Henry Fothergill Chorley was music critic of The Athenaeum for over thirty years, and published several books on the state of contemporary European music, including Music and Manners in France and Germany (1841) and Thirty Years' Musical Recollections (1862), both reissued in this series. In the two-volume Modern German Music, published in 1854, he revisits many of the topics and places discussed in the 1841 volume, but views them from the other side of the Year of Revolution, 1848, which, he argues, changed the cultural as well as the political atmosphere of the German states significantly and permanently. Lively descriptions of German cities, their culture and especially their music festivals are accompanied by extended essays on Spohr, Beethoven, Schubert and Mendelssohn, but Chorley is by no means an uncritical observer, and his comments on the rise of nationalism and militarism in the German states after 1848 now seem prophetic.

Henry Fothergill Chorley was music critic of The Athenaeum for over thirty years, and published several books on the state of contemporary European music, including Music and Manners in France and Germany (1841) and Thirty Years' Musical Recollections (1862), both reissued in this series. In the two-volume Modern German Music, published in 1854, he revisits many of the topics and places discussed in the 1841 volume, but views them from the other side of the Year of Revolution, 1848, which, he argues, changed the cultural as well as the political atmosphere of the German states significantly and permanently. Lively descriptions of German cities, their culture and especially their music festivals are accompanied by extended essays on Spohr, Beethoven, Schubert and Mendelssohn, but Chorley is by no means an uncritical observer, and his comments on the rise of nationalism and militarism in the German states after 1848 now seem prophetic.

The publisher Novello was hugely influential in making music affordable for a wider section of the Victorian public. A Short History of Cheap Music, published in 1887, focuses on Novello's role. It begins with the establishment of the house in 1811, when the founder, Vincent Novello, printed his first book at his own personal expense. Soon afterwards the house made available cheap editions of major musical compositions including Mozart's and Haydn's masses, Purcell's sacred music, and various Italian and English works. It also printed a variety of publications and journals dedicated to music, advocated the reduction of taxes on music, and organised events for the advancement of the musical arts. The author shows how by finding cheaper methods for printing music, organising cheap concerts, and establishing new choral societies, the house of Novello gradually created a taste for music among new audiences, a process paralleled today in the new media.

Sir Charles Halle (1819-95) was a German pianist and conductor. At the age of 17 he moved to Paris, where he spent twelve years studying and performing, while moving in circles which included Berlioz, Chopin, Liszt, de Musset and George Sand. In the revolutionary year 1848 he moved to London, where he initiated a series of piano recitals, playing first in his own home and later in St James's Hall, among which he gave the first performance in England of the complete Beethoven piano sonatas. In 1849 he moved to Manchester, and after forming an orchestra for a one-off event in 1857, he began to give regular concerts with it, and conducted it until his death: it is now the world-famous Halle Orchestra. In this fascinating book, edited by his son and daughter, Halle's autobiography is accompanied by a selection of letters and extracts from his diaries.

Providing a fresh approach to the social history of the Victorian era, this book examines the history and development of the tonic sol-fa sight-singing system, and its impact on British society. Instead of focusing on the popular classical music canon, McGuire combines musicology, social history and theology to investigate the perceived power of music within the Victorian era. Through case studies on temperance, missionaries, and women's suffrage, the book traces how John Curwen and his son transformed Sarah Glover's sight-singing notation from a strictly local phenomenon into an internationally-used system. They built an infrastructure that promoted its use within Great Britain and beyond, to British colonies and other lands experiencing British influence, such as India, South Africa, and especially Madagascar. McGuire demonstrates how tonic sol-fa was believed to be of importance beyond music education - that music could improve the morals of individual singers and listeners, thus transforming society.

