Combining the International Who's Who in Classical Music and the International Who's Who in Popular Music, this two-volume set provides a complete view of the whole of the music world.

Within the International Who's Who in Classical Music, each biographical entry comprises personal information, principal career details, repertoire, recordings and compositions, and full contact details where available. Appendices provide contact details for national orchestras, opera companies, music festivals, music organizations and major competitions and awards.
The International Who's Who in Popular Music boasts detailed entries, including full biographical information, such as principal career details, recordings and compositions, honours and contact information.

Between 1908 and 1923, Arnold Schoenberg began writing music that went against many of the accepted concepts and practices of this art. Largely following his intuition during these years, he composed some of the masterpieces of the modern repertoire--including Pierrot lunaire and Erwartung--works that have since provoked a large, though fragmented, body of critical and analytical writing. In this book, Bryan Simms combines a historical study with a close analytical reading of the music to give us a new and richer understanding of Schoenberg's seminal work during this period.

for SA and piano In this beautiful setting of words by the composer, based on a quote by Brian Palmer, singers are encouraged to listen to the sounds and people around them in order to learn and grow: 'one act of love, I know, for sure, is to listen.' Listen is suitable for upper-voice or children's choirs, and its memorable melodies are accompanied by a simple and supportive rippling piano accompaniment.

for SABar unaccompanied The Parting Glass is a traditional Scottish song, often sung as a farewell at the end of a get-together. Sarah Quartel's arrangement features close harmonies, idiomatic Scotch snap rhythms, and effective interjectory moments in what is a largely homophonic setting. The arrangement was made for the composer's friend Matt Jones, who served with the Canadian Military in Afghanistan in 2010-2011; his deployment and eventual safe return inspired the setting of the piece. With its valedictory message, The Parting Glass would make a fitting end to a performance, perhaps as an encore item. Also available in versions for SATB and TTBB.

This four-act comic opera celebrating Shakespeares Sir John Falstaff was given its first professional performance in 1946. The libretto, written by the composer, is based on The Merry Wives of Windsor, and interpolates texts by contemporaries of Shakespeare such as Christopher Marlowe, Ben Jonson, and Thomas Campion. The work contains English folksong material and fine examples of the composer's orchestral lyricism and dramatic flair. Music from the opera was later adapted to form the cantata In Windsor Forest and the Fantasia on Greensleeves. For this comprehensive new edition, the editor (and conductor) David Lloyd-Jones has drawn on all available sources, providing an authoritative Study Score with critical commentary. The performance materials are newly-engraved. The orchestral score, vocal score, choral scores, and the optional Episode & Interlude are also available on hire. Please note that this score comes as two separate volumes.

for SSAA and piano Our Roots is an upbeat setting of evocative words by Delphine Chalmers on the themes of unity and commonality. An effective syncopated, single-note motif in the piano underpins the piece, rooting the tonality and providing a firm ostinato around which the music blossoms. Chilcott's word-painting - in places such as the drawing together of the four-part choral texture into unison on the words 'yours and mine the same' and the use of the piano's upper and lower registers as the text looks to roots and sky - creates a great sense of unity between music and lyrics. Powerful key changes and a strong rhythmic drive create an affirmatory setting that is sure to uplift both singer and listener.

for solo organ Celebration is an exciting work for solo organ. Exuberant rhythms prevail in the outer sections (including a playful reference to Walton's Crown Imperial), framing more pensive music at the centre of the piece.

for TTBB unaccompanied. TaReKiTa is a refreshing concert piece that effortlessly fuses the Hindustani (North Indian) and Western classical music styles. The composer's scats are combined with a fast triple metre, vocal slides, and captivating melodies built on the Jog raga. A pronunciation guide is included in the leaflet, and a video guide by the composer is available through a companion website. A version for unaccompanied mixed voices and SSAA unacompanied voices is also available.

for SATB (with divisions) unaccompanied One of McGlade's longer settings, As the hart begins simply, before expanding into a more complex central section with fluctuating time signatures and shifting tonalities. Ideal for advanced mixed-voice choirs in a sacred or concert setting, it is a fitting alternative to Herbert Howells's famous setting of Psalm 42.

