The International Who's Who in Classical Music 2007 is an unparalleled source of biographical information on singers, instrumentalists, composers, conductors and managers. The directory section lists orchestras, opera companies and other institutions connected with the classical music world. 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. Entries include individuals involved in all aspects of the world of classical music: composers, instrumentalists, singers, arrangers, writers, musicologists, conductors, directors and managers. Among those listed in this new edition are Philip Glass, Lang Lang, George Crumb, Evelyn Glennie, Yo-Yo Ma and Inga Nielsen. Over 8,000 detailed biographical entries. Covers the classical and light classical fields. Includes both up-and-coming musicians and well-established names. This book will prove invaluable for anyone in need of reliable, up-to-date information on the individuals and organizations involved in classical music.

A slight condensation of Hanon's first exercises. The simplification in layout and range make the exercises appear less difficult to a young student.

Chapel Royal meets country choir in this collection of eleven strophic psalm-settings, one anthem and two Christmas hymns, for four-part choir without organ. These elaborate settings with fugal passages are suitable for a reasonably competent choir and could provide useful material for evensongs and concerts. The introduction attempts to explain how this London composer, who was trained in the Chapel Royal, came to write music for a country church in Hertfordshire.

Reconstructs the socio-political history of the heroic in music through case studies spanning the middle ages to the twenty-first century The first part of this volume reconstructs the various musical strategies that composers of medieval chant, Renaissance madrigals, and Baroque operas, cantatas or oratorios employed when referring to heroic ideas exemplifying their personal moral and political values. A second part investigating the eighteenth and nineteenth centuries expands the previous narrow focus on Beethoven's heroic middle period and the cult of the virtuoso. It demonstrates the wide spectrum of heroic positions - national, ethnic, revolutionary, bourgeois and spiritual - that filtered not only into 'classical' large-scale heroic symphonies and virtuoso solo concerts, but also into chamber music and vernacular dance music. The third part documents the forced heroization of music in twentieth-century totalitarian regimes such as Nazi-Germany and the Soviet Union and its consequences for heroic thinking and musical styles in the time thereafter. Final chapters show how recent rock-folk and avant-garde musicians in North America and Europe feature new heroic models such as the everyday hero and the scientific heroine revealing new confidence in the idea of the heroic.

Keyboard trios (three pianists at one keyboard) are not only an enjoyable form of ensemble music, but are also indispensable tools in developing rhythm, dynamics, tempo consistency, and group musicianship skills in any pianist. The original works of W. F. Bach, Fodor, Gurlitt, Handel, Mozart, Rachmaninoff and Streabogg are included, in score format (with all three parts on the same page), along with essential performance notes and helpful editorial fingerings and footnotes. Titles: Das Dreyblatt (Bach, Wilhelm Friedrich Ernst) * Sonata for Six Hands, Op. 10 (Fodor, Carolus Antonius) * Capriccietta, Op. 192, No. 3 (Gurlitt, Cornelius) * Gavotta, Op. 192, No. 2 (Gurlitt, Cornelius) * Impromptu, Op. 192, No.6 (Gurlitt, Cornelius) * Hallelujah Chorus from Messiah (Handel, George Frideric, arr. Czerny) Overture from The Marriage of Figaro (Mozart, Wolfgang Amadeus, arr. Czerny) * Valse (Rachmaninoff, Sergei) * Romance (Rachmaninoff, Sergei) * Bolero (Streabbog, Jean Louis).

Wilfrid Mellers is a composer, musician and author. Honorary Fellow of Downing College, Cambridge. This is his classic book on Beethoven.

Schubert's Workshop offers a fresh study of the composer's compositional technique and its development, rooted in the author's experience of realising performing versions of Franz Schubert's unfinished works. Through close examination of Schubert's use of technical and structural devices, Brian Newbould demonstrates that Schubert was much more technically innovative than has been supposed, and argues that the composer's technical discoveries constitute a rich legacy of specific influences on later composers. Providing rich new insights into the creative practice of one of the major figures of classical music, this two-volume study reframes our understanding of Schubert as an innovator who constantly pushed at the frontiers of style and expression.

