. Outside of his native country Hungary, there have been relatively few books devoted to his life and works. David Cooper's comprehensive study of Bartók?'s ?oeuvre is a most welcome addition to the canon. Cooper justly concentrates on the music, introducing and analysing each and every composition, starting with the very early works. He also provides the appropriate historical background that is absolutely necessary to comprehend the man and his music. Bartók's life is a rare example of artistic progress and of uncompromising integrity. He is one of the giants in the history of music, a fact that this book will duly confirm.' - Sir Andras Schiff
£18.99
Taylor & Francis Ltd Singing and Dictation for Todays Musician
Book SynopsisSinging and Dictation for Today''s Musician expands the Today''s Musician family of textbooks to encompass the essential elements of musicianship and aural skills training. Featuring chapters that correspond to the organization of Theory for Today''s Musician, this new textbook complements the theory text to offer a complete curriculum package, allowing students and instructors to reinforce written theory skills with relevant musicianship exercises. Combining sight singing and dictation in a single volume, this new textbook underscores the value of combining the human senses in understanding the intellectual and analytic concepts of music theory.Features of this text include: Flexibility for the instructor in using moveable or fixed Do, scale degree numbers, and neutral syllables for singing Both singing and dictation exercises included in each unit, allowing the two skills to be fully integrated CompaniTable of ContentsPART ONE FUNDAMENTALS Introduction Assorted Preliminaries Singing: A Voice Leading/Schenkerian Approach Notations and Pitch Matters: Clefs The Solfege Syllable System Solmization Chromatic Inflections Raising Pitch Lowering Pitch The Fixed "Do" System versus Moveable "Do" System and Other Methods UNIT 1 The Church Modes Part I: Singing Singing Exercise #1 Singing Exercise #2 Simple and Compound Meter Singing Exercise #3 Part II: Dictation Mode Identification and Spelling In-Class Dictation 1-1 Assignment Dictation 1-2 UNIT 2 Intervals of the Major and Minor Scale Part I: Singing I. Intervals of the Major and Minor Scale Singing Exercise #1: Ascending Intervals of the Major Scale Singing Exercise #2: Descending Intervals of the Major Scale Singing Exercise #3: Ascending Intervals of the Natural Minor Scale Singing Exercise #4: Descending Intervals of the Natural Minor Scale The Major/Minor 2nd in Major and Minor Keys Singing Exercise Set #1: The Major/Minor 2nd in Major Keys In-Class and Assignment Singing Exercise Set #2: The Major/Minor 2nd in Minor Keys Melodies 2-1 Rhythm Reading 2-2: Simple Meter, Divisions of the Beat In-Class Interval Singing: 2-3 (Quizzing) Part II: Dictation In-Class Identification 2-1 (Dictation): Interval Identification In-Class Dictation 2-2: Melody Identification (An Introduction to Melodic Dictation) Assignment Dictation 2-3: Rhythm Assignment Dictation 2-4: Melody (Online Listening) PART TWO DIATONIC HARMONY UNIT 3 Basic Harmonic Structures Part I: Singing Singing Exercise 3-1 Singing Exercise 3-1a Singing Exercise 3-2 Melodies 3-1 Singing Exercise 3-3 Melodies 3-2 In-Class Interval Singing 3-3 (Quizzing) Rhythm 3-1: Error Detection Part II: Dictation Interval Identification 3-1 (may be repeated) In-Class Melodic Dictation 3-2: Introduction to Melodic Dictation Assignment Dictation 3-3Assignment Dictation 3-4 Melodic Dictation UNIT 4 Intervals/Melodic Sequence Part I: Singing Singing Exercise 4-1 In-Class Rhythm Exercise and Error Detection 4-2 (may be repeated) Major Key Number Patterns: Introduction to the "Tritone" (Augmented 4th) Melodies 4-1 Part II: Dictation Interval Identification 4-1: Mixed Intervals In-Class Melodic Error Detection 4-2 Assignment Dictation 4-3 Assignment Dictation 4-4 Major Scale Number Pattern (Scale Degree) Identification Assignment Dictation 4-5 UNIT 5 Harmonies of the Major and Minor Scale Part I: Singing Singing Exercise 5-1: Triad Quality Singing Exercise Singing Exercise 5-2: Scale Degree Number Patterns Major Key Scale Degrees Singing Exercise 5-3: Minor Scale Degree Number Patterns Melodic Minor Key Scale Degrees Harmonic Key Scale Degrees Singing Exercise 5-4: Primary Triad Exercise Melodies 5-1: Triad Building: 3rds and 5ths Singing Exercise 5-5: Seventh Chord Quality Melodies 5-2: The Dominant 7th Part II: Dictation In-Class Dictation 5-1: Triad Quality Identification In-Class Dictation 5-2: 7th Chord Quality Identification Assignment Dictation 5-3: Triad Quality Identification Assignment Dictation 5-4: 7th Chord Quality Identification Assignment Dictation 5-5: Rhythm: Dots, Ties, Divisions, Subdivisions, and Rests Assignment Dictation 5-4: Melodic Error Detection UNIT 6 Cadences Part I: Singing Preliminary Exercises Singing Exercise 6-1: Primary Triads Singing Exercise 6-1a: Triad Quality Singing Exercise 6-1b: Seventh Chord Quality Singing Exercise 6-2a: Major Scale Number Patterns Singing Exercise 6-2b: Melodic Minor Key Scale Degrees Melodies 6-1: Compound Meter, Cadences Melodies 6-2 Part II: Dictation In-Class Dictation 6-1: Triad and Seventh-Chord Quality In-Class Melodic Dictation 6-2: Compound Meter, Primary Triads, Cadences In-Class Dictation 6-3: Introduction to Harmonic Dictation: Cadences in Root Position In-Class Dictation 6-4 Assignment Dictation 6-5: Harmonic Dictation: Cadences in Root Position PART THREE MELODIC PRINCIPLES UNIT 7 Melodic Pitch and Rhythm Part I: Singing Motive and Sequence Repetition and Sequence Singing Exercise 7-1: Motive and Sequence Singing Singing Exercise 7-2: Rhythmic Reading: Triplets, Subdivisions, Dots, Ties, and Rests Melodies 7-1: Motive and Sequence: Intervals: 2nds, 3rds, 4ths, and 5ths Part II: Dictation In-Class Dictation 7-1: Rhythm In-Class Melodic Dictation 7-2: Motive and Sequence In-Class Harmonic Dictation 7-3: Cadences: Four- and Five-Chord Formulas Assignment Dictation 7-4: Rhythm Error Detection Assignment Dictation 7-5: Melodies: Motive and Sequence, Theme and Variation Assignment Dictation 7-6: Harmonic Dictation: Four-and Five-Chord Cadential Formulas UNIT 8 Embellishing Tones Part I: Singing Singing Exercise 8-1 Singing Exercise 8-2: Scale Degree Number Patterns Singing Exercise 8-3: Moveable "Do" Solfege Interval Singing: The 6th Singing Exercise 8-4: In-Class Interval Identification: Ascending and Descending Major/Minor 6ths Review: Embellishing Tones Melodies 8-1: The 6th in Arpeggiations and Appoggiaturas Singing Exercise 8-5: The Seventh Major Scale Degree Number Patterns and the 7th Singing Exercise 8-6: Solfege Functions and the Seventh Singing Exercise 8-7: In-Class Interval Identification: Ascending and Descending Major/Minor 7ths Melodies 8-2: The Seventh: Retardation, Appoggiatura, and Chord Tones Part II: Dictation In-Class Dictation 8-1: Melodies: The 6th and the 7th In-Class Dictation 8-2: Harmonic/Melodic: Cadences and Embellishing Tones Assignment Dictation 8-3: Interval Identification: 6ths and 7ths Assignment Dictation 8-4: Melodies: The 6th and the 7th Assignment Dictation 8-5: Cadences with Melodies: Embellishing Tones UNIT 9 Melodic Form/First Inversion Harmonies Part I: Singing All Interval Singing Singing Exercise 9-1 All Interval Identification: Consonance versus Dissonance Listening to and Classifying Intervals Singing Exercise 9-2: All Interval Identification Intervals and Inversion Singing Exercise 9-3: Ascending Intervals and Inversion Singing Exercise 9-4: Descending Intervals and Inversion Melodies 9-1 Part II: Dictation Melodic Form In-Class Dictation 9-1: Phrase Relationship Identification Harmonic Inversion Types of Inversions for Dictation In-Class Harmonic Dictation 9-2: The Supertonic and Dominant in First Inversion Assignment Dictation 9-3: Period Form Assignment Dictation 9-4: Harmonic Dictation: Cadences, Inversion PART 4 VOICE LEADING UNIT 10 Melodic Principles/The Outer-Voice Framework Part I: Singing Play-and-Sing (at the Keyboard) or Sing-and-Sing (Duets) Play-and-Sing/Duets 10-1 1:1 First Species, Note-Against-Note: Play-and-Sing or Singing Duets Play-and-Sing/Duets 10-2 2:1 Second Species, Two Notes Against One: Play-and-Sing or Singing Duets Part II: Dictation Introduction to Two-Part In-Class Dictation 10-1: 1:1 Two-Voice Dictation In-Class Dictation 10-2: 2:1 Two-Voice Dictation Counterpoint and Imitation Assignment Dictation 10-3 UNIT 11 Mediants Part I: Singing Mediants, iii, vi Major Scale Number Patterns Singing Exercise 11-1: Mediants Melodies 11-2: Mediants iii(III), vi(VI) Part II: Dictation Melodic Error Detection In-Class Error Detection 11-3 In-Class Harmonic Dictation 11-4: Mediants, V6, Longer Progressions Assignment Dictation 11-1: Melodies with Mediants Assignment Dictation 11-2: Harmonic Dictation UNIT 12 Harmonic Progression Part I: Singing Singing Exercise 12-1 Harmonic Progression Tonic Class Predominant Class The Dominant Class Melodies 12-2 Part II: Dictation In-Class Error Detection 12-1 In-Class Harmonic Dictation 12-2: Suspensions, Inversions, the Dominant 7th Assignment Dictation 12-3: Harmonic Dictation UNIT 13 Seventh Chords/Second-Inversion Harmonies Part I: Singing Singing Exercise 13-1-a: Seventh Chord Quality Singing Exercise 13-1 Rhythm 13-2: Syncopation Melodies 13-3: Dominant and Non-Dominant Seventh Chords, Syncopation Part II: Dictation Syncopation, the Six-Four Chord, Suspension, Retardation In-Class Rhythmic Dictation 13-1 In-Class Melodic Dictation 13-2 Harmonic Dictation: Second Inversion The Cadential Six-Four The Pedal Six-Four What to Listen For In-Class Harmonic Dictation 13-3 What to Listen For Assignment Dictation 13-4: Rhythmic Dictation Assignment Dictation 13-5: Melodic Dictation Assignment Dictation 13-6: Harmonic Dictation UNIT 14 Uses of the Six-Four Chord Part I: Singing All-Inversion Harmonic Dictation All Suspensions/Retardations Harmonic Dictation The Passing Six-Four The Arpeggiating Six-Four The Dominant in Third Inversion – V 4/2 In-Class Harmonic