Sir Andrzej Panufnik used to say that he communicated in music, not words. But his literary legacy is substantial, as this book demonstrates. Its major element is Composing Myself, the autobiography he wrote in 1985, long since a collector's item and here republished in a fully annotated new edition. It provides a graphic account of an often dramatic life. Panufnik's early success in pre-World War II Poland was soon eclipsed by the horrors of the Nazi occupation. Composing Myself documents in striking detail the desperate circumstances in which Panufnik repeatedly found himself - and the personal courage with which he responded. Post-War Poland then progressed from theovert terrors of Nazism to the deadening hand of Communism, and Panufnik charts the methodical attempts of Party orthodoxy to stifle independent thought. In spite of the success he enjoyed as a conductor, Panufnik was unable to compose under such restrictions, feeling he was being suffocated. Though a patriot to his bones, he boldly decided that escape to the west was the only option, and his account of his defection - in 1954, at the height of the Cold War - reads like a le Carre thriller. Safe in England, he was able to rebuild his career, overcoming official neglect of his music to become one of Britain's best-respected composers - and to be greeted as a national hero when he finally managed to return to his beloved Poland, free at last. Composing Myself is complemented by the complete programme notes he wrote to shed light on the impulse behind, and design of, his music, complete with theoften visually striking diagrams he drew to articulate their formal logic. A third section includes his few other articles, including a 1955 report to the unsuspecting west of the true nature of Polish intellectual life under Communism, an insightful radio broadcast on Szymanowski and a brief tribute to Bartok. Finally, Part IV collects the more important of the interviews Panufnik gave over the course of his career.

This acclaimed study, available in English for the first time, looks at the music of Jean Sibelius in its biographical context. Myths have surrounded Sibelius (1865-1957) and his work, for more than 100 years, often diverting attention away from his creative output. Drawing on many unpublished sources, Makela's study leads us back to Sibelius as a musician and a 'poet' of universal validity. Chapters examine the composer's creativity, inspiration, influence, aspects of genre, as well as the relationship of the artist with nature and homeland. Those who knew Sibelius at an early age tell of a youthful bohemian in the midst of European decadence. This 'age of Carmen' (Eduard Munch) marked Sibelius's formative years. The composer's most important works, dating from a time between his third symphony and Tapiola, reflect the modernistic mainstream. Sibelius's last three decades, known as the 'Silence of Ainola', have inspired the masculine cliches that this book deconstructs. Sibelius was one of the least political artists of his time who nevertheless became heavily politicized. The first supreme musical talent in the region, he gave his nation a genuine sound. Europeans of the late nineteenth century showed increasing affinity with Nordic culture. Aino, Sibelius's wife, was instrumental in creating the image of her husband as a Nordic icon. The book closely scrutinizes this popular image. In an Anglo-American artistic context his mix of regionalism and modernity remained attractive even when these elements went out of fashion in the art movement of continental Europe. Ideas of Finland and the North vastly influenced the interpretation of meaning in Sibelius's music, a music that until this day remains enigmatic. BR TOMI MAKELA is the author of several books and essays on Finnish music, Romanticism, and Western modernism. From 1996-2008 he was professor of music in Magdeburg. Since 2009 he has been professor of music at the Martin Luther University of Halle-Wittenberg.

Censorship had an extraordinary impact on Alban Berg's operaLulu, composed by the Austrian during the politically tumultuous years spanning 1929 to 1935. Based on plays by Frank Wedekind that were repeatedly banned from being published and performed from1894 until the end of World War I, the libretto was in turn censored by Berg himself when he characterized it as a morality play after submitting it to authorities in Nazi Germany in 1934. After Berg died the next year, the third act was censored by his widow, Helene, and his former teacher, Arnold Schoenberg. In "Taken by the Devil", author Margaret Notley uncovers the unusual and uniquely generative role of censorship throughout the lifecycle of Berg's great opera. Placing the opera and its source material in wider cultural contexts, Notley provides close readings of the opera's libretto and score to reveal techniques employed by the composer and by Wedekind before him in negotiating censorship. She also explores ways in which Berg chose to augment discrepancies between the plays rather than flatten them as in certain performances of the plays during the 1920s, adding further dimensions of interpretation to the work. Elegantly readable,"Taken by the Devil"is one of the most meticulously researched and nuanced studies of Lulu to date, and illuminates the process of politically-driven censorship of theater, music, and the arts during the tumultuous early twentieth century.

