The memoirs of the Russian-born German composer Georg von Alberecht (born Kasan 1891, died Heidelberg 1976) are an important document of 20th-century musical history. Dictated to his son Michael von Albrecht and first published in German, von Albrecht's autobiography recounts his dramatic experiences during the 1917 Russian revolution and the Nazi terror. His reports of encounters with such other composers as Taneyev, Glazunov, Scriabin, Stravinsky, Hindemith, Frommel, David, and others, and his thorough discussion of tonal systems and compositional methods, reflect the approach and critical response to many procedures typical of the 20th-century music. His analyses shed light on the works of other composers and the development of modern and postmodern compositional strategies. Translated by Michael von Albrecht and Francis R. Schwartz, and edited by Elliott Antokoletz, these memoirs offer the English-speaking reader a first-hand account of some of the most dynamic political, social, and musical developments in 20th-century Europe.

The Bootleg Guide is the ultimate in reference works for the 1960s and the 1970s bootleg recordings. Within these pages lies a history of rock at its best, as performed on stage or in the studio. Each entry is catalogued by title, date, featured tracks, and contains a quality rating and comments on the nature and origin of the recording. Cross-references are provided to other titles and extensive information is available on alternate titles of bootlegs. In many cases, quirky facts about a particular title are given-something that in itself may make a title a highly desirable and sought-after 'rarity' amongst collectors. Limited editions are listed to help the reader and collector develop a clearer picture of just how obtainable a bootleg may be. Bootlegs are unofficial 'live' and studio recordings of artists and bands that are released onto vinyl, tape or CD. By definition, most are so rare that they change hands only for vastly inflated sums or are traded by networks of dedicated collectors worldwide. Serious fans and collectors have been known to spend as much as $225 for an original, scratchy vinyl recording of bands like Deep Purple and the Grateful Dead dating back to the early seventies. The rarest of all are akin to valuable paintings as far as collectors and traders are concerned.

An extraordinary selection of revealing letters to and from one of the titans of 20th-century music Leonard Bernstein was a charismatic and versatile musician-a brilliant conductor who attained international super-star status, and a gifted composer of Broadway musicals (West Side Story), symphonies (Age of Anxiety), choral works (Chichester Psalms), film scores (On the Waterfront), and much more. Bernstein was also an enthusiastic letter writer, and this book is the first to present a wide-ranging selection of his correspondence. The letters have been selected for the insights they offer into the passions of his life-musical and personal-and the extravagant scope of his musical and extra-musical activities. Bernstein's letters tell much about this complex man, his collaborators, his mentors, and others close to him. His galaxy of correspondents encompassed, among others, Aaron Copland,Stephen Sondheim, Jerome Robbins, Thornton Wilder, Boris Pasternak, Bette Davis, Adolph Green, Jacqueline Kennedy Onassis, and family members including his wife Felicia and his sister Shirley. The majority of these letters have never been published before. They have been carefully chosen to demonstrate the breadth of Bernstein's musical interests, his constant struggle to find the time to compose, his turbulent and complex sexuality, his political activities, and his endless capacity for hard work. Beyond all this, these writings provide a glimpse of the man behind the legends: his humanity, warmth, volatility, intellectual brilliance, wonderful eye for descriptive detail, and humor.

This is the first book-length survey of 20th -century British music for solo organ. Beginning with a discussion of British organ music in the last decades of the Victorian era, the book focuses on the pieces that the composers wrote, their musical style, possible influences on the composition of specific works, and the details of their composition. Arranged in chronological order according to date of birth are detailed studies on important composers that made especially significant contributions to organ music including Parry, Stanford, Healey Willan, Herbert Howells, Percy Whitlock, Francis Jackson, Peter Racine Fricker, Arthur Wills, and Kenneth Leighton. Composers' biographies, the role of organs and organ building developments, influential political and sociological events, and aesthetic aspects of British musical life are also discussed in detail. In the concluding chapter, the author discusses the major phases and achievements of the century and gauges what may lie ahead in the new millennium. A comprehensive Catalog of Works provides titles of works, dates of composition, details of publishers, and the dates of publication. More than 60 music examples, 12 black and white photos, and an up-to-date bibliography are included.