Liszt's Dante Symphony is a thrilling tale of murder and covert spy rings amid the turbulent rise of Bismarck's Prussia, thus leading to Hitler's brutal Third Reich. Following the lives of a student of Liszt's, Angelo Di Purezza, and his son, the reader is taken on a journey of suspense that cascades over two generations. During those years Europe would experience numerous revolutions and witness two World Wars that would feature ghastly chemical weapons, atomic bombs, and deadly poison gas called Zyklon-B. Franz Liszt is joined by a huge cast of historical characters, including Napoleon III, Pope Pius IX, Rossini, Saint-Saens, Gustave Dore, Victor Hugo, Albert Einstein, Adolf Hitler and many others. The tale is an exciting amalgamation of history, politics, religion, music, the fine arts, secret codes, murder, suspense, sacrifices, and yes, even romance.

This book explores the mythology, story, music, characters and language of Wagner's monumental work. At its heart is a concordance of the keywords in the four librettos, a powerful reference tool. The volume also includes a brief synopsis of each of the four operas, a presentation of the 145 principal musical motives in order of appearance, and a discussion of the characters and their relationships, listing their appearances and the musical motives associated with them.

This is a collection of scholarly essays on music of the Classical era in honour of Alan Tyson. A leading authority on composers and music of the Classical period, Tyson has made an outstanding contribution to the study of composers' sketches, manuscript compositions, and early printed editions. An international group of 19 distinguished musicologists contribute essays on Mozart, Haydn, Clementi and Beethoven and other topics under the editorship of Sieghard Brandenburg. The book also includes a complete checklist of Alan Tyson's writings on music.

This book (hardcover) is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make thousands of international literature classics available in printed format again - worldwide.

Regina Mingotti was the first female impresario to run London's opera house. Born in Naples in 1722, she was the daughter of an Austrian diplomat, and had worked at Dresden under Hasse from 1747. Mingotti left Germany in 1752, and travelled to Madrid to sing at the Spanish court, where the opera was directed by the great castrato, Farinelli. It is not known quite how Francesco Vanneschi, the opera promoter, came to hire Mingotti, but in 1754 (travelling to England via Paris), she was announced as being engaged for the opera in London 'having been admired at Naples and other parts of Italy, by all the Connoisseurs, as much for the elegance of her voice as that of her features'. Michael Burden offers the first considered survey of Mingotti's London years, including material on Mingotti's publication activities, and the identification of the characters in the key satirical print 'The Idol'. Burden makes a significant contribution to the knowledge and understanding of eighteenth-century singers' careers and status, and discusses the management, the finance, the choice of repertory, and the pasticcio practice at The King's Theatre, Haymarket during the middle of the eighteenth century. Burden also argues that Mingotti's years with Farinelli influenced her understanding of drama, fed her appreciation of Metastasio, and were partly responsible for London labelling her a 'female Garrick'. The book includes the important publication of the complete texts of both of Mingotti's Appeals to the Publick, accounts of the squabble between Mingotti and Vanneschi, which shed light on the role a singer could play in the replacement of arias.

Total 371, Nos. 1-198 in this volume. Volume 1 of Bach's historic settings of chorales. C. P. E. Bach said of these chorales: "Those connoisseurs of the art of harmonizing and composing settings will likewise not withhold their praise when they observe with appropriate attentiveness the very unusual manner my father uses to set up harmony in these settings, the natural flow of the inner voices as well as the bass, factors which set these chorale settings apart from any others."

