This book attempts to survey this large field afresh, and to do so in connected, chronological fashion. It takes notice of the fact that concertos, overtures, ballets, and suits- often overlooked or minimized in other books on symphonic music- are also parts of the literature.

Many know Antonio Salieri only as Mozart's envious nemesis from the film "Amadeus," In this well-illustrated work, John A. Rice shows us what a rich musical and personal history this popular stereotype has missed.
Bringing Salieri, his operas, and eighteenth-century Viennese theater vividly to life, Rice places Salieri where he belongs: no longer lurking in Mozart's shadow, but standing proudly among the leading opera composers of his age. Rice's research in the archives of Vienna and close study of his scores reveal Salieri to have been a prolific, versatile, and adventurous composer for the stage. Within the extraordinary variety of Salieri's approaches to musical dramaturgy, Rice identifies certain habits of orchestration, melodic style, and form as distinctively "Salierian"; others are typical of Viennese opera in general. A generous selection of excerpts from Salieri's works, most previously unpublished, will give readers a fuller appreciation for his musical style--and its influence on Mozart--than was previously possible.

Mozart's piano sonatas are among the most familiar of his works and stand alongside those of Haydn and Beethoven as staples of the pianist's repertoire. In this study, John Irving looks at a wide selection of contextual situations for Mozart's sonatas, focusing on the variety of ways in which they assume identities and achieve meanings. In particular, the book seeks to establish the provisionality of the sonatas' notated texts, suggesting that the texts are not so much identifiers as possibilities and that their identity resides in the usage. Close attention is paid to reception matters, analytical approaches, organology, the role of autograph manuscripts, early editions and editors, and aspects of historical performance practice - all of which go beyond the texts in opening windows onto Mozart's sonatas. Treating the sonatas collectively as a repertoire, rather than as individual works, the book surveys broad thematic issues such as the role of historical writing about music in defining a generic space for Mozart's sonatas, their construction within pedagogical traditions, the significance of sound as opposed to sight in these works (and in particular their sound on fortepianos of the later eighteenth-century) , and the creative role of the performer in their representation beyond the frame of the text. Drawing together and synthesizing this wealth of material, Irving provides an invaluable reference source for those already familiar with this repertoire.

As the official publication of the American Bach Society, Bach Perspectives has pioneered new areas of research in the life, times, and music of Bach since its first appearance in 1995. In a series long known for its major essays by leading Bach scholars and performers, Bach Perspectives, Volume 6 is no exception. This volume opens with Joshua Rifkin's seminal study of the early source history of the B-minor orchestral suite. It not only elaborates on Rifkin's discovery that the work in its present form for solo flute goes back to an earlier version in A minor, ostensibly for solo violin, but also takes this discovery as the point of departure for a wide-ranging discussion of the origins and extent of Bach's output in the area of concerted ensemble music. Jeanne Swack presents an enlightening comparison of Georg Phillip Telemann's and Bach's approach to the French overture as concerted movements in their church cantatas, and Steven Zohn views the B-minor orchestral suite from the standpoint of the "concert en ouverture," responding to Rifkin by suggesting that the early version of the B-minor orchestral suite may also have been scored for flute.

Cultural, historical and reception-related contexts are central to understanding Mozart, one of the greatest and most famous musicians of all time. Widening and refining the lens through which the composer is viewed, the essays in Mozart Studies 2 focus on themes, issues, works and repertories perennially popular among Mozart scholars of all kinds, pointing to areas primed for future study and also suitable for investigation by musicians outside the scholarly community. Following on from the first Mozart Studies volume, internationally renowned contributors bring new perspectives to bear on many of Mozart's most popular works, as well as the composer's letters, biography, and reception. Chapters are grouped according to topics covered and collectively affirm the vitality of Mozart scholarship and the significant role it continues to play in defining and redefining musicological priorities in general.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Lucrecia Borgia: Melodrama En Tres Actos Gaetano Donizetti T. gorchs, 1862

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Rigoletto: Melodrama En Cuatro Actos Giuseppe Verdi Imprenta de Tomas Gorchs, 1858 Music; Genres & Styles; Opera; Music / Genres & Styles / Opera; operes

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Lucrezia Borgia: Melodramma In Un Prologo E Due Atti Gaetano Donizetti, Felice Romani

Lauri Suurpaa brings together two rigorous methodologies, Greimassian semiotics and Schenkerian analysis, to provide a unique perspective on the expressive power of Franz Schubert's song cycle. Focusing on the final songs, Suurpaa deftly combines textual and tonal analysis to reveal death as a symbolic presence if not actual character in the musical narrative. Suurpaa demonstrates the incongruities between semantic content and musical representation as it surfaces throughout the final songs. This close reading of the winter songs, coupled with creative applications of theory and a thorough history of the poetic and musical genesis of this work, brings new insights to the study of text-music relationships and the song cycle."