Dictation 14-1 In-Class Harmonic Dictation 14-2 Assignment Dictation 14-3: The Six-Four Chord and the V 4/2 Assignment Dictation 14-4: The Six-Four Chord and Suspensions (Retardation) PART FIVE CHROMATIC MATERIALS UNIT 15 Secondary Function I Part I: Singing Singing Exercise 15-1: V/V Singing Exercise 15-2: Other Secondary Functions: V/ii, V/iii, V/iv, V/vi, V/VII Adding a 7th to a Secondary Dominant: The Tonicizing Tritone Melodies 15-3 Part II: Dictation Secondary Dominants In-Class Melodic Dictation 15-1 In-Class Harmonic Dictation 15-2 Assignment Dictation 15-3: Melodic Dictation Assignment Dictation 15-4: Harmonic Dictation UNIT 16 Secondary Function II The Secondary Leading Tone Chord Part I: Singing Preliminary Exercises Singing Exercise 16-1 Melodies 16-2 Part II: Dictation In-Class Melodic Dictation 16-1 In-Class Harmonic Dictation 16-2: Secondary Leading Tone Seventh Chords Assignment Dictation 16-3: Melodic Dictation Assignment Dictation 16-4: Mixed Secondary Function: Secondary Dominants and Leading Tone Chords UNIT 17 Modulation I Closely Related Keys Modulation by Common Chord Part I: Singing In-Class Exercise 17-1 Melodies 17-2: Modulation to Closely Related Keys Part II: Dictation In-Class Dictation 17-1: Modulating Pitch Patterns In-Class Harmonic Dictation 17-2: Progressions Modulating to Closely Related Keys Assignment Dictation 17-3: Melodies Modulating to Closely Related Keys Assignment Dictation 17-4: Progressions Modulating to Closely Related Keys PART SIX COUNTERPOINT UNIT 18 The Art of Countermelody Part I: Singing Singing Exercise 18-1: Play-and-Sing Part II: Dictation In-Class Dictation 18-1 Assignment Dictation 18-2: Theme and Variations UNIT 19 The Fugue Part I: Singing Singing Exercise 19-1: Subjects and Answers Part II: Dictation Subjects and Answers In-Class Dictation 19-1 Assignment Dictation 19-2 PART SEVEN ADVANCED CHROMATIC HARMONY AND FORM UNIT 20 Mixing Modes Modal Borrowing versus Change of Mode Part I: Singing Singing Exercise 20-1: Modal Borrowing Melodies 20-2 Part II: Dictation In-Class Melodic Dictation 20-1 In-Class Harmonic Dictation 20-2 Assignment Dictation 20-3 Assignment Dictation 20-4 UNIT 21 Altered Pre-Dominant I The Neapolitan Chord Part I: Singing Singing Exercise 21-1 Melodies 21-2 Part II: Dictation In-Class Dictation 21-1 In-Class Dictation 21-2 UNIT 22 Altered Pre-Dominant II The Augmented Sixth Chord Part I: Singing Singing Exercise 22-1 Melodies 22-2 Part II: Dictation In-Class Dictation 22-1: Melodic Pitch Patterns: The Augmented Sixth In-Class Dictation 22-2 Assignment Dictation 22-3: Harmonic Dictation UNIT 23 Modulation II Chromatic Modulation Part I: Singing Singing Exercise 23-1 Enharmonic Modulations Using the Diminished Seventh Chord and the German Sixth The Diminished Seventh Linear Uses of the Diminished Seventh Singing Drill 23-1 Linear Uses of the German Sixth Singing Drill 23-2 Singing Exercise 23-2: Modulations Using the Enharmonic Diminished Seventh and German Sixth/Dominant Seventh Melodies 23-3 Part II: Dictation In-Class Harmonic Dictation 23-1 Assignment Dictation 23-2: Harmonic Dictation UNIT 24 Harmonic Extensions The Dominant 9th, 13th, and Supertonic 9th Part I: Singing Singing Exercise 24-1 Melodies 24-2 The Predominant (Supertonic) 9th Singing Exercise 24-2: Supertonic 9ths and Dominant 13ths Part II: Dictation In-Class Dictation 24-1 In-Class Dictation 24-2 Assignment Dictation 24-3 Assignment Dictation 24-4 Assignment Dictation 24-5 UNIT 25 Binary and Ternary Forms Review and Reinforcement Binary and Ternary Forms Part I: Singing Melodies 25-1 Review and Reinforcement Part II: Dictation In-Class Dictation 25-1: Melodic Dictation and Form Identification Assignment Dictation 25-2: Melodic Dictation and Form Identification PART EIGHT TWENTIETH-CENTURY MATERIALS UNIT 26 Syntax and Vocabulary Part I: Singing Modality Review and Reinforcement Singing Exercise 26-1a: Church Modes The Pentatonic Scale Singing Exercise 26-1b: Pentatonic Scales Quartal and Quintal Harmony Clustering Singing Exercise 26-1c Modes of Limited Transposition: The Whole Tone and Octatonic Scale The Octatonic Scale Singing Exercise 26-1d Melodies 26-1 Part II: Dictation In-Class 26-1: Sonority Identification In-Class 26-2: Pitch Patterns In-Class 26-3: Harmonic Dictation Planing: Modal Triads, Non-Functional Dominant, Whole Tone, Quartal Procedures for dictation In-Class 26-4: Harmonic Dictation: Planing Assignment Dictation 26-5: Sonority Identification Assignment Dictation 26-6: Melodic Dictation Assignment Dictation 26-7: Harmonic Dictation: Planing UNIT 27 New Tonal Methods Part I: Singing Quartal and Quintal Harmonies Singing Exercise 27-1 Singing Exercise 27-2 Polytonality/Bitonality Singing Exercise 27-3: Duets/Play-and-Sing Bimodality/Polymodality Singing Exercise 27-4: Duets/Play-and-Sing Part II: Dictation In-Class Dictation 27-1: Bichord Identification: Mix and Match What to Listen For In-Class 27-2: Two-Part Melodic Dictation: Bimodal Assignment Dictation 27-3: Two-Part Melodic Dictation: Bitonal and Bimodal Assignment Dictation 27-4: Polychord/Bichord Identification UNIT 28 Non-Serial Atonality Atonality Part I: Singing Singing Exercise 28-1: Trichords and Tetrachords Singing Exercise 28-2: Trichord Set Singing and Improvisation Singing Exercise 28-3: Tetrachord Set Singing and Improvisation Singing Exercise 28-4: Set to Superset Improvisation Singing Exercise 28-5: Set Inversion Improvisation Melodies 28-1: Trichords, Tetrachords, Pentachords, and Hexachords Part II: Dictation In-Class 28-1: Set Identification Assignment Dictation 28-2: Trichord and Tetrachord Identification Assignment Dictation: Dictation UNIT 29 Serial Atonality Basic Tenets of the Twelve-Tone Method Part I: Singing Singing Exercise 29-1 Other Forms of the Row: Combinatoriality Singing Exercise 29-2 Singing Exercise 29-3 Row Symmetry: Derived Sets Melodies 29-1 Part II: Dictation In-Class Row Dictation 29-1 In-Class Row Dictation 29-2 Assignment Dictation 29-3: Row Dictation Assignment Dictation 29-4: Melodic Dictation Assignment Dictation 29-5: Two-Part Dictation Glossary Index
£73.14
Taylor & Francis Ltd Hearing Form
Book SynopsisHearing Form: Musical Analysis With and Without the Score, Third Edition is a complete course package for undergraduate courses on musical forms, with comprehensive coverage from the Baroque to the Romantic. Placing emphasis on listening, it teaches students to analyze music both with and without the use of a score, covering phrase endings and cadences, harmonic sequence types, modulations, formal sections, and musical forms.Hearing Form is supported by an integrated workbook section, its own full-score anthology, and a companion website containing an instructorâs manual, test bank, and audio streaming and downloads of recordings for the pieces in the anthology.Key updates in the third edition include: Treatment of phrases and cadences now allows the book to be used by both instructors who teach that all phrases end with cadences and those who teach that some phrases do not New pieces added to the anthology widen the range of compoTable of ContentsChapter 1: Phrases and Cadences / Chapter 2: Phrase Organization / Chapter 3: One-Part, Binary, and Ternary Forms / Chapter 4: Sonata Forms / Chapter 5: Variation Forms / Chapter 6: Imitative Forms / Chapter 7: Concerto Forms / Chapter 8: Rondo Forms / Appendix I: Formal Models / Appendix II: Making a Phrase Diagram / Appendix III: Reading a Transposing Score / Appendix IV: Answers to Self-Tests / Bibliography / Index / Workbook for Hearing Form
£41.79
University of California Press Sovereign Feminine
Book SynopsisIn the German states in the late eighteenth century, women flourished as musical performers and composers, their achievements measuring the progress of culture and society from barbarism to civilization. This title restores this earlier musical history and explores the role that women played in the development of classical music.Trade Review"A significant book, which usefully applies gender studies to a previously neglected period of music history." -- Laura Hamer Women's History Review "Head's contribution is most welcome ... for the light that it sheds on a cultural field that was every bit as significant as literature and art." -- Joachim Whaley German History "Well-written and engaging ... a significant contribution to the musicological discourse on gender." Notes "A work filled with wisdom about the "strangeness of the past" ... [a] splendid book." -- Celia Applegate Journal of Modern HistoryTable of ContentsList of Illustrations Preface and Acknowledgments Introduction: Fictions of Female Ascendance 1. Europe's Living Muses: Women, Music, and Modernity in Burney's History and Tours 2. "If the pretty little hand won't stretch": Music for the Fair Sex 3. Charlotte ("Minna") Brandes and the Beautiful Dead 4. An Evening in Tiefurt: Corona Schroter's Die Fischerin and Vegetable Genius 5. Sophie Westenholz and the Eclipse of the Female Sign 6. Beethoven Heroine: A Female Allegory of Music and Authorship in Egmont Conclusion Appendix: Johann Friedrich Reichardt, Two Prefaces to the Fair Sex Notes Bibliography Index
£56.80
University of California Press The Castrato
Book SynopsisAn exploration of why innumerable boys were castrated for singing between the mid-sixteenth and late-nineteenth centuries. It shows that the entire foundation of Western classical singing, culminating in bel canto, was birthed from an unlikely and historically unique set of desires, public and private, aesthetic, economic, and political.Trade Review"Rich in scholarship and filled with subtle analysis." -- Colm Toibin London Review of Books "This is a remarkable book... An impressive achievement." -- Nicholas Clapton Early Music "Meticulously researched, beautifully written and richly illustrated ... In this book, as erudite as it is gripping, there is little to criticize." Cultural History "?Feldman's high-mindedness? ... ?allows her to investigate this most easily sensationalized of topics with subtlety, taste and doses of scholarship that are not suffocatingly encyclopedic?... ?If you love singing there's every reason to read The Castrato?.?" -- Tim Pfaff The Bay Area ReporterTable of ContentsPreface Note on Textual Transcription, Translations, Lexicon, and Musical Nomenclature PART ONE. Reproduction 1. Of Strange Births and Comic Kin Appendix to Chapter 1 2. The Man Who Pretended to Be Who He Was PART TWO. Voice 3. Red Hot Voice 4. Castrato De Luxe PART THREE. Half-light 5. Cold Man, Money Man, Big Man Too 6. Shadow Voices, Castrato and Non Acknowledgments Abbreviations Notes Bibliography List of Illustrations Index