The founding in 1777 of the Journal de Paris, France's first daily and distinctly commercial paper, represents an early use of disinformation as a tool for political gain, profit, and societal division. To attract a large readership and bar competition for C.W. Gluck's works at the Paris Opera, it launched a prolonged campaign of anonymous lies, mockery, and defamation against two prominent members of the Academie Francaise who wished the Opera to be open to all deserving composers but lacked a comparable daily forum with which to defend themselves. In this unique episode, music served as a smokescreen for nefarious activity. No musical knowledge is necessary to follow this purely political drama.

Presenting a fresh picture of the life and work of Joseph Haydn, this biography captures all the complexities and contradictions of the composer's long career. In his lifetime Haydn achieved a degree of fame that easily surpassed that of Mozart and Beethoven. Later his historical significance was more restricted, regarded exclusively as the composer who first recognised the potential of the symphony and the quartet. However, Haydn had also composed operas, oratorios and church music with similar enthusiasm and self-regard. Too easily buttonholed as a Viennese composer, he interacted consistently with the musical life of Vienna only during the earliest and latest periods of his life; London was at least as important in fashioning the composer's fame and legacy. To counter the genial view of the composer, this biography probes the darker side of Haydn's personality, his commercial opportunism and double dealing, his penny-pinching and his troubled marriage.

Neither Spem in alium, the widely acclaimed 'songe of fortie partes' by Thomas Tallis, nor Alessandro Striggio's forty-part Mass is the largest-scale counterpoint work in Western music. The actual winner is Gregorio Ballabene, a relatively unknown Roman maestro di cappella, a contemporary of Giovanni Paisiello, Joseph Haydn and Luigi Boccherini, who composed in forty-eight parts for twelve choirs. Ballabene's Mass has remained completely unstudied until today, even though the score survives in prominent collections. This study offers, for the first time, a historical and analytical perspective on this overlooked manifestation of a very individual musical intelligence.

The Russian avant-garde were trend-setters in a"'Golden Age" of world art at the beginning of the 20th century. Today their work continues to enrich our culture through their paintings, poetry, architecture, cinema, music, and theater. The Three Apostles of Russian Music looks at three figures in the Soviet avant-garde who led modernist music in the 1920s. Mosolov, Popov, and Roslavets were popular composers who are now unfortunately forgotten. These remarkable musicians produced compositions like the sensational machine music Foundry by Mosolov. The first symphony by Popov attracted musicians in Europe and America but was banned after the premiere, while Roslavets discovered serialism before Schoenberg, opening up a new trend in modernism. These 'apostles' of the Russian avant-garde have had followers in Russia, Europe, and America where their influence remains today. This book is the first study in English of their work, lives, and legacy.

It is extremely detailed, with a particularly impressive range of references, including some quite obscure material that is nevertheless relevant. It would appeal chiefly to researchers of Beethoven and the Classical period in music. It would also appeal to scholars and students investigating the reception history of Ancient Greece and Rome in the 18th-19th century.

One-Handed Piano Compositions and Injury Awareness: History, Study of Selected Works, and Mindful Practice calls readers to dive into the realm of one-handed piano works so they can enrich their concert repertoire with new and original works and perform beyond the limitations of their injuries if they are in a period of recovery. Zheni Atanasova wrote this book as a guide meant to inspire fellow musicians in their search for unique musical works and help colleagues navigate their professional career in case of an injury so they can thrive in such a challenging period. The author provides solutions for those who aspire to build a career in music performance even when their professional development is hindered by an injury. She offers a single source that holds the answers to a broad spectrum of questions pertaining to piano performance, wellness, and practice.

80 masterworks arranged for easy piano. It includes 1812 overture by Tchaikovsky, Air on the G String by Bach and the ode to joy by Beethoven.