John Ireland (1879-1962) had a long and close friendship with Alan Bush (1900-1995) which lasted forty years, from 1922, when John Ireland was already fifty years old, until Ireland's death in 1962. It was the relationship of master and pupil and this was clearly reflected in their letters. The two men came to know each other well once Bush had left the Royal Academy of Music in 1922 and became a student of composition with Ireland until 1927. 160 letters are published here for the first time and they provide not only a compelling and engaging narrative, but also a unique insight into the musical and day-to-day lives of the two men. The letters were written during a most interesting and turbulent period in British history: the inter-war period of the 1920s and 30s, the situation during the Second World War and the post-war era. The volume will therefore appeal to those interested in wider aspects of British musical life and social and political history, as well as followers of Ireland and Bush.

In the First World War, civilian life played a fundamental part in the war effort; and music was no exception. Performing Propaganda looks at musical life in Paris during the First World War. This conflict was one in which civilian life played a fundamental part in the war effort; and music was no exception. The book examines how Western art music became a central part of the home-front war effort, employed by both musicians and government as a powerful tool of propaganda. It situates French art music of the First World War within its social, cultural and political context, and within the wider temporal framework of the Franco-Prussian and Second World Wars. Drawing on a diverse range of archival material, including concert and operatic programmes, the musical and daily press, documents detailing government involvement in musical activity, and police records, it explores how various facets of French musical life served, in very different ways, as propaganda. In short, it explores why music mattered during a period of prolonged conflict, whether as emotional catalyst, weapon, or tool. This book will be of interest to musicologists, to cultural historians working on early twentieth-century France, and to scholars of the First World War,as well as to a more general readership with an interest in music during times of adversity. RACHEL MOORE is a Leverhulme Early Career Fellow in Music, University of Oxford.

for SA and piano Setting a text by Elizabeth Barrett Browning, this thoughtful and evocative piece compares a dying relationship with the changing of the seasons from summer to winter, which McGlade skilfully reflects in her use of minor tonality, falling melodic phrases, and shifting chromaticism. Reminiscent of the English art song, this setting for upper voices and piano demonstrates McGlade's compositional versatility.

for SATB (with divisions) unaccompanied Setting Revelation 21: 1-5, this short anthem is in McGlade's typically fluid style, with harmonic twists, changing metres, and tempo fluctuations. With some divisi in the upper parts, it will be particularly welcomed by experienced church and cathedral singers as a new take on these well-known words.

for SSAA and piano Refuge sets a powerful Sara Teasdale poem by the same name, which perfectly captures the healing power of singing: 'For with my singing I can make a refuge for my spirit's sake, A house of shining words, to be my fragile immortality'. Quartel uses musical structure to complement the poem's narrative, opening and closing with music marked 'resilient and strong', with a central section that is 'warm and hopeful', as expressed by rich harmonies and soaring melodic lines. The piano underpins this expressive setting with steady continuous quaver motion, and provides characterful harmonic moments.

for SSATBarB unaccompanied Setting words by the composer, One of these days is an affirmatory piece with pop-inspired rhythms and harmonies. The scat syllables and repeating patterns of the lower parts provide a rich cushion for the lilting melody of the soprano lines, with lyrics that encourage us to seize the day!

for solo organ. Elegy for the Time of Change was written in response to the horrifying murder of George Floyd at the hands of the Minneapolis police in May 2020. Imbued with singing melodies and richly expressive harmonies, the work makes several brief allusions to the spiritual There is a Balm in Gilead, offering a hopeful vision of healing and unity to a nation (and world) riven by mistrust and disparity.

for SATB (with divisions) unaccompanied This is an expressive setting of Sara Teasdale's poem 'Peace', with lush, rich harmonies and a soft dynamic palette. Poignant and peaceful, and perfect for choirs who enjoy refining blend and ensemble, this setting will provide a reflective moment in a concert programme.