£25.50
Faber & Faber The Faber Pocket Guide to Bach Pocket Guide Music
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
£10.44
Faber & Faber Schumann
Book SynopsisSchumann: The Faces and the Masks is a groundbreaking account of a major composer whose life and works have been the subject of intense controversy ever since his attempted suicide and early death in an insane asylum. Schumann was a key figure in the Romanticism which swept Europe and America in the 19th century, inspiring writers, musicians and painters, delighting their enthralled audiences, and reaching to the furthest corners of the world. All the contradictions of his age enter Schumann's works, from the fantastic disguises of his carnival masquerades and his passionate love songs to his great 'Spring' and 'Rhenish' Symphonies. He was intensely original and imaginative, but he also worshipped the past-especially Shakespeare and Byron, Raphael and Michelangelo, Beethoven and Bach. He believed in political, personal and artistic freedom but struggled with the constraints of artistic form. He turned his tumultuous life into music that speaks directly to the heart, losing n
£13.49
Faber & Faber Quartet
Book Synopsis*WINNER OF THE ROYAL PHILHARMONIC SOCIETY STORYTELLING AWARD**SHORTLISTED FOR THE SLIGHTLY FOXED BEST FIRST BIOGRAPHY PRIZE 2023*The lives, loves, adventures and trailblazing musical careers of four extraordinary women from a stunning debut biographer.''Fabulous.'' Sunday Times ''A rare gift.'' Financial Times ''Passionate ... Vivid ... Timely.'' Telegraph ''Readable and inspiring.'' Guardian ''Compelling ... Ambitious ... Poignant.'' Spectator ''Magnificent.'' Kate Mosse ''Riveting.'' Antonia Fraser ''A breath of fresh air.'' Kate Molleson ''Fascinating.'' Alexandra Harris ''Wonderful.'' Claire Tomalin ''Splendid.'' Miranda Seymour ''Remarkable.'' Fiona Maddocks ''Pioneering.'' Andrew Motion ''Brilliant'' Helen PankhurstEthel Smyth (b.1858): Famed for her operas, this trailblazing queer Victorian
£18.00
Faber & Faber Times Echo
Book Synopsis
£10.44
Faber & Faber Sergey Prokofiev Diaries 19241933
Book SynopsisThe third and final volume of Prokofiev's Diaries covers the years 1924 to 1933 when he was living in Paris. Intimate accounts of the successes and disappointments of a great creative artist at the heart of the European arts world between the two world wars jostle with witty and trenchant commentaries on the personalities who made up this world. The Diaries document the complex emotional inner world of a Russian exile uncomfortably aware of the nature of life in Stalin's Russia yet increasingly persuaded that his creative gifts would never achieve full maturity separated from the culture, people and land of his birthplace. Since even Prokofiev knew that the USSR was hardly the place to commit inner reflections to paper, the Diaries come to an end after June 1933 although it would be another three years before he, together with his wife and children, finally exchanged the free if materially uncertain life of a cosmopolitan Parisian celebrity for Soviet citizenshiTrade Review'The third and final instalment of Prokofiev's diaries . . . in AnthonyPhillips's excellently clear translation . . . These diaries are addictive andthe effect of not seeing the life through his eyes anymore is a wrench . . . Astupendous work.' - Alexander Waugh, Literary Review'Should appeal well beyond Prokofiev's immediate fan base to readers intriguedby the siren song of Christian Science and / or sympatheticoutsider's take on the Diaghilev set.' - David Gutman, Gramphone
£34.00
Harvard University Press Bach and the Patterns of Invention
Book SynopsisIn this major new interpretation of the music of J. S. Bach, we gain a striking picture of the composer as a unique critic of his age. By reading Bach’s music “against the grain” of contemporaries, Laurence Dreyfus explains how Bach’s approach to musical invention posed a fundamental challenge to Baroque aesthetics.Trade ReviewLaurence Dreyfus’s Bach and Patterns of Invention…is the first study in some time to deal above all with the reasons that music lovers ought to listen to him or play him. Dreyfus’s writing is clear and entertaining…and the advantage of [his] approach to Bach is that it makes us listen to his work as he himself listened to the music of his contemporaries, and as they would have listened to his. It does not claim to read the composer’s mind, but it reconstructs some of the processes through which he had to go to compose in each case, and it does so by referring to aural experience, leaving questions of ideology and doctrine temporarily on the side. -- Charles Rosen * New York Review of Books *Johann Sebastian Bach is not the easiest of composers to write about, for his music can often seem so perfect that it renders description irrelevant. But Bach and the Patterns of Invention, by Laurence Dreyfus, a…totally absorbing study of Bach’s processes of composition, is written with a clarity appropriate to a discussion of his music and with an enthusiasm that immediately communicates itself. -- Charles Osborne * Daily Telegraph *An original and detailed appraisal of Bach’s achievement… Much of this book is concerned with detailed analysis that tries to illuminate, and at least to some extent to recreate, Bach’s processes of composition. The result is the uncovering of processes that appear somewhat messy but are convincingly real. This is a fundamentally imaginative approach to analysis, involving as it does speculations about the order in which the inventions of the piece were composed and the role of procedures that were started by the composer but destined for only partial success due to the grammar of tonal music… Dreyfus’s ideas should be of interest to anyone interested in exploring new ways of understanding 18th-century music. -- Barry Mitchell * Times Higher Education Supplement *Dreyfus’s new analytical study of Bach’s processes of composition…challenges received ideas about what constitutes a style, a form and a genre in Bach’s music, showing how the composer’s individuality stems largely from his writing ’against the grain’. Dreyfus’s book is not always easy, and neither is Bach’s music, but few readers—even the more general—of the former will be left without a better understanding of the latter. -- Malcolm Boyd * BBC Music Magazine *[Bach and Patterns of Invention] stands head and shoulders above anything else in the field of post-war Bach criticism… Dreyfus believes that the human side of the compositional process is what must interest us about Bach, the sense of an intelligence adhering strictly to the rules he considered God-given, while freely abusing those that his contemporaries held dear. In this way we might attain a sense of the very historical nature of Bach’s music—not merely the generic and formal similarities within the idioms of his age (often the principal object of modern scholarship), but particularly the way in which the composer went against the grain of his age. -- John Butt * Early Music *Dreyfus is concerned with how Bach thought in music, but from that deduces some idea of how he thought about music. A stimulating book. * Early Music Review *This brilliant book sets out to answer one of the enduring mysteries of music, namely, what was the compositional method that allowed Bach to write such a vast quantity of music of such surpassing quality?… It’s a moving and convincing picture of Bach, and a thoroughly original one, delivered in lucid prose in which close argumentation is often capped by an illuminating metaphor. Like Bach’s music, it is rhetorical in the best sense. -- Ivan Hewett * Music Times *
£25.46
University of Nebraska Press Musica Poetica
Book SynopsisProvides an unprecedented examination of the development of Baroque musical thought. Bartel’s clear, detailed analysis of German Baroque musical-rhetorical figures, combined with his careful translations of interpretations of those figures from a wide range of sources, make this book an indispensable introduction and resource for all students of Baroque music.Trade Review"[Musica Poetica] represents a very useful tool, and, indeed, a very useful book."—Vassilis Vavoulis, Eighteenth Century Current Bibliography
£59.40
Pan Macmillan Handel in London: The Making of a Genius
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
£12.34
ECW Press,Canada The Secret Life Of Glenn Gould
Book Synopsis
£20.39
Boydell & Brewer Ltd Claude Debussy
Book Synopsis
£26.09
Boydell & Brewer Ltd Music at German Courts, 1715-1760: Changing