'A dazzling celebration and recalibration of Mozart's genius, written with an energy to match its subject' Ian Bostridge Mozart is one of the most familiar and beloved icons of our culture, but how much do we really understand of his music, and what can it reveal to us of the great composer? In exhilarating, transformative prose, Patrick Mackie mixes biographical storytelling with deep dives into the experience of listening to Mozart''s music to reveal a musician in dialogue with culture at its most sweepingly progressive, when Europe was caught between two historical worlds. We follow Mozart from his adolescence in Salzburg to his early death; from his close and rivalrous relationship with his father to his romantic attachments; from his hugely successful operas to intimate compositions on the keyboard. Mackie leads the reader through the major and lesser-known moments of the composer''s life and brings alive the teeming, swivelling, modernity of eighteenth-century Europe. In this era of rococo painting, surrealist aesthetics and political turbulence, Mozart reckoned with a searing talent which threatened to overwhelm him, all the while pushing him to extraordinary feats of musicianship. Returned to the volatility of the eighteenth century, we hear Mozart''s music in all its audacious vividness, gaining fresh perspectives on why his works still move us so intensely today, as we continue to search for a modernity he imagined into being.

Musical semiotics is a new discipline and paradigm of both semiotics and musicology. In its tradition, the current volume constitutes a radically new solution to the theoretical problem of how musical meanings emerge and how they are transmitted by musical signs even in most "absolute" and abstract musical works of Western classical heritage. Works from symphonies, lied, chamber music to opera are approached and studied here with methods of semiotic inspiration. Its analyses stem from systematic methods in the author's previous work, yet totally new analytic concepts are also launched in order to elucidate profound musical significations verbally. The book reflects the new phase in the author's semiotic approach, the one characterized by the so-called "existential semiotics" elaborated on the basis of philosophers from Kant , Hegel and Kierkegaard to Jaspers, Heidegger, Sartre and Marcel. The key notions like musical subject, Schein, becoming, temporality, modalities, Dasein, transcendence put musical facts in a completely new light and perspectives of interpretation. The volume attempts to make explicit what is implicit in every musical interpretation, intuition and understanding: to explain how compositions and composers "talk" to us. Its analyses are accessible due to the book's universal approach. Music is experienced as a language, communicating from one subject to another.

The Oxford Book of Choral Music by Black Composers is a landmark collection of non-idiomatic compositions from the sixteenth century to the present day, providing a comprehensive introduction to an area of choral music that has been historically under-represented. This unique anthology seeks both to improve representation in the historical canon and to showcase the music of some of the best names in choral music today.

The International Who s Who in Classical Music 2009 is an unparalleled source of biographical information on singers, instrumentalists, composers, conductors and managers. The directory section lists orchestras, opera companies and other institutions connected with the classical music world.

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.

Entries include individuals involved in all aspects of the world of classical music: composers, instrumentalists, singers, arrangers, writers, musicologists, conductors, directors and managers.

Key features:

• over 8,000 detailed biographical entries
• covers the classical and light classical fields
• includes both up-and-coming musicians and well-established names.

This book will prove invaluable for anyone in need of reliable, up-to-date information on the individuals and organizations involved in classical music.