An exploration of avant-garde music and operatic form in Weimar Germany Weimar Germany -- the age of Bauhaus and Brecht -- was a time of significant activity in all areas of the artistic avant-garde. Musicologist Susan Cook explores this intriguing period in a look at Zeitoper (topical opera)and its primary exponents, Ernst Krenek, Kurt Weill and Paul Hindemith. Zeitoper has proved to be of importance as an experimental form that broadened the definition of modern opera and musical theatre, incorporating elements previously thought unsuitable. Celebrating modern life in its libretti, its scores borrowed heavily from American dance music and jazz. Opera for a New Republic is the first book to provide a broad historical,cultural and artistic context for the development of this operatic genre. Through it we learn that Zeitoper, although short-lived, has proved to be a vital component in the development of twentieth-century operatic style. Susan Cook is Professor of Musicology at the University of Wisconsin.

This is an illustrated biography of the American conductor and composer Leonard Bernstein. Despite international fame and success, he was a man constantly struggling with inner conflicts. The best loved and most successful conductor of his generation, also a virtuoso pianist, he was adored by an international public, but suffered years of hostile criticism from the New York press. An inspiration to fellow American musicians, he was the first native American to direct a major American orchestra, and the first to conquer Europe (conducting the Vienna Philharmonic and at La Scala, Milan). His conducting style was famously flamboyant, yet he possessed a rare ability to communicate his music to the listener, who was often held spellbound. But Bernstein often dismissed conducting for its temporary character, and declared himself to be primarily a composer. Among other musicals, Bernstein wrote the world-famous West Side Story (1957), and the moving score to the film On the Waterfront, but he never enjoyed unanimous critical acclaim for his serious classical works, such as Chichester Psalms and Mass. In later years he feared that he would be remembered solely for his musicals.

Britten is the most literary British composer of the twentieth century. His relationship to the many and varied texts that he set was deeply committed and sensitive. As a result, both his responses to poetry and his collaborationswith his librettists tell us a great deal about his music, and often, about the man himself. Britten is the most literary British composer of the twentieth century. His relationship to the many and varied texts that he set was deeply committed and sensitive. As a result, both his responses to poetry and his collaborationswith his librettists tell us a great deal about his music, and often, about the man himself. This book takes a unique approach to Britten, drawing together well-known Britten experts alongside English, music, modern language andhistory scholars who bring their own perspective to bear on Britten's work. Chapters examine all aspects of Britten's text setting, from his engagement with a wide variety of poetry to his relationship with his librettists. By approaching Britten's operas and songs through their literature, this book offers fresh insights into his vocal works. KATE KENNEDY is the Weinrebe Research Fellow in Life-writing at Wolfson College, Oxford, where she is an associate of both Music and English Faculties. She is a frequent broadcaster for the BBC and specialises in interdisciplinary biography and has published widely on twentieth century music and literature. Contributors:JOANNA BULLIVANT, PHILIP ROSS BULLOCK, NICHOLAS CLARK, MERVYN COOKE, DAVID FULLER, JOHN FULLER, PETER HAPPE, J. P. E. HARPER-SCOTT, JOHN HOPKINS, KATE KENNEDY, ADRIAN POOLE, HANNA ROCHLITZ, PHILIP RUPPRECHT, REBEKAH SCOTT, VICKISTROEHER, JUSTIN VICKERS, LUCY WALKER, BRIAN YOUNG