British Musical Modernism explores the works of eleven key composers to reveal the rapid shifts of expression and technique that transformed British art music in the post-war period. Responding to radical avant-garde developments in post-war Europe, the Manchester Group composers - Alexander Goehr, Peter Maxwell Davies, and Harrison Birtwistle - and their contemporaries assimilated the serial-structuralist preoccupations of mid-century internationalism to an art grounded in resurgent local traditions. In close readings of some thirty-five scores, Philip Rupprecht traces a modernism suffused with the formal elegance of the 1950s, the exuberant theatricality of the 1960s, and - in the works of David Bedford and Tim Souster - the pop, minimalist, and live-electronic directions of the early 1970s. Setting music-analytic insights against a broader social-historical backdrop, Rupprecht traces a British musical modernism that was at once a collective artistic endeavor, and a sounding myth of national identity.

During the late 1890s and early 1900s, Samuel Coleridge-Taylor (1875-1912) was an important and popular British composer. Respected by such contemporaries as Sir Arthur Sullivan, Sir Edward Elgar, Gustav Holst, and Ralph Vaughan Williams, he attracted the attention of the British music critics, who followed his career with curious interest and often placed him in a class with other noted composers. A prolific composer during his short lifetime, he received great public acclaim and became known both nationally and internationally-his setting of Longfellow's Hiawatha was just as popular as Handel's Messiah in Victorian England. Although he composed Hiawatha when he was only twenty-three, Coleridge-Taylor already had reached a published opus of twenty-nine compositions. Born of a West African doctor and a British mother, Coleridge-Taylor belonged to two decidedly different cultures. Therefore, his compositional style was affected by two underlying currents: the classical tradition that dominated his training at the Royal College of Music, and the African and African-American folk music that was introduced to him through contacts with members of his father's race. This revised second edition, equipped with both an updated and expanded discography and bibliography, traces the development of his compositional style from his final years at the Royal College of Music to the time of his death in 1912. Also included is a list of his arrangements and later editions of his music. The author uses examples from selected works to show the influence of classical texts, West African and African-American elements, and English poetical dramas. Of particular interest are eight rare and/or never-before seen articles by and about this ground-breaking composer.

"This book introduces us to the world of contemporary Japanese music and it guides us towards a better understanding of their world." Luciano Berio Yogaku discusses over a century of musical activity in Japan, detailing, in particular, the music that was inspired by Western music after the Meiji Restoration in the 19th century, and its development through the end of the 20th century. The book not only examines the infiltration of Western music into Japan, but also provides insight into the aesthetic and theoretical aspects of Japanese musical thought. The word yogaku (Western music) is made up of two characters: yo, which means "ocean" (that is, "over the ocean," meaning Western or foreign) andgaku, which means "music." Divided into two parts, the text covers the period preceding World War I as well as the post-war period. The introduction provides a history of music's role in Japanese society, touching upon the differences in the functions of Japanese and Western music. Part One describes the complex process of a new musical world and the European musical ideas that penetrated Japan. Modernization through westernization is explored; the author details the differences between the traditional Japanese music and that composed under Western influence, as well as the French and German impact on Japanese musical compositions. Galliano looks at the appearance of music in schools and the first Japanese musical compositions, as well as nationalism's effect on music through propaganda and censorship. Part Two explores topics such as the post-war avant-garde, the 1960s boom in traditional music, and the closing decades of the 20th century. The next generation of Japanese composers are also considered. Japanese history and music scholars, as well as those interested in Japanese music, will want to include Yogaku in their collection."

This is the first introductory survey of western twentieth-century music to address popular music, art music and jazz on equal terms. It treats those forms as inextricably intertwined, and sets them in a wide variety of social and critical contexts. The book comprises four sections - Histories, Techniques and Technologies, Mediation, Identities - with 16 thematic chapters. Each of these explores a musical or cultural topic as it developed over many years, and as it appeared across a diversity of musical practices. In this way, the text introduces both key musical repertoire and critical-musicological approaches to that work. It historicises music and musical thinking, opening up debate in the present rather than offering a new but closed narrative of the past. In each chapter, an overview of the topic's chronology and main issues is illustrated by two detailed case studies.

Covering works by popular figures like Ralph Vaughan Williams and Gustav Holst as well as less familiar English composers, Eric Saylor's pioneering book examines pastoral music's critical, theoretical, and stylistic foundations alongside its creative manifestations in the contexts of Arcadia, war, landscape, and the Utopian imagination. As Saylor shows, pastoral music adapted and transformed established musical and aesthetic conventions that reflected the experiences of British composers and audiences during the early twentieth century. By approaching pastoral music as a cultural phenomenon dependent on time and place, Saylor forcefully challenges the body of critical opinion that has long dismissed it as antiquated, insular, and reactionary.

