Written by a young Mozart in 1772, the three divertimenti commonly known as the Salzburg Symphonies are works that bridge two common forms - the divertimento of the time and the Italian symphony of the time. While the true divertimento of the time was 5 movements, these works are each three movements in length, as was the Italian symphony of the time. These works are light-hearted and less demanding on the players than many of Mozart's later works. Today, the are performed either by string orchestra or by string quartet.

John Hunt was born in Windsor and Graduated from University College London, in German language and literature. He has worked in personnel administration, record retailing and bibliographic research for a government agency and is on the lecture panel of the National Federation of Music Societies. In his capacity as Chairman of the Furtwangler Society UK, John Hunt has attended conventions in Rome, Paris and Zurich and has contributed to important reference works about Furtwangler by John Ardoin and Joachim Matzner. He has also translated from the German Jurgen Kesting's important monograph on Maria Callas. John Hunt has published discographies of over 80 performing artists, several of which have run into two or more editions.

In "Beethoven", Edmund Morris, the author of three bestselling presidential biographies and a lifelong devotee of the great composer, brings him to life as a man of astonishing complexity and overpowering intelligence. A gigantic, compulsively creative personality unable to tolerate constraints, he was not so much a social rebel as an astute manipulator of the most powerful and privileged aristocrats in Germany and Austria, at a time when their world was threatened by the rise of Napoleon Bonaparte. But Beethoven's achievement rests in his immortal music. Struggling against progressive, incurable deafness (which he desperately tried to keep secret), he nonetheless produced towering masterpieces, such as his iconic Fifth and Ninth symphonies. With sensitivity and insight, Edmund Morris illuminates Beethoven's life, including his interactions with the women he privately lusted for but held at bay, and his work, whose grandeur and beauty were conceived 'on the other side of silence.'

Mozart's Serenade No. 12 in C minor (K 388), often referred to as Nacht Musique, is a work for Woodwind Octet that has become widely played. The work consists of four movements, with a canon in the Minuet movement. This work was also transcribed by Mozart for String Quintet and survives as K 406 in that form.

This book aids the listener in getting beneath the surface of Beethoven's two beloved symphonies.Composers often write pieces in highly contrasting moods in very close proximity. But no composer took this process further than Beethoven. His famous "Fifth Symphony", with an opening familiar to anyone, became the standard for the Romantic, tragedy to triumph, 'victory symphony'. The sunny Sixth however represents a high-water mark of relaxed lyricism. On a superficial listening, they couldn't sound more different from one another. Yet by examining them more closely it is revealed that they have more in common than their emotional trajectories might suggest.This book aids the listener in getting beneath the surface of these two beloved symphonies, revealing that however disparate the expressive message, the language and style remain Beethoven's - a symphonic voice as powerful in struggle and victory as in relaxation and meditation."Magnum Opus" is a series for anyone seeking a greater familiarity with the cornerstones of Western Classical Music - operatic, choral and symphonic. Always passionate, down-to-earth, and authoritative on the works and their creators, "Magnum Opus" is an indispensable resource for anyone's musical library and the perfect gift for the music-lover in your life.

A" New York Times" Notable Book of the Year
A" San Francisco Chronicle" Notable Bay Area Book of the Year A book unlike anything ever written by a composer--part memoir, part description and explication of the creative process--"Hallelujah Junction" is an absorbing journey across the musical landscape of America and through the life and times of John Adams, one of today's most admired and performed composers.

"It does all one could ask, and more, of a pocket guide."-The Times Literary Supplement "One of the newest and most recommendable Mozart books is the Pocket Guide to Mozart. Written in a beautifully lucid and enthusiastic style."-The Independent on Sunday To celebrate the 250th anniversary of Mozart's birth, an easy-to-use guide to Mozart's life and music, including: symphonies, concertos, operas, a seventy-five-page biography, and a poignant assessment of what the composer means to us today.

Mozart's own words, edited by Friedrich Kerst and Henry Edward Krehbiel

Literary critics such as Virginia Woolf and Lionel Trilling had noted intuitive affinities between the art of Jane Austen and that of Mozart, but this 1983 book was the first to compare their artistic style and individual works in a comprehensive way. Extended comparisons are of course difficult because of the intrinsic differences between prose fiction and instrumental music.