When Twin Peaks debuted on the ABC network on the night of April 8, 1990, thirty-five million viewers tuned in to some of the most unusual television of their lives. Centered on an eccentric, coffee-loving FBI agent's investigation into the murder of a small town teen queen, Twin Peaks brought the aesthetic of arthouse cinema to a prime time television audience and became a cult sensation in the process. Part of Twin Peaks' charm was its unforgettable soundtrack by Angelo Badalamenti, a longtime musical collaborator of film director and Twin Peaks co-creator David Lynch. Badalamenti's evocative music, with its haunting themes and jazzy moodscapes, served as a constant in a narrative that was often unhinged and went on to become one of the most popular and influential television soundtracks of all time. How did a unique collaborative process between a director and composer result in a perfectly postmodern soundtrack that ran the gamut of musical styles from jazz to dreamy pop to synthesizer doom and beyond? And how did Badalamenti's musical cues work with Twin Peaks' visuals, constantly evolving and playing off viewers' expectations and associations? Under the guidance of Angelo Badalamenti's beautifully dark sonic palette, Clare Nina Norelli delves deep into the world of Twin Peaks to answer all this and more.

A biography of Benjamin Britten which presents a panorama of British musical life since the 1920s.

Many myths, masquerading as facts, were flourishing, when Anthony Meredith's first Arnold biography came out, almost twenty years ago. Accordingly, he misrepresented several key issues, just as previous biographers had done. He also fudged others, for Arnold was still alive, and so, too, was his forceful carer. The many Arnold myths lived on. Three years ago, however, Malcolm Arnold's daughter, Katherine, encouraged the biographer to write a new book with the true story of her father's last thirty years. She had much new evidence to support it - material that confirmed her suspicions that when her father, in mid-life, came under the total control of two different carers, his vulnerability had been terribly exploited. Arnold's last thirty years could only properly be understood if seen in the context of his earlier life, so a full biography beckoned. Nor could the years after the composer's death be omitted, for things occurred in this period that shed much light on previous dramas. The Inside Story, then, sweeps away the many myths that have surrounded the intriguing figure of Malcolm Arnold. It offers arresting new facts about his life, fresh insights into his music and much food for thought about the care of the mentally ill and its legal aspects. This important addition to the literature of British music is an engrossing saga, told with compassion and candour.

for SATB wordless chorus, viola solo, and orchestra A suite for solo viola, wordless chorus (SATB), and small orchestra, Flos Campi is one of Vaughan Williams's most enigmatic pieces. Although the six movements all borrow their titles from the Old Testament's Song of Solomon, the chorus never articulates a single word. Instead, it serves as a section of the orchestra, creating an elegant vocal texture and backdrop to the viola's haunting solo lines. The work was premiered in October 1925 by the violist Lionel Tertis, singers from the RCM, and the Queen's Hall Orchestra, directed by Sir Henry Wood.

The Whistling Blackbird: Essays and Talks on New Music is the long-awaited book of essays from Robert Morris, the greatly admired composer and music theorist. In these essays, Morris presents a new and multifaceted view of recent developments in American music. His views on music, as well as his many compositions, defy easy classification, favoring instead a holistic, creative, and critical approach. The Whistling Blackbird contains fourteen essays and talks, divided into three parts, preceded by an "Overture" that portrays what it means to compose music in the United States today. Part 1 presents essays on American composers John Cage, Milton Babbitt, Richard Swift, and Stefan Wolpe. Part 2 comprises talks on Morris's music that illustrate his ideas and creative approaches over forty years of music composition, including his outdoor compositions, an ongoing project that began in 1999. Part 3 includes four essays in music criticism: on the relation of composition to ethnomusicology; on phenomenology and attention; on music theory at the millennium; and on issues in musical time. Threaded throughout this collection of essays are Morris's diverse and seemingly disparate interests and influences. English romantic poetry, mathematical combinatorics, group and set theory, hiking, Buddhist philosophy, Chinese and Japanese poetry and painting, jazz and nonwestern music, chaos theory, linguistics, and the American transcendental movement exist side by side in a fascinating and eclectic portrait of American musical composition at the dawn of the new millennium. Robert Morris is Professor of Music Composition at the Eastman School of Music, University of Rochester.

This edition of Walton's celebrated Viola Concerto (1962 version) has been off-printed from the William Walton Edition full score, and combines the scholarship of the Edition with the practical benefits of the smaller format. An introduction is provided by the volume editor, Christopher Wellington. Orchestral material is available on hire/rental.