This is the first full-length introduction to the life and works of significant American composer Marga Richter (born 1926), who has written more than one hundred works for orchestra, chamber ensemble, dance, opera, voice, chorus, piano, organ, and harpsichord. Still actively composing in her eighties, Richter is particularly known for her large-scale works performed by ensembles such as the London Philharmonic Orchestra and the Civic Orchestra of Chicago and for other pieces performed by prominent artists including pianist Menahem Pressler, conductor Izler Solomon, and violinist Daniel Heifetz. Interspersing consideration of Richter's musical works with discussion of her life, her musical style, and the origins and performances of her works, Sharon Mirchandani documents a successful composer's professional and private life throughout the twentieth century. Covering Richter's formative years, her influences, and the phases of her career from the 1950s to the present, Mirchandani closely examines Richter's many interesting, attractive musical works that draw inspiration from distinctly American, Irish/English, and Asian sources. Drawing extensively on interviews with the composer, Mirchandani also provides detailed descriptions of Richter's scores and uses reviews and other secondary sources to provide contexts for her work, including their relationship to modern dance, to other musical styles, and to 1970s feminism.

First performed under the composer's direction on Easter Sunday of 1779 in Salzburg Cathedral, the 'Coronation' Mass has become a staple of the choral repertoire. This newly engraved score, completely compatible with the widely available orchestra parts originally issued by Breitkopf und Hartel and reissued by Kalmus and others, employs Otto Taubmann's piano reduction in an easy-to-read A4 size.

This new vocal score is a digitally enhanced reprint of the one fist issued by C.F. Peters, Leipzig in the late 19th century, based upon the Bach Gesellschaft edition with the classic keyboard reduction by Gustav Rosler. With added measure numbers and in a large, easy-to-read A4 size, choruses and students of Bach's music will appreciate having this authoritative score in their libraries.

Mit Schostakowitschs Symphonien wird die Geschichte der Gattung im 20. Jahrhundert unter den besonderen Bedingungen musikalischer Produktion in der Sowjetunion fortgeschrieben. Die Beitrage dieses Bandes behandeln Schostakowitschs Anbindung an die symphonische Tradition, seinen Umgang mit politischer Dichtung und der Doktrin des sozialistischen Realismus, Perspektiven der westlichen Rezeption seiner Symphonien sowie kompositorische Aspekte und Kontexte der spezifischen Anlage einzelner Werke. Das Bonner Symposion 2004 versammelte eine Reihe namhafter Autoren im Vorfeld des Jubilaumsjahres 2006, deren individuelle Zugangsweisen ein aktuelles Bild der wissenschaftlichen Diskurse zum Werk des Komponisten bieten.

German and Austrian music of the late eighteenth and nineteenth centuries stands at the heart of the Western musical canon. In this innovative study of various cultural practices (such as music journalism and scholarship, singing instruction, and concerts), David Gramit examines how music became an important part of middle-class identity. He investigates historical discourses around such topics as the aesthetic debates over the social significance of folk music, various comparisons of the musical practices of ethnic "others" to the German "norm," and the establishment of the concert as a privileged site of cultural activity.
"Cultivating Music" analyzes the ideologies of German musical discourse during its formative period. Claiming music's importance to both social well-being and individual development, proponents of musical culture sought to secure the status of music as an art integral to bourgeois life. They believed that "music" referred to the autonomous musical work, meaningful in and of itself to those cultivated to experience it properly. The social limits to that cultivation ensured that boundaries of class, gender, and educational attainment preserved the privileged status of music despite (but also by means of) their claims for the "universality" of their canon. Departing from the traditional focus on individual musical works, Gramit considers the social history of the practice of music in Austro-German culture. He examines the origins of the privileged position of the Western canon in musicological discourses and argues that we cannot fully understand the role that canon has played without considering the interests that motivated its creators.

A biography of Mozart

Millions of people adore classical music. Millions of other people want to, but simply don't know how or where to start-so many composers, so many pieces, so many versions, so much music! In either case, this book is for you. In this informal and informative guide, Rudel leads listeners through the forty most essential and popular compositions from the Four Seasons to Rhapsody in Blue, explaining the musical structure of each passage and highlighting special themes or elements to listen for as the music continues. By the time you're through with his guidance, the music is no longer just a jumbled mass of sound, but instead a stunning piece of music that's as understandable and enjoyable as any rock 'n' roll song.

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.