MUSIC in the BAROQUE ERA FROM Monteverdi TO Bach By MANFRED R BUKOFZER PROFESSOR OF MUSIC, THE UNIVERSITY OF CALIFORNIA. New York NORTON tf COMPANY INO COPYRIGHT, 1947, BY W. W. NORTON COMPANY, INC. NEW YORK, N. Y. IN THE tmiTED STATES OB AMERICA FOR THE PUBLISHERS BY THE VAIL-BALLOXJ PRESS MCE IVEO R. Y CMF 1869 1943 . A. I ion. eer o CONTENTS PREFACE xiii Chapter One RENAISSANCE versus BAROQUE MUSIC i Disintegration of Stylistic Unity i Stylistic Comparison between Renaissance and Baroque Music 9 The Phases of Baroque Music 16 Chapter Two EARLY BAROQUE IN ITALY 20 The Beginnings of the Concertato Style Gabriel 20 The Monody Peri and Caccini 25 Transformation of the Madrigal Monteverdi 33 The Influence of the Dance on Vocal Music 38 Emancipation of Instrumental Music Frcscobaldi 43 The Rise of the Opera Monteverdi 55 Tradition and Progress in Sacred Music 64 Chapter Three EARLY AND MIDDLE BAROQUE IN THE NORTHERN COUNTRIES 71 The Netherlands School and Its English Background 71 English Antecedents the Abstract Instrumental Style 72 The Netherlands Sweelinck 74 Germany and Austria in the 17th Century 78 Chorale and Devotional Song 79 Chorale Motet and Chorale Concertato Schein 83 The Dramatic Concertato Schiitz 88 Continue Lied, Opera, and Oratorio 97 Instrumental Music Scheldt, Froberger, and Biber 104 Chapter Four ITALIAN MUSIC OF THE MIDDLE BAROQUE 118 The Bel-Canto Style 118 The Chamber Cantata Luigi Rossi and Carissimi 120 vii viii Contents The Oratorio Carissimi and Stradella 123 The Venetian Opera School 128 Instrumental Music the Bologna School 136 Chapter Five FRENCH MUSIC UNDER THE ABSOLUTISM 141 The Ballet de Cour 141 French Reactions to Italian Opera 147 Comedie-Ballet andTragedie Lyrique Lully 151 Cantata, Oratorio, and Church Music 161 Lute Miniatures and Keyboard Music Gaultier and Chambon niires 164 Music in the Iberian Peninsula, New Spain, and Colonial America 174 Chapter Six ENGLISH MUSIC DURING THE COM MONWEALTH AND RESTORATION 180 The Masque and the English Opera Lawes and Blow 180 Consort Music Jenkins and Simpson 190 Anglican Church Music Porter, Humfrcy, and Blow 198 Henry Purcell, the Restoration Genius 203 Chapter Seven LATE BAROQUE LUXURIANT COUN TERPOINT AND CONCERTO STYLE 219 The Culmination of Late Baroque Music in Italy 219 The Rise of Tonality 219 Concerto Grosso and Solo Concerto 222 Ensemble Sonata and Solo Sonata 232 Opera Seria and Opera B Cantata and Sacred Music 239 Late Baroque and Rococo Style in France 247 Ensemble and Clavecin Music 247 Opera and Cantata in France 253 Chapter Eight FUSION OF NATIONAL STYLES BACH 260 The State of Instrumental Music in Germany before Bach 260 The State of Protestant Church Music before Bach 268 Bach The Early Period 270 Bach the Organist Weimar 275 Bach the Mentor C5then 282 Contents ix Bach the Cantor Leipzig 291 Bach, the Past Master 300 Chapter Nine COORDINATION OF NATIONAL STYLES HANDEL 306 The State of Secular Vocal Music in Germany before Handel 306 Handel German Apprentice Period 314 Italian Journeyman Period 318 English Master Period Operas Oratorios Instrumental Music 3 2 4 Bach and Handel, a Comparison 345 Chapter Ten FORM IN BAROQUE MUSIC 35 Formal Principles and Formal Schemes 350 Style and Form 362 Audible Form and Inaudible Order 365 Chapter Eleven MUSICAL THOUGHT OF THE BAROQUE ERA 37 Code of Performance Composer and Performer 371 Theory and Practice of Composition 382 MusicalSpeculation 39 Chapter Twelve SOCIOLOGY OF BAROQUE MUSIC 394 Courtly Musical Institutions of State and Church Private Patronage 394 Civic Musical Institutions Collective Patronage 401 Social and Economic Aspects of Music and Musicians 404 APPENDICES List of Abbreviations 4 5 Checklist of Baroque Books on Music 4 X 7 Bibliography 433 List of Editions 4 i List of Musical Examples 47 1 INDEX 475 ILLUSTRATIONS Facing page PLATE i. Claudio Monteverdi 80 PLATE 2. Schutz among his Choristers 81 PLATE 3. Carissimis The Deluge 112 PLATE 4...

Easy to intermediate pieces by J.S. Bach including Jesu, Joy of Man's Desiring, BourrA(c)e and more. Musical and technical information accompany each piece, and helpful fingering suggestions are also included.