This volume provides a transnational study of the impact of musical cultures in the Eastern Baltics-Lithuania, Latvia, Poland, and Russia-at the end of the Cold War and in the early post-Communist period. Throughout the book, the contributors explore and conceptualize transnational musical collaboration and the diffusion of information, people, and ideas focusing on musical activity which shaped the moral and artistic outlook of several generations. The volume sheds light on the transformative power of politically and socially engaged music and offers a deeper understanding of the artistic potential of societies and its impact on social and political change.

This collection provides an in-depth look at musical criticism between the mid-nineteenth and the mid-twentieth century. British music between the mid-nineteenth and the mid-twentieth century reflected changes and developments in society, education, philosophy, aesthetics, politics and the upheaval of wars, often signifying a distinctively British national history. All of these changes informed the published work of contemporary music critics. This collection provides an in-depth look at musical criticism during this period. It focusses on major figures such as Grove,Parry, Shaw, Dent, Newman, Heseltine, Vaughan Williams, Dyson, Lambert and Keller, yet does not neglect less influential but nevertheless significant critics. Sometimes a seminal work forms the subject of investigation; in otherchapters, a writer's particular stance is highlighted. Further contributions closely analyse the now famous polemics by Shaw, Heseltine and Lambert. The book covers a range of themes from the historical, scientific and philosophical to matters of repertoire, taste, interdisciplinary influence, musical democratisation and analysis. It will be of interest to scholars and students of nineteenth- and early twentieth-century British music and music in Britain as well as to music enthusiasts attracted to standard works of popular music criticism. JEREMY DIBBLE is Professor of Music at Durham University. JULIAN HORTON is Professor of Music at Durham University. Contributors: KAREN ARRANDALE, SEAMAS DE BARRA, PHILIP ROSS BULLOCK, JONATHAN CLINCH, SARAH COLLINS, JEREMY DIBBLE, JULIAN HORTON, PETER HORTON, CHRISTOPHER MARK, AIDAN J. THOMSON, PAUL WATT, HARRY WHITE, BENNETT ZON, PATRICKZUK

Second edition of a book which caused huge controversy in its first printing - now completely revised and updated. Argues that research into the cultural history of music can significantly help our understanding of the evolution of English national identity. Only book of its kind to cover such a revolutionary period in British music. Looks at how music reflected the privileged elite, ignoring the vast majority of 'music lovers', and was crucial in the construction of a British national identity. The second edition features a new and expanded introduction, a new chapter on Mendelssohn's Elijah - and the complete text has also been updated and revised. -- .

Jazz in New Orleans provides accurate information about, and an insightful interpretation of, jazz in New Orleans from the end of World War II through 1970. Suhor, relying on his experiences as a listener, a working jazz drummer, and writer in New Orleans during this period, has done a great service to lovers of New Orleans music by filling in some gaping holes in postwar jazz history and cutting through many of the myths and misconceptions that have taken hold over the years. Skillfully combining his personal experiences and historical research, the author writes with both authority and immediacy. The text, rich in previously unpublished anecdotes and New Orleans lore, is divided into three sections, each with an overview essay followed by pertinent articles Suhor wrote for national and local journals including Down Beat and New Orleans Magazine. Section One, "Jazz and the Establishment," focuses on cultural and institutional settings in which jazz was first battered, then nurtured. It deals with the reluctance of power brokers and the custodians of culture in New Orleans to accept jazz as art until the music proved itself elsewhere and was easily recognizable as a marketable commodity. Section Two, "Traditional and Dixieland Jazz," highlights the music and the musicians who were central to early jazz styles in New Orleans between 1947 and 1953. Section Three, "An Invisible Generation," will help dispel the stubborn myth that almost no one was playing be-bop or other modern jazz styles in New Orleans before the current generation of young artists appeared in the 1980s.

for women's chorus and piano. This cantata features sixteen highly-varied folk song settings, bound together in seasonal groupings to take the listener on an engaging journey through the year from Spring to Winter. The prologue implores us to 'sing and be merry', and many of the songs facilitate this with their charmingly light-hearted melodies and imaginative orchestral accompaniment. There are also darker moments, such as the haunting and heart-rending setting of 'The Unquiet Grave' in 'Autumn'. For this comprehensive new edition, the editor Graham Parlett has drawn on all available sources, providing an authoritative full score with critical commentary. This edition also makes available new materials for the version for string orchestra and piano, and a new vocal score.