Book SynopsisMusic at German Courts serves to illustrate the extraordinary diversity of eighteenth-century German court music establishments without losing sight of what these Kapellen had in common. What was musical life at German courts really like during the eighteenth century? Were musical ensembles as diverse as the Holy Roman Empire's kaleidoscopic political landscape? Through a series of individual case studies contributed by leading scholars from Germany, Poland, the United States, Canada, and Australia, this book investigates the realities of musical life at fifteen German courts of varied size (ranging from kingdoms to principalities), religious denomination, and geographical location. Significant shifts that occurred in the artistic priorities of each court are presented through a series of "snapshots"- in effect "core sample" years - which highlight both individualand shared patterns of development and decline. What emerges from the wealth of primary source material examined in this volume is an in-depth picture of music-making within the daily life of individual courts, featuring a cast ofmusic directors, instrumentalists, and vocalists, together with numerous support staff drawn from across Europe. Music at German Courts serves to illustrate the extraordinary diversity of eighteenth-century German court music establishments without losing sight of what these Kapellen had in common. SAMANTHA OWENS is Associate Professor in Musicology at the University of Queensland, Brisbane, Australia. BARBARA M. REUL is Associate Professor of Musicology at Luther College, University of Regina, Canada. JANICE B. STOCKIGT is a Principal Fellow of the University of Melbourne, Australia. Contributors: DIETER KIRSCH, URSULA KRAMER, MICHAEL MAUL, MARYOLESKIEWICZ, SAMANTHA OWENS, RASHID-S. PEGAH, BÄRBEL PELKER, BARBARA M. REUL, WOLFGANG RUF, BERT SIEGMUND, JANICE B. STOCKIGT, MICHAEL TALBOT, RÜDIGER THOMSEN-FÜRST, ALINA ZORAWSKA-WITKOWSKA, STEVEN ZOHNTrade ReviewUltimately, this book is to be highly recommended: it will make a valuable and indispensable addition to the libraries of both scholars of eighteenth-century music and those from other disciplines who want to expand their knowledge of the role of music [...] in the self-fashioning and sustenance of European monarchic structures. * NOTES *This book is one of the most important contributions to our understanding of the context of the music most familiar to musicians and concert-goers today. [...] The editors have gathered an expert team; their own contributions are paradigms of accessibility. I commend this important book to every serious musician's book shelf. * STRINGENDO *The editors of this volume are [...] to be congratulated on assembling a systematically organized collection of essays by an impressive international panel of scholars, each of whom is an expert on a particular court and its archival sources. [...] It includes much new and occasionally surprising information, and a substantial amount of material made available in English for the first time. * MUSICOLOGY AUSTRALIA *The detail presented in this book is remarkable [...] a useful book which extends our knowledge of courtly music-making in Germany during this time, and it will undoubtedly be of value to scholars of the period. * THE CONSORT *[A] valuable resource for any historical musicologist investigating this extraordinarily productive and fascinating period of German music history, and I hope it encourages and enables more research in this area, and ultimately more performances of its many forgotten treasures. * CONTEXT *[T]he treasures in [the book's] 500 pages will satisfy a whole range of other music historical interests for years to come. The personnel lists, mini biographies and sheer number of name references to rulers and the musicians in their employ are invaluable. * MUSICAL TIMES *[A] fascinating picture emerges of the birth and nurture of a rich musical tradition which continues today in democratic form with the unequalled wealth of German musical performance in virtually every German town. * CLASSICAL MUSIC *[T]his valuable book provides a reliable source of information for anyone interested in 18th-century music in Germany. [...] there is an abundance of knowledge here from which everyone can draw. * EARLY MUSIC REVIEW *
£36.95
Boydell & Brewer Ltd Beethoven's Conversation Books Volume 2: Nos. 9
Book SynopsisA complete new edition of Beethoven's conversation books, now translated into English in their entirety for the first time, covering a period associated with the revolutionary style of what we call "late Beethoven". Ludwig van Beethoven (1770-1827) is recognized the world over as a composer of musical masterpieces exhibiting heroic strength, particularly in the face of his increasing deafness from ca. 1798. By 1818, the Viennese composer hadbegun carrying blank booklets with him, for his acquaintances to jot their sides of conversations, while he answered aloud. Often, he himself used the pocket-sized booklets to make shopping lists and other reminders, including occasional early sketches for his compositions. Today, 139 of these booklets survive, covering the years 1818 up to the composer's death in 1827 and including such topics as music, history, politics, art, literature, theatre, religion, and education as perceived on a day-to-day basis in post-Napoleonic Europe. An East German edition, begun in the 1960s and essentially complete by 2001, represents a diplomatic transcription of these documents. It is a masterpiece of pure scholarship but is difficult to use for anyone who is not a specialist. Moreover, Beethoven scholarship has moved on significantly since the long-ranging genesis of the German edition. These important booklets arehere translated into English in their entirety for the first time. The volumes in this series include an updated editorial apparatus, with revised and expanded notes and many new footnotes exclusive to this edition, and brand newintroductions, which together place many of the quickly changing conversational topics into context. Due to the editor's many years of research in Vienna, his acquaintance with its history and topography, as well as his familiarity with obscure documentary resources, this edition represents an entirely new venture in source studies - vitally informative for scholars not only in music but also in a wide variety of disciplines. At the same time, these oftenlively and compelling conversations are now finally accessible for the English-speaking music lover or history buff who might want to dip into them and hear what Beethoven and his friends were discussing at the next table. THEODORE ALBRECHT is Professor of Musicology at Kent State University, Ohio.Trade Review[T]hese volumes are welcome additions to the literature. They contain much of value for those interested in the last decade of Beethoven's life, particularly concerning his social circle, his daily routine, and his ideas and beliefs. One can only hope that the remaining ten volumes are published soon. -- Marten Noorduin * NOTES, THE QUARTERLY JOURNAL OF THE MUSIC LIBRARY ASSOCIATION *Featured in the10 must-read books for Beethoven 250, * BBC MUSIC MAGAZINE *There are several more interesting musical jottings.including several sketches for parts of the Missa Solemnis as well as numerous canons, often to scurrilous lyrics...Another rather poignant aspect of volume 2 is the appearance in the conversation books of Beethoven's poor nephew Karl...monologues also show that Beethoven was extremely interested in contemporary European politics and events...Boydell Press are again much to be thanked for their involvement in the publication of these fascinating documents which reveal so much about the composer. * THE CONSORT *A heroic feat of scholarship...these truncated conversations are extraordinary revealing. * BBC MUSIC MAGAZINE *A brilliantly accessible piece of scholarship. . . . As they flash from scene to scene, with a huge cast of characters taking turns in the spotlight, these extraordinary little books read like a film script, with a laconic but massive presence at its heart. It's a goldmine for music historians, and a riveting saga for the rest of us. -- Michael Church * BBC Music Magazine *Table of ContentsHeft 9 (March 11, 1820 - March 19, 1820) Heft 10 (March 20, 1820 - ca. April 1, 1820) Heft 11 (April 1, 1820 - April 14, 1820) Heft 12 (ca. April 18, 1820 - April 29, 1820) Heft 13 (May 1 or 2, 1820 - May 10, 1820) Heft 14 (ca. June 2, 1820 - ca. July 4, 1820) Heft 15 (ca. July 7/8, 1820 - August 19, 1820) Heft 16 (ca. August 25, 1820 - mid-September, 1820) Appendix A: Descriptions of the Conversation Books in Volume 2 Bibliography
£40.50
Boydell & Brewer Ltd Richard Wagner in Paris: Translation, Identity,
Book SynopsisHow did Wagner's experiences in Paris influence his works and social character? And how does his sometime desire for recognition by the French cultural establishment square with his German national identity and with the related idea of a universally valid art? Friedrich Nietzsche more than once claimed that Wagner's only true home was in Paris. This book is the first major study to trace Wagner's relationship with Paris from his first sojourn there (1839-1842) to the Paris Tannhäuser (1861). How did Wagner's experiences in Paris influence his works and social character? How does his sometime desire for recognition by the French cultural establishment square with his German national identity and with the related idea of a universally valid art? This book presents Wagner's perennial ambition of an international operatic success in the "capital city of the nineteenth century" and the paradoxical consequences of that ambition upon its failure. Through an examination of previously neglected source materials, the book engages with ideas in the so-called "Wagner debate" as an ongoing philosophical project that tries to come to terms with the composer's Germanness. The book is in three main parts arranged broadly in chronological sequence. The first considers Wagner's earliest years in Paris, focusing on his own French-language drafts of Das Liebesverbot and Der fliegende Holländer. The second part explores his stance towards Paris "at a distance" following his return to Saxony and subsequent political exile. Arriving at Wagner's most often discussed "Paris period" (1859-61), the third part interrogates the concert performances under the composer's direction at the Théâtre-Italien and revisionist aspects of their reception. JEREMY COLEMAN is Lecturer in Music in the School of Performing Arts, Universityof Malta.Trade ReviewOriginal, valuable and highly absorbing, especially where it unpacks new and exhilarating discourses from fields other than musicology...a fascinating story. * THE WAGNER JOURNAL *The Parisian part of Wagner's journey is just that - a part - and Jeremy Coleman persuades us that it's not just a part that matters, but a part without which the whole could have been very different. -- Arnold Whittall * MUSICAL TIMES *Coleman's study provides a significant contribution to Wagner Studies. Setting aside established forms of reception history, some of which have sought to present the composer's relationship with Paris in the potentially reductionist terms of rivalry and ambition, Coleman instead foregrounds Wagner's intentions as seen through his music. What emerges instead . . . is a focused, precise and geographically inspired portrait of the composer in the city. -- Michael Craske * VOLUPTÉ: INTERDISCIPLINARY JOURNAL OF DECADENCE STUDIES *Table of ContentsIntroduction: Wagner Against the Grain Part I. Paris Years, 1839-1842 1. Through Babel's Arcades: Early Entanglements 2. Translating German Opera: Le Freyschütz Part II. Dresden and Zurich, 1843-1852 3. "...in ein fernes Land": German Identity Between Paris and Dresden 4. Exile, Internationalism and Media After the Revolution Part III. Paris Years, 1859-1861 5. Wagner Without Theatre: Aporias of Translation 6. All About Venus: Another Look at the "Paris" Tannhäuser Conclusion: Universality at the Crossroads Bibliography