In "Jane Austen and Mozart," Robert K. Wallace has succeeded in making illuminating comparisons of spirit and form in the work of these two artists. His book celebrates the achievements of Austen and Mozart by comparing their stylistic significance in the history of their separate arts and by offering comparisons of three Austen novels with three Mozart piano concertos.

In exploring precise similarities between the two artists, Wallace shows how the art and criticism of one field can illuminate the art and criticism of another. Above all, Jane Austen and Mozart attempts to show the degree to which three masterpieces by each artist have comparable meaning and value.

Wolfgang Amadeus Mozart's Eine Kleine Nachtmusik (A Little Night Music) is likely the most recognized (and most widely played) piece of classical music in the string quartet repertoire. This is a Performer's Edition pocket score designed for study and reference in a compact book. Material is from the Performer's Edition release of Eine Kleine Nachtmusik.

When Emily Bronte was studying music in Brussels in 1842, she was drawn into the city's appreciation of Beethoven. After her exposure to the works of the great composer, Bronte's creativity flourished and she went on to compose what was to be her only novel--Wuthering Heights.

In "Emily Bronte and Beethoven," Robert K. Wallace continues to work from the perspective he developed in his "Jane Austen and Mozart"--integrating two fields that have traditionally been kept apart. Wallace compares Bronte and Beethoven through a close examination of the Romantic traits that their works share. Innovative and stimulating, Wallace's study extends literary criticism into a new context where equilibrium, balance, proportion and symmetry serve as a fulcrum to launch the reader into a new understanding of the formal parallels, the moods and emotions that connect music and literature.

Though introduced by Jung in the context of modern psychology, the Archetypes and the Collective Unconscious can be traced to the beginnings of civilization. Beethoven's music is living proof of the interconnectedness of the beings and the Being, of the part and the whole, of the non-local nature of the world as described in Quantum Mechanics, and a ratification of the wisdom found in so many ancient scriptures long forgotten in our modern societies. The Gnosis of the Hermetists, the knowledge of the Vedas, the Platonic belief in ideal forms, and the Christian faith in an eternal kingdom are just a few concepts that permeate Beethoven's music from beginning to end, and which are the sole consequence of that mystic participation with the Archetypal Light.

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

1900. Sixteen reproductions of famous paintings. Contains short sketches on the following: St. Cecilia; Palestrina; Lulli; Stradivarius; Tartini; Bach; Handel; Gluck; Mozart; Linley; Haydn; Weber; Beethoven; Schubert; Rouget de Lisle; Paganini; Mendelssohn; Chopin; Meyerbeer; Wagner; and Liszt.

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...

Ludmila Korabelnikova recounts the life and times of Alexander Tcherepnin, a prolific and often emulated composer who produced four operas, 13 ballets, four symphonies, numerous orchestral and chamber works, and more than 200 piano pieces. He was born in Russia in 1899 to a family of musicians and artists. However, Aaron Copland referred to him as "an honorary American composer" and Toru Takemitsu called him "a father figure of Japanese music." Korabelnikova focuses not only on the biographical elements of Tcherepnin's story, but also on his music and its technical innovations. She includes extended quotations by the composer himself and selective analytical commentary, based on primary sources and contemporaneous accounts.

The second part of the third volume to appear in the magnum opus of A. Peter Brown continues the geographical tour of the mid-19th-to early-20th-century symphony begun in Vol. 3A. Brown discusses works from England, Russia, and France including those by Potter, Bennett, Stanford, Elgar, Rimsky-Korsakov, Borodin, Tchaikovsky, Rachmaninoff, Gounod, Bizet, Franck, Dukas, and many others. A single source provides a detailed analysis of stylistic traits and background material on the composition and performances of these masterpieces.

Brown's series synthesizes an enormous amount of scholarly literature in a wide range of languages. It presents current overviews of the status of research, discusses important former or remaining problems of attribution, illuminates the style of specific works and their contexts, and samples early writings on their reception. There are overviews of the symphony as a genre and in-depth analysis of particular aspects of the symphony (such as composer, period, or instrument). No other book or series of books allows for the in-depth musical analysis and historical context that Brown provides in each volume of The Symphonic Repertoire."

Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

Each entry in this New Grove series of composers and their operas is based on articles in The New Grove Dictionary of Opera, that feature information on the lives of individual composers, their works, their librettists and interpreters, and the places where they performed. These unique books compile the meticulously researched articles into organized narratives, designed to make finding information as easy as possible without sacrificing readability. Each volume is completely up-to-date, and includes a suggested listening guide and an eight-page glossy insert containing relevant illustrations. Each volume is a must-own for lovers of opera and classical music.
Giuseppe Verdi is the most famous Italian composer of opera. While he was sometimes criticized for writing music considered too "simple," his works have endured, and are still performed throughout the world today. This concise volume is a handy guide to the Verdi's life and operas, revising the original New Grove articles and adding a new introduction, a new section on modern Verdi productions, and an updated bibliography.

The life and works of Felix Mendelssohn Bartholdy are enjoying a considerable resurgence of interest. This volume presents the most recent trends in Mendelssohn research, examining three broad categories - reception history, historical and critical essays, and case studies of particular compositions. Much of the book depends on a wealth of primary nineteenth-century documents, including little-known autograph manuscripts, letters and sketches of the composer. Four studies consider various facets of Mendelssohn reception in the nineteenth and twentieth centuries. Friedhelm Krummacher considers the abiding popularity of Mendelssohn's music in England, while Peter Ward Jones reviews Mendelssohn's business dealings with English publishers; Donald Mintz examines the composer's posthumous reputation from the perspective of the revolutionary agenda of mid-nineteenth-century Germany; and Lawrence Kramer considers dynamic multiple layers of meaning in the Calm Sea and Prosperous Voyage Overture and The First Walpurgisnight. Four essays, by Judith Silber Ballan, J. Rigbie Turner, Wm. A. Little, and David Brodbeck, treat Mendelssohn's relationships with A. B. Marx, E. Devrient, Franz Liszt, and Frederick William IV. Finally, two studies by R. Larry Todd and Christa Jost focus on two major piano works, the Preludes and Fugues op. 35 and the Variations serieuses op. 54.

This is a new, digitally enhanced reprint of the score originally published in 1908 by A. Durand et Fils, Paris. The "Petite Suite" was originally composed by Debussy in 1889 for piano, four-hands. By the time an orchestral version was sought in 1907, the composer was too busy with numerous other commissions to orchestrate his youthful work and entrusted the job to the conductor and composer Henri Busser. This is the orchestral version most widely performed and recorded today.

In September 1979, there was a cosmic shift that went unnoticed by the majority of mainstream America. This shift was triggered by the release of the Sugarhill Gang's single, "Rapper's Delight." Not only did it usher rap music into the mainstream's consciousness, it brought us the word "hip-hop." "And It Don't Stop," edited by the award winning journalist Raquel Cepeda, with a foreword from Nelson George is a collection of the best articles the hip-hop generation has produced. It captures the indelible moments in hip-hop's history since 1979 and will be the centerpiece of the twenty-fifth-anniversary celebration.
This book epitomizes the media's response by taking the reader on an engaging and critical journey, including the very first pieces written about hip-hop for publications like "The" "Village Voice--"controversial articles that created rifts between church and state, the artist and journalist, and articles that recorded the rise and tragic fall of the art form's appointed heroes, such as Tupac Shakur, Eazy-E, and the Notorious B.I.G. The list of contributors includes Toure, Kevin Powell, dream hampton, Harry Allen, Cheo Hodari Coker, Greg Tate, Bill Adler, Hilton Als, Danyel Smith, and Joan Morgan.

This multidisciplinary collection addresses Chopin s life and oeuvre in various cultural contexts of his era. Fourteen original essays by internationally-known scholars suggest new connections between his compositions and the intellectual, literary, artistic, and musical environs of Warsaw and Paris. Individual essays consider representations of Chopin in the visual arts; reception in the United States and in Poland; analytical aspects of the mazurkas and waltzes; and political, literary, and gender aspects of Chopin s music and legacy. Several senior scholars represent the fields of American, Western European, and Polish history; Slavic literature; musicology; music theory; and art history."

This is a new, digitally enhanced reprint of the score originally published in 1936 by Edition Suecia. Stenhammar began work on what most consider to be his finest orchestral work while on vacationing in Italy in 1911. The Serenade was completed two years later and given its premiere under the composer's baton in Stockholm in January 1914. Revisions were made a few years later and the final version was premiered in Gothenburg in 1920. While unmistakably Scandinavian, Stenhammar's music often takes a more lyrical and classical approach than his fellow Scaninavians Sibelius and Nielsen. The Serenade is widely considered to be the finest example of the Swedish composer's style.