Winner of the 2019 ASCAP-Deems Taylor Award for Outstanding Musical Biography Vincent Persichetti: Grazioso, Grit, and Gold is the first critical biography of this esteemed American composer, bringing together thorough scholarship by Andrea Olmstead and contributions by prominent performers. Olmstead weaves a captivating narrative of the composer from his early life and musical training, starting with his early career in Philadelphia during the 1920s and '30s and through his teaching at Juilliard and death in 1987. The book sheds light on Persichetti's personal and professional life, the multiple forces that shaped his musical development, and his far-reaching influence on the modern American composition scene. In addition to Olmstead's biographical and analytical treatment of the composer, notable performers bring fresh insights to individual pieces. Among the contributors are C. Matthew Balensuela (solo wind Parables), Geoffrey Burleson (Concerto for Piano, Four Hands, and Piano Quintet), Mirian Conti (Poems and Frog Dance for piano), Andrew Mast (Divertimento for wind ensemble), and Larry Thomas Bell (Harmonium song cycle, Piano Concerto, and Ninth Symphony). Scholars, performers, and all lovers of Persichetti's music will find Olmstead's book compelling as it enshrines Persichetti's legacy as a composer, teacher, and pianist. Those seeking to perform, teach, or simply enjoy Persichetti's music will find this an invaluable resource.

C. P. E. Bach Studies collects together nine wide-ranging essays by leading scholars of eighteenth-century music. Offering fresh perspectives on one of the towering figures of the period, the authors explore Bach's music in its cultural contexts, and show in diverse and complementary ways the reciprocal relationship between Bach's work and contemporary literary, theological, and aesthetic debates. Topics include Bach's relation to theories of sensibility and the sublime; the free fantasy and concepts of self and being; and Bach's engagement with music history and the legacy of his predecessors. Wider questions of C. P. E. Bach reception also play an important part in the book, which explores not only the interpretation of Bach's music in his time, but also its reception over the two centuries since his death.

Felice Giardini and Professional Music Culture in Mid-Eighteenth-Century London explores Giardini's influence on British musical life through his multifaceted career as performer, teacher, composer, concert promoter and opera impresario. The crux of the study is a detailed account of Giardini's partnership with the music seller/publisher John Cox during the 1750s, presented using new biographical information which contextualizes their business dealings and subsequent disaccord. The resulting litigation, the details of which have only recently come to light, is explored here via a complex set of archival materials. The findings offer new information about the economics of professional music culture at the time, including detailed figures for performers' fees, the printing and binding of music scores, the charges arising from the administration of concerts and operas, the sale, hire and repair of various instruments and the cost of what today we would call intellectual property rights. This is a fascinating study for musicologists and followers of Giardini, as well as for readers with an interest in classical music, social history and legal history.

One of the most admired qualities of Claude Debussy's music has been its seemingly effortless evocation and assimilation of exotic musical strains. He was the first great European composer to discern the possibilities inherent in the gamelan, the ensemble consisting mainly of tuned percussion instruments that originated in Java. Echoes from the East: The Javanese Gamelan and its Influence on the Music of Claude Debussy argues Debussy's encounter with the gamelan in 1889 at the Paris Exposition Universelle had a far more profound effect on his work and style than can be grasped by simply looking for passages and pieces in his output that sound "Asian" or "like a gamelan." Kiyoshi Tamagawa recounts Debussy's individual experience with the music of Java and traces its echoes through his entire compositional career. Echoes from the East adds a commentary on the modern-day issue of cultural appropriation and a survey of Debussy's contemporaries and successors who have also attempted to merge the sounds of the gamelan with their own distinctive musical styles.

Contains some of the most popular pieces ever written for guitar, including MalagueAa, El Testamento de Amelia, Lagrima and Recuerdos de la Alhambra. Helpful playing tips and plenty of fingerings are included, making this your ultimate source for Spanish guitar pieces. Every piece is written in standard music notation and easy-to-read tablature showing exactly where each note should be played on the guitar.