£66.50
Boydell & Brewer Ltd British Music, Musicians and Institutions, c.
Book SynopsisBuilding upon the developing picture of the importance of British music, musicians and institutions during the eighteenth century, this book investigates the themes of composition, performance (amateur and professional) and music-printing, within the wider context of social, religious and secular institutions. British music in the era from the death of Henry Purcell to the so-called 'Musical Renaissance' of the late nineteenth century was once considered barren. This view has been overturned in recent years through a better-informed historical perspective, able to recognise that all kinds of British musical institutions continued to flourish, and not only in London. The publication, performance and recording of music by seventeenth- and eighteenth-century British composers, supplemented by critical source-studies and scholarly editions, shows forms of music that developed in parallel with those of Britain's near neighbours. Indigenous musicians mingled with migrant musicians from elsewhere, yet there remained strands of British musical culture that had no continental equivalent. Music, vocal and instrumental, sacred and secular, flourished continuously throughout the Stuart and Hanoverian monarchies. Composers such as Eccles, Boyce, Greene, Croft, Arne and Hayes were not wholly overshadowed by European imports such as Handel and J. C. Bach. The present volume builds on this developing picture of the importance of British music, musicians and institutions during the period. Leading musicologists investigate themes such as composition, performance (amateur and professional), and music-printing, within the wider context of social, religious and secular institutions.Table of ContentsIntroduction - Peter Lynan and Julian Rushton Part I. Performers and Performance Style 1. Henry, Elizabeth, and George: New Light on Music at Wilton House in the 1770s - Peter Holman 2. Wilhelm Cramer, the Professional Concert, and the Foundation of the Modern Symphony Orchestra - Simon McVeigh 3. Thomas Vincent (1723-1798): Oboist, Composer, and Entrepreneur - Michael Talbot 4. J. C. Bach and the 'true Organ Style': Propriety and Impropriety in Eighteenth-Century English Organ Music - Peter Lynan Part II. Composers and Secular Institutions 5. Henry Purcell's Mad Songs in the Theatre and Concert Rooms in the Eighteenth Century - Olive Baldwin and Thelma Wilson 6. From 'Fowle Originall' to 'Printed for the Author': The Autograph Score of William Croft's 'Laurus cruentas' - Alan Howard 7. James Lates of Oxford and his Sixteen Minuets - Susan Wollenberg 8. William Hayes (1708-1777), Professor of Music - Simon Heighes Part III. Sacred Music and Institutions 9. Music and Musicians at Westminster Abbey, 1685-1760 - Tony Trowles 10. Catholic Church Music in Eighteenth-Century Britain - John Caldwell 11. Precedents for the Symphony Anthem: British Library Additional Manuscript 31434 and the Court of Charles I - Jonathan P. Wainwright Part IV. Dissemination: Printing and Publishing 12. 'You can't have it of Smith except you'll have it wrote out on Purpose': Eighteenth-Century Copyists of Handel's Music in London and the 'Smith Scriptorium' - Donald Burrows 13. The Earliest Surviving Engraved Music Plates? - Peter Ward Jones and Kelly Domoney Epilogue: Musica Britannica and the Eighteenth Century - Julian Rushton Harry Diack Johnstone: A Tribute Bibliography of the Works of Harry Diack Johnstone Index
£76.00
Boydell & Brewer Ltd Emma and Claude Debussy: The Biography of a
Book SynopsisEmma Bardac and her relationship with Claude Debussy take centre stage in this insightful exploration of their lives together. The singer Emma Bardac (1862-1934) has often been presented as a woman who ensnared Claude Debussy (1862-1918) because she wanted to be associated with his fame and to live a life of luxury. Indeed, in many biographies and composer-related studies of Debussy, the only mentions that she receives are brief and derogatory. Here Emma Bardac and her relationship with the composer take centre stage. The book traces Emma's Jewish ancestry and her background, the significant role of her wealthy uncle Osiris, her marriage at seventeen to the wealthy Jewish banker Sigismond Bardac, her affair with Gabriel Fauré and her liaison with and subsequent marriage to Debussy. As Gillian Opstad shows, the pressure and stifling effects of domestic life on Debussy's attitude to his composing were considerable. The financial consequences of their partnership were disastrous, and their circle of close friends was small. Emma suffered physically and mentally from the tensions of the marriage, particularly money worries, and the possibility that Debussy was attracted to her older daughter. She considered divorce but supported him through his deepest depression and during the First World War until he succumbed to cancer in 1918. After Debussy's death, Emma felt driven both on his behalf and for financial reasons to further performances of the composer's works and provoked the annoyance of other musicians by having early compositions resurrected, completed and performed. In this engagingly written biography, Gillian Opstad brings to light little-known facts about Emma's background and family, advances new insights into her relationship with Debussy, and provides a glimpse of an early twentieth-century Parisian milieu that experienced wide-spread antisemitism.Trade ReviewGillian Opstad's tireless research has here produced a genuine addition to Debussy studies, based on the substantial correspondence between the couple . . . plus copious contemporary documentation. Four stars. -- Malcolm Hayes * BBC MUSIC MAGAZINE *Her examination of Debussy's friendship with Gabriele d'Annunzio and the history of Le Martyre de Saint Sébastien is more thorough than in any biography of either man that I know. . . . Above all, this is a moving and exacting study of a woman who ultimately stood by [Debussy] for the last 16 years of his life, and as such adds immeasurably to our understanding of them both. -- Tim Ashley * GRAMOPHONE *Opstad presents an in-depth account of the relationship between the French composer and his second wife, Emma Bardac. . . . Opstad humanizes Bardac (a professional singer) as a woman committed to her musician husband despite the difficulties that pervaded their ten-year marriage. . . . Meticulous, comprehensive, and well researched, this volume paints a vivid picture of a woman who had previously been a mere footnote in the history of her famous husband. Highly recommended. -- J. J. Leary-Warsaw * CHOICE *Opstad's book is a welcome addition to the literature on Debussy and his family life. Not only does it illuminate many significant details about Emma's background and early experiences, but it also traces the subsequent lives of her surviving children Raoul and Dolly and their families. -- Marie Rolfe * H-FRANCE REVIEW *Table of ContentsList of Illustrations Acknowledgements Abbreviations and note Part One. Emma: Wife, Mother, Lover 1) Emma's ancestry and background 2) Emma's relationship with Gabriel Fauré 3) Debussy's life until 1902 4) Emma meets Debussy. 1899 - August 1904 5) August 1904 - August 1905. Pourville and Eastbourne. 6) August 1905 - December 1906. Life in the Avenue du Bois de Boulogne 7) 1907. Stagnation 8) 1908. Marriage and an ivory tower 9) 1909. Illness and depression 10) 1910. Floods and despair 11) 1911. A marriage and Le martyre 12) 1912. Confined to home 13) 1913. Troubles and travels 14) 1914. The approach of war 15) 1915. Patriotism and love awakened 16) 1916. Debussy's treatment and mounting concerns 17) 1917 - April 1918. The last summer Part Two. Emma the Widow 18) April 1918 - Dec. 1918. Emma's mission 19) 1919. Tragedy and commemoration 20) 1920-1921. Disappointments and disputes 21) 1922-1923. Fiascos and controversies 22) 1924-1927. Friends and enemies 23) 1928-1931. Litigation and invective 24) 1932-1934. The final struggle 25) Epilogue Select Bibliography
£45.00
Flame Tree Publishing Classical Music Encyclopedia: New & Expanded
Book SynopsisThe Classical Music Encylopedia, now fully updated, traces the development of Western music from medieval times through to the twenty-first century. Each chapter begins with an Introduction to the era, followed by an A to Z of the key composers and musicians of the era, with an expert's recommended recording for each entry. Within these, the musical greats – from Mozart to Stravinksy – have more extensive entries. The Styles and Forms sections discuss the many different styles of music, from the earliest notation to the minimalism of the twentieth century, while the development of each era's Instruments is also extensively investigated. Written by many of the world's leading experts in the field, this invaluable encyclopedia is comprehensive, easy-to-use and highly informative – an essential guide for readers of all levels.