"International Whos Who in Classical Music 2006" is an unparalleled source of biographical information on singers, instrumentalists, composers, conductors and managers. The directory section lists orchestras, opera companies and other institutions connected with the classical music world.
Each biographical entry comprises personal information, principal career details, repertoire, recordings and compositions, and full contact details where available. The directory gives contact details for orchestras, opera companies, festivals, music libraries and conservatories, major competitions and awards, and other music organizations in classical music.
Entries include individuals involved in all aspects of the world of classical music: composers, instrumentalists, singers, arrangers, writers, musicologists, conductors, directors and managers. Among those listed in this new edition are Philip Glass, Lang Lang, George Crumb, Evelyn Glennie, Yo-Yo Ma and Inga Nielsen.
Over 8,000 detailed biographical entries
Covers the Classical and Light Classical fields
Includes both up-and-coming musicians and well-established names
This book will prove invaluable for anyone in need of reliable, up-to-date information on the individuals and organizations involved in classical music.

Beethoven wrote 32 sonatas for piano. The final installment, Volume 4, edited by Stewart Gordon, contains Sonatas 25--32, written between 1809 and 1822 and published shortly thereafter. Of the eight sonatas in this volume, autographs exist in whole or in part for all but Op. 106, missing since World War II. This edition is based on the existing autographs and the first editions. Dr. Gordon discusses a variety of topics including Beethoven's life; the pianos of his time and their limitations; Beethoven's use of articulation, ornamentation, tempi; and the age-old challenge of attempting to determine the definitive interpretation of Beethoven's music. Valuable performance recommendations, helpful fingering suggestions and ornament realizations are offered in this comprehensive critical body of Beethoven's sonatas. Where performance options are open to interpretation, other editors' conclusions are noted, enabling students and teachers to make informed performance decisions. Titles: Op. 79 ("Sonatine"); Op. 81a; Op. 90; Op. 101; Op. 106 ("Hammer-Klavier"); Op. 109; Op. 110; and Op. 111. 264 pages.

Brings new insights to the music of well-known European composers by telling a fascinating, little-known story about French music publishing, specifically through the lens of Jacques Durand's Édition Classique. French composers, performers and musicologists acted as editors of eighteenth- and nineteenth-century European 'classics', primarily for piano. Among these editors were Fauré, Saint-Saëns, Debussy, Ravel and Dukas; the objects of their enquiries included core works by Rameau, Bach, Mozart, Beethoven, Mendelssohn, Schumann and Chopin. Presenting six composer-editor case studies, the volume shows that the French 'accent', both musical and cultural, upon this predominantly Austro-German music was highly varied. Editorial responses range from scholarly approaches to those directed by performance or compositional agendas, and from pan-European to strongly patriotic stances. Intriguing intersections are revealed between old and new, and between French and cross-European canons. Beyond editing, the book explores the Édition's role in pedagogy and performance, including by pianists Robert Casadesus and Yvonne Loriod, and in the reassertion of contemporary French composition, especially regarding innovation around neoclassicism. It will interest a wide readership, including musicologists, performers and concert-goers, cultural historians and other humanities scholars.

The Sunday Times bestseller, revised and updated for the 250th anniversary of Beethoven's birth. ---- As heard throughout 2020 on Classic FM ---- You know the music... but do you know the man? ---- Ludwig van Beethoven is one of the world's best loved and most influential composers. His life - its dramas, conflicts, loves and losses - is played out in his music. ---- In this special edition to mark the 250th anniversary of Beethoven's birth - with a new section featuring his most celebrated pieces - John Suchet shows us the man behind the music. He reveals a difficult and complex character, struggling to continue his profession as musician despite increasing deafness, alienating friends with unprovoked outbursts of anger one moment, overwhelming them with excessive kindness and generosity the next, living in a city in almost constant disarray because of war with France. ---- This is the real Beethoven, and Suchet brings him faithfully and vividly to life. ---- This updated edition of Suchet's acclaimed biography contains new material, including a detailed guide to Beethoven's most important compositions, family tree and timeline.

First published in 1994. Routledge is an imprint of Taylor & Francis, an informa company.