Title: Symphony No. 9 Composer: Ludwig van Beethoven Original Publisher: Breitkopf & Hartel The complete orchestral score to Beethoven's Symphony No. 9 "Choral," as originally published by Breitkopf & Hartel in 1863. Performer's Reprints are produced in conjunction with the International Music Score Library Project. These are out of print or historical editions, which we clean, straighten, touch up, and digitally reprint. Due to the age of original documents, you may find occasional blemishes, damage, or skewing of print. While we do extensive cleaning and editing to improve the image quality, some items are not able to be repaired. A portion of each book sold is donated to small performing arts organizations to create jobs for performers and to encourage audience growth.

A monumental accomplishment from the age of Enlightenment, the string quartets of Joseph Haydn hold a central place not only in the composer's oeuvre, but also in our modern conception of form, style, and expression in the instrumental music of his day. Here, renowned music historians Floyd and Margaret Grave present a fresh perspective on a comprehensive survey of the works. This thorough and unique analysis offers new insights into the creation of the quartets, the wealth of musical customs and conventions on which they draw, the scope of their innovations, and their significance as reflections of Haydn's artistic personality. Each set of quartets is characterized in terms of its particular mix of structural conventions and novelties, stylistic allusions, and its special points of connection with other opus groups in the series. Throughout the book, the authors draw attention to the boundless supply of compositional strategies by which Haydn appears to be continually rethinking, reevaluating, and refining the quartet's potentials. They also lucidly describe Haydn's famous penchant for wit, humor, and compositional artifice, illuminating the unexpected connections he draws between seemingly unrelated ideas, his irony, and his lightning bolts of surprise and thwarted expectation. Approaching the quartets from a variety of vantage points, the authors correct many prevailing assumptions about convention, innovation, and developing compositional technique in the music of Haydn and his contemporaries.
Going beyond traditional modes of study, The String Quartets of Joseph Haydn blends historical analysis and factual information with critical appraisal in a way that will engage all Haydn enthusiasts.

Handel wrote over 100 cantatas, compositions for voice and instruments that describe the joy and pain of love. In "Handel as Orpheus," the first comprehensive study of the cantatas, Ellen Harris investigates their place in Handel's life as well as their extraordinary beauty.

The cantatas were written between 1706 and 1723--from the time Handel left his home in Germany, through the years he spent in Florence and Rome, and into the early part of his London career. In this period he lived as a guest in aristocratic homes, and composed these chamber works for his patrons and hosts, primarily for private entertainments. In both Italy and England his patrons moved in circles in which same-sex desire was commonplace--a fact that is not without significance, Harris reveals, for the cantatas exhibit a clear homosexual subtext.

Addressing questions about style and form, dating, the relation of music to text, rhythmic and tonal devices, and voicing, "Handel as Orpheus" is an invaluable resource for the study and enjoyment of the cantatas, which have too long been neglected. This innovative study brings greater understanding of Handel, especially his development as a composer, and new insight into the role of sexuality in artistic expression.

The six string quartets comprising Joseph Haydn's Opus 20 (composed in 1772) are the first works in the genre to have received consistent critical attention from writers on music. The twenty-two quartets Haydn wrote before this date, though rarely discussed by historians and theorists and seldom performed in public, are nevertheless fundamental to the development of the quartet and thus inseparable from Opus 20 itself. This thoughtful discussion provides a basis upon which to study the quartet by showing how the relationship among the four players can best be understood as a musical dialogue. A methodology is developed for analyzing these quartets by focusing on the characteristics of string instruments that inform not only the style of the music, but also the materials of the composition. The changing relationships among the instruments reveal the level of sophistication evident in Haydn's early works and attest to the affinity these works have with his later masterpieces. Music scholars and educators will appreciate the generous musical examples and clear prose that explains the more detailed analysis of the Opus 20 set.

This volume provides a valuable resource for instrumental conductors, conducting teachers, and students. Most universities offering advanced degrees in instrumental conducting cannot provide a training orchestra or wind ensemble for the conductor. The chamber orchestra, which can be easily organized and requires a smaller instrumentation, provides a reasonable alternative. The chamber ensemble has the potential to offer training for the developing conductor and to expand the repertoire of the professional conductor. A Conductor's Repertory of Chamber Music lists over one thousand original works for chamber ensembles ranging in size from nine to fifteen solo instruments. The work includes three sections: the Repertory, a complete data base of compositions listed by composer and including instrumentation, publisher, the composer's date of birth, and the number of required musicians; the Repertory Classified, which lists compositions according to similar combinations of instruments; and a Title Index.