£16.00
Elliott & Thompson Limited In Search of Beethoven
Book Synopsis
£20.00
Vintage Publishing Absolutely on Music: Conversations with Seiji
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 *
£10.44
Bloomsbury Publishing PLC Messiah
Book SynopsisIn 1741, in just 24 days, the German-born, British-naturalized composer George Frideric Handel wrote an oratorio rich in tuneful arias and choruses of robust grandeur. Coolly received in London at first, after Handel's death Messiah enjoyed an extraordinary surge in popularity: it was performed at festivals across England; other composers rushed to rearrange it; it would be commercially recorded on more than 100 occasions. Jonathan Keates tells the story of the composition and musical afterlife of Handel's masterpiece: he considers the first performances and its place in Handel's output; he looks at the oratorio itself and its relationship with spirituality in the age of the Enlightenment; and he examines why Messiah became such an essential element in the national culture of Britain. Illustrated with beautiful images, including the original score of the work, Messiah is a richly informative and affectionate celebration of a high-point of Britain's Georgian golden age.Trade ReviewSimmers with an unashamed passion for the music itself * Sunday Telegraph *Keates appraises his works with passionate scrutiny * The Sunday Times *A brilliantly lucid guide to Handel's evolving art * Independent *
£9.49
Atlantic Books The Gilded Stage: A Social History of Opera
Book SynopsisThe Gilded Stage is a comprehensive tour of the world of opera. From its origins in the courts of northern Italy, to its internationally recognised position in modern culture, Snowman explores the social history of opera houses and impresarios, composers and patrons, artists and audiences. Even the most flamboyant composers could scarcely have imagined the global reach of opera in our own times. More opera is performed, financed, seen, heard, filmed and broadcast than ever before, and the world's leading performers are worshipped and paid like pop stars. Yet the art form is widely derided as 'elitist' and parts of the classical recording business appear close to bankruptcy. Pinpointing the scandals, forgotten history and key revolutions in the form with light erudition and a brilliant anecdotal eye, Daniel Snowman reveals that the world of opera has always known crisis and uncertainty - and the resulting struggles have often proved every bit as dramatic as those portrayed onstage.Trade Review'A mighty achievement, by far and away the best history of opera available.' Tim Blanning, Literary Review
£22.50
Boydell & Brewer Ltd European Music, 1520-1640
Book SynopsisAn authoritative survey of music and its context in the Renaissance. The sixteenth and early seventeenth centuries - the so-called Golden Age of Polyphony - represent a time of great change and development in European music, with the flourishing of Orlando di Lasso, Palestrina, Byrd, Victoria, Monteverdi and Schütz among others. The chapters of this book, contributed by established scholars on subjects within their fields of expertise, deal with polyphonic music - sacred and secular, vocal and instrumental - during this period. The volume offers chronological surveys of national musical cultures (in Italy, France, the Netherlands, Germany, England, and Spain); genre studies (Mass, motet, madrigal, chanson, instrumental music, opera); and is completed with essays on intellectual and cultural developments and concepts relevant to music (music theory, printing, the Protestant Reformation and the corresponding Catholic movement, humanism, concepts of "Renaissance" and "Baroque"). It thus provides a complete overview of the music and its context. Contributors: GARY TOMLINSON, JAMES HAAR, TIM CARTER, GIULIO ONGARO, NOEL O'REGAN, ALLAN ATLAS, ANTHONY CUMMINGS, RICHARD FREEDMAN, JEANICE BROOKS,DAVID TUNLEY, KATE VAN ORDEN, KRISTINE FORNEY, IAIN FENLON, KAROL BERGER, PETER BERGQUIST, DAVID CROOK, ROBIN LEAVER, CRAIG MONSON, TODD BORGERDING, LOUISE K. STEIN, GIUSEPPE GERBINO, ROGER BRAY, JONATHAN WAINWRIGHT, VICTOR COELHO, KEITH POLKTrade ReviewA fine achievement. * THE CONSORT *Offers a selection of essays by many of the leading figures in the field of Renaissance music history, creating a mosaic in a carefully thought-out pattern of viewpoints and topics. The single contributions are excellent. * EARLY MUSIC *A fine book. [...] This civilised volume is highly recommended [and] excellent in content. * EARLY MUSIC REVIEW *This is an extremely useful addition to music historiography that will both aid students and provide many insights to the more general reader who feels in need of an over-arching survey of the period. -- Brian Robins * GOLDBERG *A lively and scholarly account of the multiple complexities and paradoxes that characterise this period...compelling reading with hitherto neglected areas at last gaining accessible recognition. * EARLY MUSIC TODAY *Table of ContentsRenaissance Humanism and Music - Gary Tomlinson The Concept of the Renaissance - James Haar The Concept of the Baroque - Tim Carter Italy [i], 1520-1560 - Giulio Ongaro Music in Italy [ii], 1560-1600 - T Noel O'Regan Ital [iii], 1600-1640 - Tim Carter Music for the Mass - Allan Atlas The Motet, 1520-1640 - Anthony Cummings Music in France [i], 1520-1560 - Richard Freedman France [ii], 1560-1600 - Jeanice Brooks French Music in the Early Seventeenth Century - David Tunley Chanson, 1520-1640 - Kate Van Orden Madrigal - James Haar The Netherlands [i], 1520-1560 - Kristine Forney The Netherlands [ii], 1560-1600 - Kristine Forney The Netherlands [iii], 1600-1640 - Kristine Forney Music, Print and Society in Sixteenth-Century Europe - Iain Fenlon Concepts and Developments in Music Theory - Karol Berger German Music [i], 1520-1560 - Peter Bergquist German Music [ii], 1560-1600 - Peter Bergquist Germany and Central Europe, 1600-1640 - David Crook The Reformation and Music - Robin Leaver Renewal, Reform, and Reaction in Catholic Music - Craig Monson Spain [i-ii], 1530-1600 - Todd Borgerding and Louise K Stein Spain [iii], 1600-1640 - Louise K Stein Early Opera: the Initial Stage - Iain Fenlon Music in England before 1560 - Roger Bray Music in England [ii], 1560-1600 - Roger Bray English Music, 1603-1642 - Jonathan Wainwright Instrumental Music in Europe, 1520-1640 - Victor Coelho and Keith Polk
£31.49
Springer-Verlag Berlin and Heidelberg GmbH & Co. KG Im Taumel der Zwanziger: 1923: Musik in einem
Book SynopsisIn den 1920er-Jahren gerät nicht nur die Welt, sondern auch die Musik und das Musikleben ins Taumeln: zwischen Krise und Krieg, Abschottung und Austausch, dem resignativen Blick zurück und neuer Dynamik. Wie eng Musik und Gesellschaft miteinander verflochten sind, zeigt das Jahr 1923. Geprägt ist es durch Geschehnisse, Debatten und Entwicklungen, die uns auch heute noch beschäftigen.Im besetzten Ruhrgebiet wird Musik zu einem Mittel des politischen Kampfes; in der von der Hyperinflation erschütterten Weimarer Republik verschärft sich die Krise des Konzertlebens und der Kartenpreis steigt im Herbst auf 200 Milliarden Mark; in den USA machen afroamerikanische Blues- und Jazz-Größen wie Bessie Smith, oder Louis Armstrong im Rahmen der sogenannten „race records“ ihre ersten Schallplattenaufnahmen; In Wien vollendet Arnold Schönberg seine ersten zwölftönigen Werke; In Paris schockiert Igor Strawinsky die Avantgarde mit seinem neoklassizistischen Bläseroktett und in Budapest setzt Béla Bartók mit seiner Tanz-Suite ein musikalisches Zeichen gegen den Nationalismus. Im Berliner Voxhaus wird mit der Ausstrahlung der ersten Funkstunde auf dem Höhepunkt der politischen und ökonomischen Krise das Zeitalter des öffentlichen Rundfunks in Deutschland eingeläutet.