This book provides a practical introduction to researching and performing early Anglo-American secular music and dance with attention to their place in society. Supporting growing interest among scholars and performers spanning numerous disciplines, this book contributes quality new scholarship to spur further research on this overshadowed period of American music and dance. Organized in three parts, the chapters offer methodological and interpretative guidance and model varied approaches to contemporary scholarship. The first part introduces important bibliographic tools and models their use in focused examinations of individual objects of material musical culture. The second part illustrates methods of situating dance and its music in early American society as relevant to scholars working in multiple disciplines. The third part examines contemporary performance of early American music and dance from three distinct perspectives ranging from ethnomusicological fieldwork and phenomenology to the theatrical stage. Dedicated to scholar Kate Van Winkle Keller, this volume builds on her legacy of foundational contributions to the study of early American secular music, dance, and society. It provides an essential resource for all those researching and performing music and dance from the revolutionary era through the early nineteenth century.

Beethoven Symphonies Revisited guides the reader -- music student, concert goer, or general music lover -- through the movements in a way that renews the novelty and excitement that listeners must have felt at the first performances. Stylistic discussion concentrates on the unusual features of each symphony, placing each individual work in the context of Beethovens musical advancement and circumstances. His musical innovations are explored, and his contribution to the genre assessed. Thirty author-annotated musical pages elaborate and exemplify. The essential building blocks of key, tonality, metre, rhythm and instrumentation are discussed in detail. The authors purpose is twofold: to bring together major research findings and at the same time offer detailed descriptive analyses of all nine symphonies. The approach is singular in its emphasis on the symphonies in the context of performance practice of the time, especially musical direction; the importance of the wind instruments (especially horns) and kettle drums; how counterpoint features in various passages in all the symphonies except the Sixth and Eighth, and how this was influenced by Beethovens strict training in species counterpoint. New evaluations are offered, especially for the Second, Eighth and Ninth symphonies. The books multi-faceted approach will be invaluable not only for conductors and music students at all levels, but for all concert goers and music lovers who wish to gain insight into the musical intricacies developed and enhanced by Beethovens symphonic journey. Illustrations: 30 annotated musical score pages comprising 99 examples linked to text explanations; autographed manuscripts; performance venues; and instruments of the period.

A unique look at the career of a little-known contemporary of Haydn and Mozart, presented against a fascinating background of court musical life in late eighteenth-century Germany. Today the classical style is defined by the music of a handful of composers, Haydn and Mozart being the most prominent. As a result, the accomplishments of these masters have all but eclipsed the music of most of their contemporaries. In this book, Sterling Murray examines one of the most talented of this group, Antonio Rosetti. Born around 1750 and trained in Bohemia, Rosetti spent most of his creative life in Germany, where he served as music director to the Prince of Oettingen-Wallerstein between 1773 and 1789 and then the Duke of Mecklenburg-Schwerin until his death in 1792. The Career of an Eighteenth-Century Kapellmeister offers the first comprehensive study of Rosetti's life. The events of the composer's biography are unfolded against a vivid picture of musical life at the two small German courts where Rosetti was employed. The second half of the book is devoted to an examination of formand style in Rosetti's music, illustrated with full-score musical examples in the text and on a complementary website. What emerges from this investigation is a portrait of a composer who, having conquered the stylistic languageof his day, challenged those conventions to produce imaginative and highly creative works of great beauty. Sterling E. Murray is professor emeritus of the School of Music at West Chester University in West Chester, Pennsylvania.

The study of the social context of music must consider the day-to-day experiences of its practitioners. This book traces the daily working life and aspirations of British musicians during the sweeping social and economic transformation of Britain from 1750 to 1850. It features working musicians of all types and at all levels--organists, singers, instrumentalists, teachers, composers, and entrepreneurs--and explores their educational background, their conditions of employment, their wages, the systems of patronage that supported them, and their individual perceptions.