Embertides is a four-movement suite for organ based on the roughly equal divisions of the church year - Advent, Lent, Whitsun, and Michaelmas - which in turn hark back to earlier, secular traditions. Throughout, there are short references and hints to plainsong and other hymns relevant to the seasons. Drawing on a wide range of colours and textures, the composer creates an evocative and varied suite of pieces, perfectly suited for both recital and church performance; as such, the work will be welcomed by a wide range of players.

for SATB (with divisions), S. and T. solos, and 10 players Commissioned by Merton College, Oxford, this hour-long work for soloists, choir, and 10 players is divided into seven movements, beginning with Palm Sunday. Jackson's setting takes material from each of the four Gospel narratives, interspersed with Latin hymns and English texts by poets associated with Merton College over the centuries including Edmund Blunden and T. S. Eliot. The vocal score includes a piano reduction for rehearsal purposes.

Pianoworks: Popular Styles is a superb one-stop introduction to key musical styles of the last 100 years. Through 18 original pieces it captures the essential ingredients of blues, gospel, rock, jazz, and Latin, as well as neo-classicism, minimalism, and other popular classical styles. The pieces are carefully tailored for students of the Pianoworks series, covering technically Book 2 and the final section of Book 1, and the collection works equally well as a stand-alone repertoire resource.

This edition of Walton's Cello Concerto has been off-printed from the Wiliam Walton Edition full score, and combines the scholarship of the Edition (including an introduction by the editor) with the practical benefits of a study score format. Dating from 1956, the work was commissioned by Gregor Piatigorsky and premiered by him the following year. Walton regarded this work as the best of his three solo concertos. Orchestral material is available on hire/rental.

This edition of Walton's Violin Concerto has been off-printed from the William Walton Edition full score, and combines the scholarship of the Edition (including an introduction by the editor) with the practical benefits of a study score format. Commissioned by Jascha Heifetz, the work was completed in 1939 and premiered by Heifetz later that year. Walton revised the concerto in 1943 and it is this version which is presented in the current edition. Orchestral material is available on hire/rental.

THE NEW YORK TIMES BESTSELLER 'A virtuosic memoir . . . elegant, frank and well-structured, that entirely resists cliche . . . The concert pianist's account of striving for musical mastery sits alongside a stirring coming of age narrative . . . readable for both diehard classical music fans and complete newcomers alike . . . A rare feat.' The Guardian 'Jeremy Denk's writing is as engaged and probing as his playing. Every Good Boy Does Fine hits the spot - a scintillating account of his way into music' - Ian Bostridge A uniquely illuminating memoir of the making of a musician, in which renowned pianist Jeremy Denk explores what he learned from his teachers about classical music: its forms, its power, its meaning - and what it can teach us about ourselves. In this searching and funny memoir, based on his popular New Yorker article, renowned pianist Jeremy Denk traces an implausible journey. Life is difficult enough as a precocious, temperamental, and insufferable six-year-old piano prodigy in New Jersey. But then a family meltdown forces a move to New Mexico, far from classical music's nerve centers, and he has to please a new taskmaster while navigating cacti, and the perils of junior high school. Escaping from New Mexico at last, he meets a bewildering cast of college music teachers, ranging from boring to profound, and experiences a series of humiliations and triumphs, to find his way as one of the world's greatest living pianists, a MacArthur 'Genius,' and a frequent performer at Carnegie Hall. There are few writers working today who are willing to eloquently explore both the joys and miseries of artistic practice. Hours of daily repetition, mystifying early advice, pressure from parents and teachers who drove him on - an ongoing battle of talent against two enemies: boredom and insecurity. As we meet various teachers, with cruel and kind streaks, Denk composes a fraught love letter to the act of teaching. He brings you behind the scenes, to look at what motivates both student and teacher, locked in a complicated and psychologically perilous relationship. In Every Good Boy Does Fine, Denk explores how classical music is relevant to 'real life,' despite its distance in time. He dives into pieces and composers that have shaped him - Bach, Mozart, Schubert, and Brahms, among others - and gives unusual lessons on melody, harmony, and rhythm. Why and how do these fundamental elements have such a visceral effect on us? He tries to sum up many of the lessons he has received, to repay the debt of all his amazing teachers; to remind us that music is our creation, and that we need to keep asking questions about its purpose. 'Denk . . . has written a book that shows what it's like to be a pianist, but also what it's like to be Jeremy Denk. As if that were not enough, it is also about the elements of music, and beyond that an account of the ways in which music and life mirror each other. It is a book like none other . . . Denk weaves invisible threads connecting life and art into something very close to musical form.' Simon Callow, The New York Review of Books