- Das Buch von Tobias Bleek erzählt auf faszinierende Weise, wie die Musik in das kulturelle, gesellschaftliche und politische Leben dieses Jahres der Extreme eingebettet ist.Trade Review“... Wie vielfältig und dramatisch die politischen Ereignisse in Europa um das Jahr 1923 waren und wie heterogen gleichzeitig künstlerische Strömungen, Trends und Erfindungen, das weiß dieses Buch beeindruckend zu schildern.” (Hans Georg Nicklaus, in: OE1, oe1.ORF.at, 22. September 2023)“... Tobias Bleek hat diese belangvollen Ereignisse und wegweisenden Innovationen sorgfältig und gründlich untersucht und bis aufs Einzelne zu Papier gebracht. Doch damit nicht genug. Denn darüber hinaus setzt er sie in einen Kontext zu den politischen, gesellschaftlichen und wirtschaftlichen Geschehnissen als da sind etwa Migration, Antisemitismus, Rassismus und Militarismus. Des Weiteren zeigt er auf, welche Wirkung sie auf die Musiker, Komponisten und deren Kompositionen ausübten. … Flüssig und allgemeinverständlich ist der Band verfasst und ist somit eine fesselnde Lektüre.” (Hartmut Sassenhausen, in: O-Ton, o-ton.online, 18. August 2023)“... Das anregende, elegant geschriebene Buch legt die erhebliche Wechselwirkung zwischen Musik, Gesellschaft und Politik dar. Diese Fundgrube für musik- wie historisch Interessierte mit Literaturverzeichnis, zahlreichen Anmerkung und einem Register wird dringend empfohlen.” (Johannes Vesper, in: Musenblätter, musenblaetter.de, 15. August 2023)“... Bleeks Buch liest sich nicht nur wie ein (dazu präzise mit historischen Aufnahmen bebilderter) Roman, sondern ist darüber hinaus pointiert und witzig. … Der Zoom von «allgemeiner» Geschichte im Großen zur Musik im Kleinen»: Er funktioniert an jeder Stelle dieses vergnüglich zu lesenden und doch intensiv immersiven Buches. Dabei holt Bleek den Leser immer von der Haltestelle richtig vermuteten Vorwissens ab ...” (Arno Lücker, in: Opernwelt, August 2023)“Noch ein Band zu den Zwanzigern? – ja, diesen gern! … eine sehr lebendige Kulturgeschichte zu einer Zeit, die nicht nur musikalisch in alle denkbaren Richtungen explodierte.” (Michael Wackerbauer, in: Neue Musikzeitung, Juni 2023) “... Endlich gibt es eines der beliebten „Jahresbücher“ auch für die Musik. ... Bleek behandelt das krisenhafte Umbruchsjahr zum einen sehr strukturiert ... Zum enorm sinnlichen Erlebnis wird die Lektüre zum anderen durch „eine Vielzahl historischer Quellen: Briefe, Tagebücher und andere private Aufzeichnungen, Artikel aus Zeitungen und Journalen, Fotografien und Bilder. Schallplatten, historische Notendrucke und Musikmanuskripte, Programmzettel, Annoncen, Eintrittskarten ...” (Ingo Hoddick, in: das Orchester, Heft 12, 2023)“... Bewundernswert ist ... sein Buch sowohl für eine Leserschaft ohne spezielle Fachkenntnis oder Studium als auch für ein wissenschaftlich gebildetes Publikum zu schreiben, weshalb es für alle Musik- und Kulturinteressierten lesenswert ist. Ein Anhang mit Hunderten von Anmerkungen, einem ausführlichen Literatur- und Quellenverzeichnis sowie Register runden dieses überaus spannend geschriebene, sehr empfehlenswerte Buch ab.” (Michael van Gee, in: Jazz ´n´ More, Das Schweizer Jazz & Blues Magazin, Heft 6, 2023)Table of ContentsSelbsterneuerung eines Migranten: Igor Strawinskys Metamorphosen.- Komponieren in Zeiten des Nationalismus: Béla Bartóks Tanz-Suite im kulturpolitischen Kontext.- „deutsche Treue … und deutscher Sang“: Die Nationalhymne und Musik in Zeiten der Ruhrbesetzung.- Black Music Matters – Bessie Smith erobert den Tonträgermarkt.- Von der Peripherie ins Zentrum – Louis Armstrong, Joe Oliver, Lilian Hardin und die Creole Jazz Band.- Arnold Schönberg und die „Hegemonie der deutschen Musik“: Die Entwicklung der Zwölftontechnik als Kompositionsverfahren und kulturpolitisches Projekt.- Eine Konzertkarte für 200 Milliarden Mark – Musikleben in Zeiten der Hyperinflation – „Start up“ am Küchentisch: Karl Vötterle gründet den Bärenreiter-Verlag.- Fritz Kreisler im Äther – Medienwelten 1923.
£23.74
Schott Music for Children Volume 1 Pentatonic
Book Synopsis
£22.10
Oxford University Press Inc Beethovens String Quartet in Csharp Minor Op. 131
Book SynopsisIn Beethoven's String Quartet in C-sharp Minor, Op. 131, author Nancy November provides an analysis of Beethoven's Op. 131, illuminated by excerpts from a range of sound recordings, geared towards allowing the reader to access earlier modes of listening and interpretation. The book's well-rounded and multifaceted approach blends mainstream, traditional scholarship with popular media.Trade ReviewNovember's text is informed, critical and provocative, admirably fulfilling the aims of the Oxford Keynotes series. * Robin Stolwell, The Strad *Led by the perspective of listening, Nancy November offers a comprehensive study of Beethoven's string quartet in C sharp minor Op. 131, in which music lovers, students, and colleagues will find stimulating as well as new, and sometimes unexpected, information. * Christine Siegert, Head of the Beethoven-Archiv Research Centre, Beethoven-Haus Bonn *Nancy November breaks open the discourse on fragmentation versus unity in Op. 131 with a new interpretive approach that focuses on the special relationship between work, performer, and audience, conceiving Beethoven's composition as a large-scale fantasy that requires sustained, attentive listening. With her thought-provoking view of Op. 131, November undoubtedly offers a welcome enrichment to research on Beethoven's late work. * Christian Speck, Professor Emeritus of Musicology, University of Koblenz *Table of Contents1. Re-hearing Op. 131 2. The early and popular reception of Op.131 3. "A new kind of part writing" 4. "Like an overly large fantasy" 5. Op. 131 and the Rise of Attentive Listening
£22.75
Oxford University Press Inc Industry Bang on a Can and New Music in the
Book SynopsisTrade ReviewAiding Robin in his efforts to weave the history of Bang on a Can through these broader vistas are his tremendous skills as a writer, honed through his experience as a professional music critic. The result is a book that is not only illuminating but also a genuine pleasure to read. * Eric Drott, Journal of the Royal Musical Association *This book is a tribute to the survival of emerging musical forms. * S. Lenig, CHOICE *Ready-made for introducing scholars, students, and the general public to the culture of new music in the late twentieth-century. Accessible and informative, Robin—in the spirit of his subject—has written scholarship that nonetheless just might reach new people. * Journal of Musicological Research *This book is a tribute to the survival of emerging musical forms. Summing Up: Highly recommended. * CHOICE *This is an excellent book. It tells a series of interwoven stories – a tale of three composers and their music, a tale of a festival and its house band, a tale of new music in New York and how that music configured itself in relation to state and corporate funding. Industry is a reminder that a book with real scholarly significance can also be a good read. * Christopher Fox *Industry: Bang on a Can and New Music in the Marketplace, by William Robin, an assistant professor of musicology at the University of Maryland, is a colorful, insightful, and admirably evenhanded study of Bang on a Can in its early years and, by extension, of the creative upheavals in the music world at the end of the twentieth century. * Tim Page, New York Review of Books *Sparks vital conversation about what music based on solidarity might one day look like. * The Wire *In the past decade, William Robin has established himself not only as one of America's most formidable younger musicologists but also as an incisive, eloquent writer in the public sphere. His study of Bang on a Can gives lavish evidence of his multisided brilliance: it is at once an absorbing historical narrative and an exacting work of critical analysis. No scholar or fan of contemporary American music can do without it. * Alex Ross *One thing that becomes clear over the course of Industry is the degree to which the group's embrace of the market in practical terms amounted to an embrace of marketing. * Eric Drott, Journal of the Royal Musical Association *Table of ContentsList of illustrations Introduction 1. Academics 2. Horizons 3. Festivals 4. Funding 5. All-Stars 6. Lincoln Center 7. Record labels Epilogue Chronology Acknowledgements Notes Index
£43.40
Oxford University Press Inc Rethinking Bach
