for solo cello Conceived as a set, these eight songs are drawn from several Chinese regions (Shaanbei, Shaanxi, Yunnan, Jiangsu, Sichuan, Hunan, and Shanxi) and represent the three main genres of mountain song, work song, and the more structured performance song aimed at professional singers. In this new arrangement for solo cello the music has been carefully refashioned for Western instruments, with writing that includes stylistic bowing and fingering to match the original style. Suitable for students at early to intermediate level, these compelling short pieces are accompanied by illuminating programme notes with a synoposis of each song.

for SATB 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 2010-11; 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.

This book provides a convenient starting point for information about over 13,500 composers living today, deceased since 1950, or born since 1900, regardless of date of death. The new Volume III indexes 98 reference works in numerous languages (almost all of them published since the appearance of Volume II).

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 SATB choir unaccompanied With a text by John Henry Newman, Lead, kindly Light is a short, moving piece perfectly suited for our current times. Step-like movement in the melody reflects the speaker seeking light in the darkness, slow but steady in their way out of the 'encircling gloom'.

for SATB unaccompanied Setting a beautiful text by Rabindranath Tagore, Wake, love, wake explores evocative imagery and metaphors through sonorous harmonies and freedom in tempo. The resulting piece is romantic, stirring, and atmospheric-perfect for concert performance. Also published in Breath of Song.

for Upper voices, SATB, and piano or 2 pianos and percussion (4 players) A work filled with ambition, Circlesong is a musical portrayal of the human life cycle as captured in the indigenous poetry of North America. Based on poetry from the Chinook, Comanche, Dakota, Eskimo, Iroquois, Kwakiutl, Navajo, Ojibwa, Pueblo, Seminole, Sioux, and Yaqui traditions, the thirteen movements, in seven parts, mark the different stages of life, from birth and childhood to adulthood, middle age and death. With energetic percussion accompaniment, climactic moments for tutti choir, tender unaccompanied passages and solo song, Circlesong is a work of impressive drama, variety, and depth. This is the upper voices part for Circlesong. The vocal scores are available for sale separately and instrumental parts for the two pianos/percussion version are available on hire.

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.

for solo piano This short piano suite was written in response to the Covid-19 lockdown and features Chilcott's celebrated jazz style in three movements: 'Bobbing along', 'Becky's Song' and 'Walking with Ollie'. With a swing and a hop in the outer movements and rich harmonies in between, A Little Jazz Piano is wonderfully suited for younger pianists looking for something different.

for upper voices, SATB, and piano, or 2 pianos and percussion (4 players) A work filled with ambition, Circlesong is a musical portrayal of the human life cycle as captured in the indigenous poetry of North America. Based on poetry from the Chinook, Comanche, Dakota, Eskimo, Iroquois, Kwakiutl, Navajo, Ojibwa, Pueblo, Seminole, Sioux, and Yaqui traditions, the thirteen movements, in seven parts, mark the different stages of life, from birth and childhood to adulthood, middle age and death. With energetic percussion accompaniment, climactic moments for tutti choir, tender unaccompanied passages and solo song, Circlesong is a work of impressive drama, variety, and depth. The current vocal score provides the single piano version, for performance but also for rehearsal generally. A separate part for upper voices is available on sale, and the instrumental parts for the two pianos/percussion version are available on hire.

for solo piano Featuring sparse textures, quirky endings, and intuitive phrasing, these 24 Preludes and Fugues, in all the keys, bear the hallmarks of Skempton's Minimalist style. This set is well-suited for performance but also for pianists wishing to practise polyphonic textures and single-hand exercises.

Sir Thomas Beecham is often described as having 'championed' the music of Frederick Delius, and this is no exaggeration. From the moment he heard Delius's music as a young man, Beecham was captivated by its strange, romantic beauty, and its hold on him remained firm. During the next 50 years, he promoted Delius's music through a series of unrivalled performances, unearthing early pieces, arranging others and recording most of them, sometimes more than once. Lyndon Jenkins provides the first in-depth study of this extraordinary creative relationship. Starting with the first meeting of the composer and conductor in 1907, Jenkins charts Beecham's gradual introduction of Delius's compositions to British and foreign audiences, the operatic premieres and revivals, the Delius festivals that he organized in 1929 and 1946, and the formation of the Delius Trust upon the composer's death in 1934. Also described is Beecham's continuing crusade for Delius's music up to his own death in 1961, which included a model edition of the scores, a biography and an internationally celebrated recorded legacy. The book includes a critical discography. Lyndon Jenkins provides a vivid account of an achievement that remains without parallel in the history of British music.