for SSATB (with divisions) unaccompanied A setting of one of the seven Advent 'O' Antiphons, O Oriens makes use of luxurious and exotic harmonies, creating a shimmering texture reminiscent of the biblical Morning Star referenced in the title. The focus on human enlightenment in winter's darkness means the piece is equally suitable for secular celebrations of Christmas. It was commissioned for the Choir of Merton College, Oxford, and in 2013 was shortlisted for a British Composer Award.

A crucial year in the Britten/Auden relationship, which reshaped and redefined artistic direction in the immediate pre-war period. Benjamin Britten and W.H. Auden were key figures of the 1930s, and here Donald Mitchell traces their lives during one crucial year, 1936. They worked hard to establish themselves, first through the GPO film unit, in a collaboration which flowered and spilled over into the theatre, and then radio - a new medium that the liveliest creative minds of the time were exploring and exploiting. Britten and Auden also joined forces in works destined for the recital room and concert hall, among them Our Hunting Fathers, the political symbolism of which Donald Mitchell examines in depth, and On the Island, settings of early Auden that comprised Britten's first important set of songs to English texts. Much use is made of Britten's private diaries, which he kept on a daily basis, and a revealing portrait emerges of the two men's relationship, of their work together in many different fields, and of the reflection within that work of political ideas current at the time. DONALD MITCHELL was Britten's close friend and publisher from 1964 until the end of the composer's life, and his authorised biographer. The T S Eliot Memorial Lectures delivered in 1979

for SATB and organ or orchestra or unaccompanied This anthology of 9 mixed-voice anthems combines new material written specially for the collection with established favourites from the Oxford catalogue, some of which appear here for the first time with SATB scoring. Containing both accompanied and a cappella pieces, and with festive anthems (with keyboard or orchestral accompaniment) alongside short, gentle blessings, Mack Wilberg Anthems contains an attractive selection of pieces suitable for a variety of liturgical seasons and will appeal to all mixed-voice church choirs.

for upper-voice choir, SATB choir, piano, and optional timpani Setting a newly written text by Charles Bennett, this fifteen-minute choral work takes singers on a journey through five historical events: the invention of printing, the abolition of slavery, the first powered flight, the discovery of penicillin, and the first man in space. In each movement, music and words come together to create a strikingly vivid and personal account of each protagonist's experience, from the printer seeing 'each letter like a person' to the astronaut commenting on the beauty of our planet from space. Chilcott's music is as captivating as ever, with energy in abundance alongside moments of clarity and stillness. This is an ideal concert work for choirs looking to perform with an upper-voice group, or for larger SATB choruses with divisi sopranos and altos. The optional timpani part is printed separately at the back of the score.

In recent years the music of minimalist composers such as La Monte Young, Terry Riley, Steve Reich and Philip Glass has, increasingly, become the subject of important musicological reflection, research and debate. Scholars have also been turning their attention to the work of lesser-known contemporaries such as Phill Niblock and Eliane Radigue, or to second and third generation minimalists such as John Adams, Louis Andriessen, Michael Nyman and William Duckworth, whose range of styles may undermine any sense of shared aesthetic approach but whose output is still to a large extent informed by the innovative work of their minimalist predecessors. Attempts have also been made by a number of academics to contextualise the work of composers who have moved in parallel with these developments while remaining resolutely outside its immediate environment, including such diverse figures as Karel Goeyvaerts, Robert Ashley, Arvo PArt and Brian Eno. Theory has reflected practice in many respects, with the multimedia works of Reich and Glass encouraging interdisciplinary approaches, associations and interconnections. Minimalism's role in culture and society has also become the subject of recent interest and debate, complementing existing scholarship, which addressed the subject from the perspective of historiography, analysis, aesthetics and philosophy. The Ashgate Research Companion to Minimalist and Postminimalist Music provides an authoritative overview of established research in this area, while also offering new and innovative approaches to the subject.