Book SynopsisThis book a offers a multitude of provocative new perspectives on one of the most iconic composers in the Western classical tradition. Its collective rethinking of some of our most cherished narratives and deeply held beliefs about Johann Sebastian Bach will allow readers to see the man in a new light and to hear his music with new ears.Trade Review...sums up our fascination with Bach's music as the 'symbol of the desire to strive beyond our own limitations towards a sublime and immutable "truth" ' * Susan Pierotti, AUSTA National Journal Reviews *Fourteen essays in all, and each one of them provocative and carefully argued. * Howard Dyck, Music Times *When you get this book, as I hope you will, start reading early in the evening, because once you start, you won't be able to put it down. * Howard Dyck, The Music Times *You can never think about Bach too often. This excellent book inspires the reader to do just that, and in some new and interesting ways. It is rich in historical, scholarly and analytical details and offers different approaches to, or total reevaluations of, long-held beliefs. * Mark Kroll, Early Music America *There is nothing quite like this book in the vast ocean of Bach studies. This collection of exciting, pathbreaking essays will be widely read and highly influential, and it is sure to stir up much productive dialogue. * Stephen A. Crist, Emory University *The perceptive authors of these essays challenge current thinking about Bach. They do so by reviewing what we think we know about Bach, or by raising issues that have been neglected until now. Some confute the over-thinking of ideas whose intricacies reveal more about the proponents than about Bach. Others question the unthinking acceptance of the status quo of a standard image of Bach. The topics of each chapter are remarkably broad, but taken together they significantly expand the parameters of our thinking about Bach. * Robin A. Leaver, retired visiting professor at the Julliard School, Yale Institute of Sacred Music, and Queen's University, Belfast, NI; author of Bach Studies (2021) *Rethinking Bach does indeed show new paths for the study of Bach and his music. Despite the different approaches and methodologies used by the fourteen authors, the consensus among most of them is that a study of Bach's works should not focus exclusively on his compositions as intellectual, even mathematical artifacts. Instead, it is the emotional side of Bach the authors want to emphasize: the significance of affect, the human body, and the ear of the listener. It is not Bach the Learned Musician (to cite Christoph Wolff's fundamental biography from twenty years ago) but Bach the Emotional Musician. * BACH: Journal of the Riemenschneider Bach Institute of Rethinking Bach *The book largely lives up to its billing, requiring readers to think about Bach in new ways. The main readership will be scholars, but others interested in Bach will also find much of value. * Joseph Herl, Lutheran Quarterly *Table of ContentsAcknowledgements List of Contributors Abbreviations Introduction: (Still) Talking about Bach Bettina Varwig I. Histories Chapter 1 Bach and Material Culture Stephen Rose Chapter 2 Rethinking 1829 Ellen Exner Chapter 3 Post/Colonial Bach Yvonne Liao II. Bodies Chapter 4 Bach and the Soprano Voice Wendy Heller Chapter 5 Embodied Invention: Bach at the Keyboard Bettina Varwig Chapter 6 Rethinking Affect Isabella van Elferen III. Meanings Chapter 7 Bach and Theology Jeremy Begbie Chapter 8 Bach the Humorist David Yearsley Chapter 9 Rethinking Bach Codes Daniel R. Melamed Chapter 10 Bach's Works and the Listener's Viewpoint John Butt IV. Currents Chapter 11 Bach's Chorale Pedagogy Derek Reme%s Chapter 12 Rethinking Editions: Mass, Missa, and Monument Culture Joshua Rifkin Chapter 13 Bach Against Modernity Michael Marissen Chapter 14 Bach Anxiety: A Meditation on the Future of the Past Michael Markham Works Cited Index
£115.76
Oxford University Press Music in Egypt Includes CD Experiencing Music
Book Synopsis
£95.15
Random House USA Inc The Memoirs of Hector Berlioz
Book SynopsisHector Berlioz'' (1803-69) autobiography is both an account of his important place in the rise of the Romantic movement and a personal testament. He tells the story of his liaison with Harriet Smithson, and his even more passionate affairs of the mind with Shakespeare, Scott, and Byron. Familiar with all the great figures of the age, Berlioz paints brilliant portraits of Liszt, Wagner, Balzac, Weber, and Rossini, among others. And through Berlioz''s intimate and detailed self-revelation, there emerges a profoundly sympathetic and attractive man, driven, finally, by his overwhelming creative urges to a position of lonely eminence.For this new Everyman''s edition of The Memoirs, the translator--the composer''s most admired biographer--has completely revised the text and the extensive notes to take into account the latest research.(Book Jacket Status: Not Jacketed)
£25.20
Hal Leonard Corporation Trumpet Concerto Canadian Brass Solo Performing
Book Synopsis
£19.35
Random House USA Inc Johannes Brahms
Book Synopsis
£19.55
Princeton University Press Mozarts Grace
Book SynopsisIt is a common article of faith that Mozart composed the most beautiful music we can know. But few of us ask why. Why does the beautiful in Mozart stand apart, as though untouched by human hands? At the same time, why does it inspire intimacy rather than distant admiration, love rather than awe? And how does Mozart's music create and sustain its buTrade ReviewWinner of the 2014 Otto Kinkeldey Award, American Musicological Society One of Choice's Outstanding Academic Titles for 2013 "Here is analysis and commentary written with considerable enthusiasm and affection... Mozart's Grace is written with great fervour and yes, grace, together with a deep love of Mozart's music."--Classical Music Magazine "The premise: identify some of the best bits in Mozart's works, then discover why they succeed so well. The idea is so starkly simple that one could expect a puerile result. However, Burnham, an eminent teacher, writer, and Mozartean, produces something rather wonderful... [Mozart's Grace] is a book that does justice to its subject matter."--Choice "This book has only deepened my admiration for its author."--Leo Black, Musical Times "Mozart's Grace is written with great fervor and yes, grace, together with a deep love of Mozart's music. In these tough economic times one is heartened to see the publication of such a book."--John Robert Brown, Classical Music "Burnham offers a stirring, erudite, and deeply poetic treatment of around fifty select passages as a culmination of some three decades of thought and discussion... Through delightfully written prose bursting with musical metaphors that extend to all five senses, Scott Burnham argues persuasively for why we relentlessly submit ourselves to Mozart."--Steven D. Mathews, Notes "[Burnham's] writing, sentence by sentence, is clear as air yet shimmers with revelatory understanding of the effects that Mozart's music makes on the listener, illustrating and supporting his discoveries with penetrating and meticulous explication of details in the musical examples. In doing so he offers some of the most sensitive, nuanced, perceptive, and eloquent commentary about music (of any kind) I've read."--American Record Guide "Rarely does love pour from musicological writing as generously as it does from Scott Burnham's ingenious, congenial paean. At 169 pages of text including generous musical examples throughout, Mozart's Grace teaches us a great deal about Mozart, concision, and well-turned prose."--David Schneider, Music and LettersTable of ContentsAcknowledgments ix Invitation 1 I Beauty and Grace 7 II Thresholds 37 III Grace and Renewal 117 Knowing Innocence 165 Notes 171 Bibliography 183 Index 187
£21.25
Alfred USA Anthology of Romantic Piano Alfred Masterwork
Book Synopsis
£21.21
DK The Classical Music Book
Book SynopsisLearn about the world’s greatest classical compositions and musical traditions in The Classical Music Book.Part of the fascinating Big Ideas series, this book tackles tricky topics and themes in a simple and easy to follow format. Learn about Classic Music in this overview guide to the subject, great for novices looking to find out more and experts wishing to refresh their knowledge alike! The Classical Music Book brings a fresh and vibrant take on the topic through eye-catching graphics and diagrams to immerse yourself in. This captivating book will broaden your understanding of Classical Music, with:- More than 90 pieces of world-famous music - Packed with facts, charts, timelines and graphs to help explain core concepts- A visual approach to big subjects with striking illustrations and graphics throughout- Easy to follow text makes topics accessible for people at any level of understandingThe Class
£17.99
Hal Leonard Corporation SolfGe Des SolfGes Book I Schirmer Library of
Book Synopsis
£7.50
Hal Leonard Corporation Phoenix Processional
Book Synopsis
£10.79
Hal Leonard Corporation 10 Violin Solos from the Masters Intermediate
Book Synopsis
£18.39
Canadian Brass Play Along with the Canadian Brass 17 Easy Pieces
Book Synopsis
£18.74
Boosey & Hawkes Inc Lua Descolorida Soprano and Piano
Book Synopsis
£14.44
Boosey & Hawkes Inc Tehillim For Voices and Ensemble or Chamber
Book Synopsis
£63.75
Alfred Music The Rolling Stones on Tour
Book Synopsis
£57.75
Schott 12 Brilliant and Melodious Studies Op 105
Book Synopsis
£16.99