The John Rutter Christmas Piano Album brings together eight of the composer's best-loved seasonal choral pieces as piano transcriptions, made by John Rutter himself, for performance use or enjoyment at home. Designed for pianists at early intermediate level, the collection provides skilful and approachable arrangements of festive favourites such as 'Angels' Carol' and 'What sweeter music' and of the more recent 'Colours of Christmas' and 'Christ our Emmanuel'. The gentle 'Mary's Lullaby', meanwhile, features a newly written Epilogue, a homage to George Shearing and evoking the style of this celebrated jazz pianist. Clearly presented and laid out, the transcriptions also include the texts (lyrics) within the piano score, for reference or potential sing-alongs. From the composer who has become synonymous with Christmas, this versatile collection is a joyous celebration of the season. The pieces in this collection have been recorded by Wayne Marshall on Decca Records.

This beautiful setting of a text by Ralph Waldo Emerson celebrates the universal presence of song, which can be found in places of beauty but also darkness. With memorable melodies and a flowing supportive accompaniment, this piece will leave a warm feeling in both the singers and listeners alike. Originally published in The Oxford Book of Flexible Choral Songs for flexible voices and also available separately in a version for two part and piano.

This beautiful setting of a text by Ralph Waldo Emerson celebrates the universal presence of song, which can be found in places of beauty but also darkness. With memorable melodies and a flowing supportive accompaniment, this piece will leave a warm feeling in both the singers and listeners alike. Originally published in The Oxford Book of Flexible Choral Songs for flexible voices and also available separately in a version for SATB and piano.

The first full-length volume on the life work of one of the most well-known and prolific masters of our time, "William Thomas McKinley: A Bio-Bibliography" provides both musicologists and performers with a guide toward further exploration of the composer and his music. Included within are a complete biography on McKinley, the man and performer; a discography of both McKinley's compositions and his performances; and an in-depth catalog of his works. Each entry of the catalog contains a complete manuscript description, a detailed listing of any sketches or drafts which exist, a piece-specific bibliography, a complete performance history, and editorial notes. Also included are the composer's own writings about his works in the form of his program notes. Program notes by other authors are included as well, as they are the product of interviews with the composer.

The book has been organized with easy access and a larger audience of performers, musicologists, and other interested parties firmly in mind. The works numbering system has been completely restructured from previous bio-bibliographies in order to provide performers with quicker access to works for their particular instrument or group of instruments. Works are cross-listed in several ways and the book is thoroughly indexed, making for easy information access.

A welcome collection of piano transcriptions made by the composer himself, featuring eight of his best-loved choral pieces spanning the last 40 years. Designed for pianists at early intermediate level, the collection provides skilful and approachable arrangements of classics such as 'The Lord bless you and keep you', 'All things bright and beautiful', and 'For the beauty of the earth', as well as recent gems like 'A flower remembered', all for performance use or enjoyment at home. Clearly presented and laid out, the transcriptions also include the texts (lyrics) within the piano score, for reference or potential sing-alongs. This is a versatile collection for the many admirers of one of today's greatest choral composers. The pieces in this collection have been recorded by Wayne Marshall on Decca Records.

A complete biographical reference work covering all aspects of the classical music world.
* Over 8,000 detailed biographical entries
* Covers the Classical and Light Classical fields
* Entries range from composers to conductors and managers
* Includes up-and-coming musicians as well as well- established names.
Contents
* Profiles composers, musicians, singers, arrangers, writers, conductors, soloists and managers throughout the world
* Includes listings of orchestras and festivals
* Lists music libraries, conservatoires, music organizations and opera companies
* Details major competitions and awards
* Lists Masters of the King's/Queen's music.

The first book to deal exclusively with British musical flops, Must Close Saturday presents a rolling panorama of the good, the bad and the ugly, reassessing their place in theatrical history. The ominous announcement "Must Close Saturday" too often heralded the demise of British musicals. Looking forward from the vantage point of Lionel Bart's spectacularly successful Oliver! in 1960, Adrian Wright's authoritative chronicle of the commercially unsuccessful British musical of the last half a century uncovers a wealth of fascinating material. In the wake of the resurgence that briefly blew through the British musical at the end of the 1950s with verismo works such as Fings Ain't Wot They Used T'Be and Expresso Bongo, the British musical was shaken by Bart's adaptation of Dickens, but was quickly left floundering in the face of constant critical complaint and financial failure. The first book to deal exclusively with British musical flops, Must Close Saturday presents a rolling panorama of the good, the bad and the ugly, reassessing their place in theatrical history.Wright reveals a consistent striving at invention, with subjects including the electric chair, the Holocaust, the Virgin Mary, social inequality and Trade Unionism, sexual problems and murder, as well as biographical treatments of Hollywood stars, French painters, tragic novelists, royalty, and the Rector of Stiffkey. Discursive and provoking, Must Close Saturday at last prises open the neglected history of the British musical flop up to 2016. ADRIAN WRIGHT is the author of Foreign Country: The Life of L. P. Hartley (1996), John Lehmann: A Pagan Adventure (1998), The Innumerable Dance: The Life and Work of William Alwyn (Boydell & Brewer, 2008), the novel Maroon (2010) and The Voice of Doom (2016). His previous books on British musical theatre are A Tanner's Worth of Tune: Rediscovering the Post-War British Musical (Boydell & Brewer, 2010) and West End Broadway: The Golden Age of the American Musical in London (Boydell & Brewer, 2012). He lives in Norfolk.