This innovative survey of large choral-orchestral works is a continuation of the author's previous study of twentieth century works with English texts. Green examines nearly one hundred works, from Rachmaninov's Vesna to Penderecki's Song of Songs. For each work, he provides a biography of the composer, complete instrumentation, text sources, editions, availability of performing materials, performance issues, discography, and bibliography of the composer and the work. Based upon direct score study, each work has been evaluated in terms of potential performance problems, rehearsal issues, and level of difficulty for both the choir and orchestra. When present, solo roles are described. The composers represented in this work include Bela Bartok, Leonard Bernstein, Ernest Bloch, Maurice Durufe, Hans Werner Henze, Paul Hindemith, Arthur Honegger, Leos Janacek, Gyorgy Ligeti, Gustav Mahler, Carl Orff, Krzysztof Penderecki, Francis Poulenc, Igor Stravinsky, Anton Webern, and Kurt Weill. Written as a field guide for conductors and others involved in programming concerts for choir and orchestra, this text will prove a useful source of new repertoire ideas and an invaluable aid to rehearsal preparation.

Draws upon unpublished sources and interviews with those who knew him to give a full picture of Roger Quilter's artistic world and musical output. The songs of Roger Quilter are a staple of the English art song repertoire, yet little is known of his life, and his popularity suffered an eclipse in postwar years largely through changing musical fashions. Championed by the great English tenor Gervase Elwes, Quilter became famous for songs such as 'Now Sleeps the Crimson Petal', 'Love's Philosophy' and 'Go, Lovely Rose'. The BBC included A Children's Overture in their first broadcast concert, andthe success of his atmospheric music for the children's fairy play Where the Rainbow Ends ensured his immense popularity. Access to numerous sources worldwide, many of them unpublished, and extensive interviews with friends and family, have enabled Valerie Langfield to write a sympathetic and authoritative account of Quilter, the first full-length study. The first part focuses on Quilter's life: she examines his relationships with his friends, particularly Grainger and the de Glehn family, and how his wealth, ill-health, family and homosexuality affected him. Her researches testify to Quilter's quiet philanthropy: his many practical actions included his founder-membershipof the Musicians Benevolent Fund, generous and discreet assistance to young musicians, and help to Jewish friends fleeing Germany and Austria before the second world war. The second part of the book discusses and contextualises all his music: songs, chamber, orchestral and theatre music, and his light opera, Julia, performed at Covent Garden in 1936. The CD - which can be ordered separately bypurchasers of the book - contains recordings of Quilter himself, either playing or conducting. The 17 songs that Quilter recorded in 1934 with the baritone Mark Raphael are included, together with his own arrangement for piano quintet of the song cycle To Julia with Hubert Eisdell as the tenor soloist. Quilter also conducts a short selection of items of music from Where the Rainbow Ends. Also: Schedule of performances; Catalogue of works; Discography; Bibli

"Everything But Bach, Beethoven and Brahms," comprises this multicultural repertoire guide for pianists, composers, music teachers and students, world music enthusiasts and scholars. It identifies pieces in the contemporary solo piano literature which show world music influences not traditionally associated with the standard repertoire of Western European art music. The resulting annotated bibliography therefore includes pieces which use or attempt to emulate non-Western scales, modes, folk tunes, rhythmic, percussive or harmonic devices and timbres. Axford highlights the music cultures of the Middle East and North Africa, Sub-Saharan Africa, India, the Far East, Indonesia, Oceania, ethnic North America, Latin America and Spain, and Eastern Europe, Russia, and Scandinavia. Separate bibliographies for each world music region show examples of contemporary solo piano pieces that demonstrate some of the traditional musical influences associated with the region.

Arthur Foote (1853-1937) was one of the most important American composers who worked creatively in the late 19th and early 20th centuries. His musical style was at first Germanic in orientation, soon changing to include Anglo-Americanisms and modifications derived from French and Russian composers. His compositions were highly esteemed by his contemporaries. Moreover, today's listeners continue to be struck by the coherency of his music, both in its general form and in its details. They note a command of craft, an integration of tone with desired expression, and an honest straightforward sound that brooks no pretentious complexities or enigmas of meaning. In addition, he was admired as an educator, musical theorist, keyboard performer, and choral music director. His books and articles on keyboard pedagogy and those containing his insightful contemplation of aspects of modulation and third-relationships in musical structures are still of great value. Assiduous as he was in preserving various aspects of his public life in his several scrapbooks, Foote strove to keep his private life out of the public eye. He discouraged the publication of his more personal letters, and late in life even desired their destruction. This book attempts to gather all the available information in order to give information about the man, his life, and his thinking. Lastly, it looks into the music, what it is, why and where it was written, and what its significance is. With bibliography and musical examples.