Johann Sebastian Bach was a Lutheran and much of his music was for Lutheran liturgical worship. As these insightful essays in the twelfth volume of Bach Perspectives demonstrate, he was also influenced by--and in turn influenced--different expressions of religious belief. The vocal music, especially the Christmas Oratorio, owes much to medieval Catholic mysticism, and the evolution of the B minor Mass has strong Catholic connections. In Leipzig, Catholic and Lutheran congregations sang many of the same vernacular hymns. Internal squabbles were rarely missing within Lutheranism, for example Pietists' dislike of concerted church music, especially if it employed specific dance forms. Also investigated here are broader issues such as the close affinity between Bach's cantata libretti and the hymns of Charles Wesley; and Bach's music in the context of the Jewish Enlightenment as shaped by Protestant Rationalism in Berlin. Contributors: Rebecca Cypess, Joyce L. Irwin, Robin A. Leaver, Mark Noll, Markus Rathey, Derek Stauff, and Janice B. Stockigt.

Libby Larsen has composed award-winning music performed around the world. Her works range from chamber pieces and song cycles to operas to large-scale works for orchestra and chorus. At the same time, she has advocated for living composers and new music since cofounding the American Composers Forum in 1973. Denise Von Glahn's in-depth examination of Larsen merges traditional biography with a daring scholarly foray: an ethnography of one active artist. Drawing on musical analysis, the composer's personal archive, and seven years of interviews with Larsen and those in her orbit, Von Glahn illuminates the polyphony of achievements that make up Larsen's public and private lives. In considering Larsen's musical impact, Von Glahn delves into how elements of the personal-a 1950s childhood, spiritual seeking, love of nature, and status as an "important woman artist"-inform her work. The result is a portrait of a musical pathfinder who continues to defy expectations and reject labels.

When it was first performed in October 1960, Shostakovich's Eighth String Quartet was greeted with a standing ovation and given a full encore. Its popularity has continued to the present day with over a hundred commercial recordings appearing during the last 40 years. The appeal of the work is not hard to identify; immediately communicative, the quartet also contains rich seams of deeper meaning. This book is the first to examine its musical design in detail and seeks to overthrow the charges of superficiality that have arisen as a result of the work's popular success. The core of this study is the close analysis of the work, but this is placed in context with a discussion of Shostakovich's reputation and historical position, the circumstances of the quartet's composition and the subsequent controversies that have surrounded it. The work was composed during the so-called 'Thaw' years of the Soviet Union, and the cultural and political backgrounds of this period are considered, together with Shostakovich's life and work during this time. David Fanning argues persuasively that the Eighth String Quartet is a landmark in twentieth-century music in its transcendence of the extra-musical meanings that it invokes; that it is 'music that liberates itself from the shackles of its context'. The book features an accompanying CD of the work.

This fun light piece is a great showpiece for the cornet. It is named after the sight-seeing boats for tourists in Niagara Falls. Set as a polka, there is much opportunity for the soloist to display quick fingers and light triple tonguing. The flugel horn and cornet 1 take turns playing melody in the break strains in this arrangement for 6 trumpets.

"Russo has undertaken an ambitious project, attempting to discuss together the elements of music that are commonly treated separately in books on harmony, counterpoint, and orchestration. As such, his new book contains enough musical instruction to be of interest even to students not particularly interested in 'jazz' or Russo's own musical idiom. For the student who wants to compose or arrange for 'jazz' ensembles from dance bands to full orchestras, Russo has shown himself to be a generous source of good advice."--Jon Newsom, Notes

All music originally written for the natural trumpet (a trumpet with no valves) has a true "sameness" about it because of the limited notes the instrument could play. Franceschini has used many of the less commonly used notes available to the trumpet's harmonic series and, as a result, has created a more interesting harmonic palette for the instruments involved. This arrangement could feature the trumpet players on natural trumpets or piccolos.

Written in a baroque style, this three movement work combines imitative counterpoint between the 2 trumpets that is characteristic of Vivaldi. Written for Black and White Brass, this piece displays lightness of articulation from all members of the ensemble. All parts are interesting, especially the tuba part which is similar to a Vivaldi or Bach continuo line.