Hennessee provides a biographical overview of the life of Samuel Barber, one of America's foremost composers, as well as comprehensive bibliographical information about his complete oeuvre. The volume consists of four main sections: a brief biography, a complete list of works and performances, a discography, and an annotated bibliography. A complete index of personal and corporate names and titles concludes the volume.

Elegy, with its warmly expressive tenor-range melodies, is highly suitable for use at funerals, while the cascading joy of Festive Bells makes it perfect as a wedding recessional. The finely wrought sonorities will sound to maximum effect on a large organ in a spacious acoustic, but will nonetheless be convincing on even the most modest of instruments. Both pieces have that warm sense of Englishness that makes them very accessible to the first-time listener.

This anthology of writings about the American experimental composer Harry Partch is the most comprehensive collection of commentaries about the composer and his work ever assembled. Eleven major figures of contemporary music voice their views on Partch (1901-1974) and his radical contributions to twentieth-century music. These include composers and theorists who worked closely with him and important comments from his contemporaries and musical inheritors.

Articles, tributes and reminiscences of composer, pianist and author Peter Dickinson are here brought together for the first time. Peter Dickinson has made an enduring contribution to British musical life, and his music has been regularly performed and recorded by leading musicians. His writings, brought together here for the first time, are equally noteworthy. Covering well over half a century, the subjects are fascinatingly varied. Apart from musical interests ranging from Charles Ives to John Cage, they touch on literature; and Dickinson's meetings with W.H. Auden and Philip Larkinare an intriguing insight that led to his Auden songs and the chamber work Larkin's Jazz. American themes are prominent in this collection. There are unique reviews of concert life in New York from 1959 to 1961; an accountof the teaching programme at the Juilliard School of Music at that time; three studies of Ives; and features containing original material on Copland, Thomson and Cage, all of whom Dickinson knew. Features on Erik Satie include the imaginary discussion marking his centenary in 1966. Dickinson also writes about his own music, providing an insight into what it was like being a British composer in the later twentieth century. Peter Dickinson was born inLancashire in 1934 and now lives in Suffolk. His 80th birthday was marked by a whole variety of tributes, including concerts, articles, broadcasts and various interviews - some included in this book. PETER DICKINSON is aBritish composer and pianist as well as author and editor of Boydell/URP books on Berkeley, Copland, Cage, Barber and Berners. As a pianist, Dickinson had a twenty-five-year, international partnership with his sister, the mezzo Meriel Dickinson, for whom he wrote song cycles to poems of E. E. Cummings, Gregory Corso and Stevie Smith. He was a regular contributor to BBC Radio 3 and is widely read as a critic on the Gramophone. He is an Emeritus Professor ofthe Universities of Keele and London and is chair of the Bernarr Rainbow Trust, for which he has edited several books on music education.

This is an alphabetical reference work for all aspects of music in the 20th century. It covers the major musical genres Concert, Jazz, Pop, Rock, and World; and also examines key styles such as opera, orchestral, bebop, blues, reggae, and country. Articles on individuals provide biographical information and explore contributions they have made in their respective fields. This encyclopedia also gives advice on suggested listening and further reading, and is fully cross-referenced.

An indispensable biography for anyone interested in Constant Lambert, ballet and British musical life in the first part of the twentieth century. To the economist and ballet enthusiast John Maynard Keynes he was potentially the most brilliant man he'd ever met; to Dame Ninette de Valois he was the greatest ballet conductor and advisor this country has ever had; to the composer Denis ApIvor he was the greatest, most lovable, and most entertaining personality of the musical world; whilst to the dance critic Clement Crisp he was quite simply a musician of genius. Yet sixty years after his tragic earlydeath Constant Lambert is little known today. As a composer he is remembered for his jazz-inspired The Rio Grande but little more, and for a man who selflessly devoted the greater part of his life to the establishment of English ballet his work is largely unrecognized today. This book amply demonstrates why he deserves to be held in greater renown. With numerous music examples, extensive appendices and a unique iconography, every aspect of thecareer and life of this extraordinary, multi-talented man is examined. It looks not only at his music but at his journalism, his talks for the BBC, his championing of jazz (in particular Duke Ellington), and - more privately - his long-standing affair with Margot Fonteyn. This is an indispensable biography for anyone interested in Constant Lambert, ballet and British musical life in the first part of the twentieth century. STEPHEN LLOYD is a writer on British music and author of William Walton: Muse of Fire (Boydell, 2001).