for unison upper voices and piano I remember sets a text reflecting on the wonder of the natural world and the people who shape our lives. The stirring melody calls to mind the folksong tradition, and is underpinned by a gently flowing piano accompaniment. The middle section brings a contrast of tonality, with the altos and baritones accompanying the sopranos' melodic line, before the beguiling melody of the opening returns to bring the setting to a poignant close. Also available in a version for SA and piano, SABar and piano, and TB and piano.

for SSAA unaccompanied TaReKiTa is a refreshing concert piece that effortlessly blends the Indian and Western classical styles. The composer's scats are combined with a fast triple metre, vocal slides, and captivating melodies built on the Jog raga. A pronunciation guide is included in the leaflet, and a video guide by the composer is available through a companion website. A version for unaccompanied mixed voices is also available.

for SSA and piano This uplifting and affirmatory piece sets a text by the composer inspired by the reflections of the Northwest Girlchoir on what their choir means to them. A warm unison first verse and chorus is next transposed into 6/8, taking on a dance-like feel, first in two and then three vocal parts, while the forward motion of the piano's continuous quaver movement echoes the text's encouragement to 'carry the music on'. The gradual building of choral texture creates an atmosphere of heartfelt celebration of choral singing, leading to the profound closing words 'I hear you. I see you too'.

for SATB and cello This simple setting of words by Tennyson reflects a different side to McGlade's compositional style, without sacrificing any of her trademark characteristics. The largely homophonic vocal lines move as one, with clarity and poise in abundance, creating a bed of sound over which the cello gently glides.

A guide to the art of conducting in the twenty-first century, by the founder of the RCM's Twentieth Century Ensemble. Conducting for a New Era fills in a lacuna by offering guidance and practical advice for conducting twentieth-century and contemporary repertoire. The book begins with a look at the development of the art of conducting during the first half of the twentieth century. Distinctions are made between conductors who pursued populist careers and those who established the foundations for the new art form of the twenty-first century. The book goes on to discuss the technical resources required to negotiate the rhythmic complexity of so much music composed since 1950. Beginning with the rhythmic revolution created by Stravinsky in Le Sacre du Printemps (in which conducting unequal units within single bars was introduced), ten different categories of music are featured in an analysis of the technical and aesthetic characteristics involved. The substance of interviews with distinguished soloists,orchestral musicians, conductors and composers is examined in assessing the changing role of the conductor in the twenty-first century. In a final section the technique and artistry of the progressive repertoire is discussed through detailed analysis of specific scores. Conducting for a New Era will be of interest not only to advanced students of conducting, in particular conducting of contemporary music, but also to the music enthusiast who might wish to know 'how it is done'. The book includes a DVD with conducting examples. EDWIN ROXBURGH is a composer, conductor and oboist and visiting tutor and researcher at the BCU Birmingham Conservatoire. Recordings of hismusic are on NMC, Naxos, Warehouse, Oboe Classics and Metier labels, and his music is published by United Music Publishing, Ricordi and Maecenas. As a conductor he has premiered a vast number of works, originally with the Twentieth Century Ensemble of London, which he founded, and later with several of the principle orchestras of the UK.

for SA unaccompanied This simple, charming two-part motet features long melismatic phrases that reflect the text (1 Corinthians 2: 9), such as the rising melodic line over three bars on the word 'ascended' (ascendit).

for SATB and piano (with opt bass and drums) Optional parts for bass and drum set enliven this joyous arrangement for choir and piano of a traditional spiritual. Propelled by a light swing tempo, the mood grows more and more euphoric with each succeeding stanza of text, and the uplifting music surges towards an opulent conclusion.

John Philip Sousa's The Washington Post March was written in 1889 for the newspaper's essay-writing competition award ceremony, and very swiftly gained the wide popularity it has retained to this day. Robert Gower's well-crafted and playable arrangement will work well on pretty much any size of instrument, and will make a welcome addition to the organist's repertoire of ceremonial voluntaries for grand occasions.