Music, Sexuality and the Enlightenment explains how Mozart's music for Le nozze di Figaro, Don Giovanni and CosA fan tutte 'sounds' the intentions of Da Ponte's characters and their relationships with one another. Mozart, by way of the infinitely generative and beautiful logic of the sonata principle, did not merely interpret Da Ponte's characterizations but lent them temporal, musical forms. Charles Ford's analytic interpretation of these musical forms concerns processes and structures in detail and at medium- to long-term levels. He addresses the music of a wide range of arias and ensembles, and develops original ways to interpret the two largely overlooked operatic genres of secco recitative and finales. Moreover, Ford presents a new method by which to relate musical details directly to philosophical concepts, and thereby, the music of the operas to the inwardly contradictory thinking of the European Enlightenment. This involves close readings of late eighteenth-century understandings of 'man' and nature, self and other, morality and transgression, and gendered identities and sexuality, with particular reference to contemporary writers, especially Goethe, Kant, Laclos, Rousseau, Sade, Schiller, Sterne and Wollstonecraft. The concluding discussion of the implied futures of the operas argues that their divided sexualities, which are those of the Enlightenment as a whole, have come to form our own unquestioned assumptions about gender differences and sexuality. This, along with the elegant and eloquent precision of Mozart's music, is why Figaro, Giovanni and CosA still maintain their vital immediacy for audiences today.

The Ashgate Research Companion to Johann Sebastian Bach provides an indispensable introduction to the Bach research of the past thirty-fifty years. It is not a lexicon providing information on all the major aspects of Bach's life and work, such as the Oxford Composer Companion: J. S. Bach. Nor is it an entry-level research tool aimed at those making a beginning of such studies. The valuable essays presented here are designed for the next level of Bach research and are aimed at masters and doctoral students, as well as others interested in coming to terms with the current state of Bach research. Each author covers three aspects within their specific subject area; firstly, to describe the results of research over the past thirty-fifty years, concentrating on the most significant and controversial, such as: the debate over Smend's NBA edition of the B minor Mass; Blume's conclusions with regard to Bach's religion in the wake of the 'new' chronology; Rifkin's one-to-a-vocal-part interpretation; the rediscovery of the Berlin Singakademie manuscripts in Kiev; the discovery of hitherto unknown manuscripts and documents and the re-evaluation of previously known sources. Secondly, each author provides a critical analysis of current research being undertaken that is exploring new aspects, reinterpreting earlier assumptions, and/or opening-up new methodologies. For example, Martin W. B. Jarvis has suggested that Anna Magdalena Bach composed the cello suites and contributed to other works of her husband - another controversial hypothesis, whose newly proposed forensic methodology requires investigation. On the other hand, research into Bach's knowledge of the Lutheran chorale tradition is currently underway, which is likely to shed more light on the composer's choices and usage of this tradition. Thirdly, each author identifies areas that are still in need of investigation and research.

This book studies recent music in the western classical tradition, offering a critique of current analytical/theoretical approaches and proposing alternatives. The critique addresses the present fringe status of recent music sometimes described as crossover, postmodern, post-classical, post-minimalist, etc. and demonstrates that existing descriptive languages and analytical approaches do not provide adequate tools to address this music in positive and productive terms. Existing tools and concepts were developed primarily in the mid-20th century in tandem with the high modernist compositional aesthetic, and they have changed little since then. The aesthetics of music composition, on the other hand, have been in constant transformation. Lochhead proposes new ways to conceive musical works, their structurings of musical experience and time, and the procedures and goals of analytic close reading. These tools define investigative procedures that engage the multiple perspectives of composers, performers, and listeners, and that generate conceptual modes unique to each work. In action, they rebuild a conceptual, methodological, and experiential place for recent music. These new approaches are demonstrated in analyses of four pieces: Kaija Saariaho's Lonh (1996), Sofia Gubaidulina's Second String Quartet (1987), Stacy Garrop's String Quartet no.2, Demons and Angels (2004-05), and Anna Clyne's "Choke" (2004). This book defies the prediction of classical music's death, and will be of interest to scholars and musicians of classical music, and those interested in music theory, musicology, and aural culture.