This is a startlingly fresh account of the life of one of the greatest 20th-century Americans, composer and songwriter George Gershwin. Joan Peyser examines Gershwin's character, his complex relationship with brother and collaborator Ira, and his several romantic affairs. This 2007 edition includes newly discovered information in a new author's introduction.

Classical music shows a close relationship to language, and both musicology and philosophy have tended to approach music from that angle, exploring it in terms of expression, representation, and discourse. This book turns that idea on its head. Focusing on the music of Debussy and its legacy in the century since his death, After Debussy offers a groundbreaking new perspective on twentieth-century music that foregrounds a sensory logic of sound over quasi-linguistic ideas of structure or meaning. Author Julian Johnson argues that Debussy's music exemplifies this idea, influencing the music of successive composers who took up the mantle of emphasizing sound over syntax, sense over signification. In doing so, this music not only anticipates a central problem of contemporary thought-the gap between language and our embodied relation to the world-but also offers a solution. With a readable narrative structure grounded in an impressive body of literature, After Debussy ranges widely across French music, demonstrating the impact of Debussy's music on composers from Faure and Ravel to Dutilleux, Boulez, Grisey, Murail and Saariaho. It ranges similarly through a set of French writers and philosophers, from Mallarme and Proust to Merleau-Ponty, Jankelevitch, Derrida, Lyotard and Nancy, and even draws from the visual arts to help embody key ideas. In accessibly tackling substantial ideas of both musicology and philosophy, this book not only presents bold new ways of understanding each discipline but also lays the groundwork for exciting new discourse between them.

This book proposes a new theory about the neo-classical style in music. The Danish emeritus professor Finn Egeland Hansen has chosen three different composers - the French Camille Saint-Saens and Charles Gounod and the Danish Niels W. Gade - to discuss his thesis that the classical-romantic main current in classical music in fact represents two sub-currents. One sub-current focusing on the romantic aspects, the other focusing on the classical aspects of its musical style. In close readings of the works by these three composers, Finn Egeland Hansen demonstrates how in different aspects they were harbingers of the neo-classical style - a style that is usually exemplified through later composers like Igor Stravinsky, Paul Hindemith and the members of the French group Les Six. Finn Egeland Hansen labels these harbingers' style as retro-classicism. Finn Egeland Hansen's dissertation was about The Grammar of Gregorian Tonality (1979), and his most recent book is Layers of Musical Meaning (2006). Since 1990 he has been Chairman of the Foundation for the Publication of the Works of Niels W. Gade.

This accessible Introduction explores both mainstream and experimental manifestations of electronic music. From early recording equipment to the most recent multimedia performances, the history of electronic music is full of interesting characters, fascinating and unusual music, and radical technology. Covering many different eras, genres and media, analyses of works appear alongside critical discussion of central ideas and themes, making this an essential guide for anyone approaching the subject for the first time. Chapters include key topics from synth pop to sound art, from electronic dance music to electrical instruments, and from the expression of pure sound to audiovisuals. Highly illustrated and with a wide selection of examples, the book provides many suggestions for further reading and listening to encourage students to begin their own experiments in this exciting field.

A complete musical biography and an exhaustive bibliography with a catalog of David Diamond's works and premiere performances through 1986.

This book explores the crossroads between autobiographical narratives and musical composition in Alban Berg's Lulu, unveiling aspects of encoded social customs, gender identity, and personal experiences within musical structures. Exploring the crossroads between autobiographical narrative and musical composition, this book examines Berg's transformation of Frank Wedekind's Erdgeist and Die Buchse der Pandora -- the plays used in the formationof the libretto for Lulu -- according to notions of gender identity, social customs, and the aesthetics of modernity in the Vienna of the 1920s and 1930s. While Berg modernized several aspects of the plays and incorporatedserial techniques of composition from Arnold Schoenberg, he never let go of the idealistic Wagnerian perspectives of his youth. In fact, he went as far as reconfiguring aspects of Richard Wagner's life as an ideal identity to beplayed out in the compositional process. In composing the opera, Berg also reflected on the most important cultural figures in fin-de-siecle Vienna that affected his worldview, including Karl Kraus, Emil Lucka, Otto Weininger, andothers. Combining analysis of Berg's correspondence, numerous sketches for Lulu, and the finished work with interpretive models drawn from cultural studies and philosophy, this book elucidates the ways in which Berg grappled at the end of his life with his self-image as an "incorrigible romantic," and explains aspects of his musical language that have been considered strange or anomalous in Berg scholarship. Silvio J. dos Santos isassistant professor of musicology at the University of Florida.