A. B. Marx (1795-1866) was a scholar, teacher and critic of music, for many years Professor of Music at the University of Berlin, and a close friend - before a falling-out over the libretto of an oratorio - of Mendelssohn. This influential book, published in German in 1855 and translated into English in the same year, consists of two parts: a survey of the significance of music to western culture, and an impassioned and thought-provoking guide to the necessary moral qualities, skills and understanding required to teach - and to be taught - music. Marx's appreciation of such composers as Mozart, Beethoven, Berlioz and Wagner is placed in a context in which music is seen as a crucial moral influence on the future development of mankind, and musicians therefore as playing a vital role in that development.

Thirty Years' Musical Recollections, first published in 1862, is a year-by-year commentary in two volumes on the European operas, ballets, singers and dancers popular in London from 1830 to 1859. It's author was music critic of The Athaneum for over thirty years and also wrote book reviews, novels, plays and poems. Volume 1 covers the period 1830-1847 and serves as a valuable reference work to the musical life of London during these years. Starting with his reminiscences of the opera season in 1830, Chorley takes the reader on a journey from early performances of Italian and German opera in England, via works by Rossini, Bellini and Donizetti and the first appearances of Lablache and of Mademoiselle Taglioni, through to Verdi's operas in 1846. He also describes famous opera singers including Maria Malibran, Giambattista Rubini, Madame Grisi, Madame Pasta, Madame Persiani, Rachel Felix, Signor Mario, and Mademoiselle Jenny Lind.

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.

Henry Fothergill Chorley was music critic of The Athenaeum for over thirty years. This three-volume book, published in 1841, originated in a journal written by Chorley while travelling in Europe. His aim was to 'illustrate the present state of theatrical, orchestral, and chamber music abroad', focusing on aspects that would be least familiar to an English readership. There are detailed accounts of Paris and Berlin, with prominence given to opera, theatre, art galleries and monuments. Chorley also describes visits to Brunswick, Leipzig, Dresden and Nuremburg, and performances by artists including Mendelssohn and Liszt. He intersperses anecdotes about transport, lodgings, landscapes and local customs. Chorley's incisive and entertaining eyewitness accounts will fascinate music-lovers and theatre historians, as well as others interested in the performing arts or travel writing in the nineteenth-century. Volume 1 describes his visits to Paris and Brunswick, focusing on opera.

Henry Fothergill Chorley was music critic of The Athenaeum for over thirty years. This three-volume book, published in 1841, originated in a journal written by Chorley while travelling in Europe. His aim was to 'illustrate the present state of theatrical, orchestral, and chamber music abroad', focusing on aspects that would be least familiar to an English readership. There are detailed accounts of Paris and Berlin, with prominence given to opera, theatre, art galleries and monuments. Chorley also describes visits to Brunswick, Leipzig, Dresden and Nuremburg, and performances by artists including Mendelssohn and Liszt. He intersperses anecdotes about transport, lodgings, landscapes and local customs. Chorley's incisive and entertaining eyewitness accounts will fascinate music-lovers and theatre historians, as well as others interested in the performing arts or travel writing in the nineteenth-century. Volume 3 describes visits to Leipzig, Dresden, Nuremburg and Paris.

What was Mozart really like? Wild? Sublime? Responsible? Fun-loving? Bright? Foul-mouthed? Reading these sparkling new translations of Mozart's letters, we learn in his own words that he was all of these and much more. Here is the composer at his most intimate and unguarded, expressing his feelings about life, love, music and the world around him.

Music master to Frederick the Great, Quantz was one of the great flute virtuosos of all time. He was also a thorough musician, a fine teacher and an excellent writer. This classic book is ostensibly a flute method, but it goes far beyond that, presenting a complete and detailed picture of musical taste and performance practice in the 18th century. Of special significance is a table relating various tempos to the speed of the pulse, helping modern musicians to solve the difficult question of authentic performance tempos of Baroque music. This reissued edition includes all Quantz's music examples together with an introduction and explanatory notes by the translator, Edward R. Reilly.

This anthology to accompany Gateways to Understanding Music is comprised of musical "texts." These broadly defined texts-primarily musical scores-facilitate the integration of score study and music theory into the ethno/musicology curriculum, a necessary focus in the training of the professional musician. As posed by the textbook, the last question in each modular "gateway" is "Where do I go from here?" This resource provides one more opportunity to go beyond the textbook to examine music scores and texts in even greater depth. This anthology is a combination of primary sources for study: musical scores and music transcriptions, along with a few primary source documents and musical exercises.

This book takes advantage of new and often surprising biographical research on the Loder family as a whole and its four main figures, using them to illustrate aspects of music history in the 19th century. Musicians of Bath and Beyond: Edward Loder (1809-1865) and his Family illuminates three areas that have recently attracted much interest: the musical profession, music in the British provinces and colonies, and English Romantic opera. The Loder family was pre-eminent in Bath's musical world in the early nineteenth century. John David Loder (1788-1846) led the theatre orchestra there from 1807, and later the Philharmonic orchestra and Ancient Concerts in London; he also wrote the leading instruction manual on violin playing and taught violin at the Royal Academy of Music. His son Edward James (1809-65) was a brilliant but underrated composer of opera, songs, and piano music. George Loder (1816-68) was a well-known flautist and conductor who made a name in New York and eventually settled in Adelaide, where he conducted the Australian premieres of Les Huguenots, Faust, and other important operas. Kate Fanny Loder (1825-1904) became a successful pianist and teacher in early Victorian London, and she is only now getting her due as a composer. This book takes advantage of new and often surprising biographical research on the Loder family as a whole and its four main figures. It uses them to illustrate several aspects of music history: the position of professional musicians in Victorian society; music in the provinces, especiallyBath and Manchester; the Victorian opera libretto; orchestra direction; violin teaching; travelling musicians in the US and Australasia; opera singers and companies; and media responses to English opera. The concluding section isan intense analysis and reassessment of Edward Loder's music, with special emphasis on his greatest work, the opera Raymond and Agnes. NICHOLAS TEMPERLEY is Professor Emeritus of Musicology at the University ofIllinois at Urbana-Champaign and is a leading authority on Victorian music. CONTRIBUTORS: Stephen Banfield, David Chandler, Andrew Clarke, Liz Cooper, Therese Ellsworth, David J. Golby, Andrew Lamb, Valerie Langfield, Alison Mero, Paul Rodmell, Matthew Spring, Julja Szuster, Nicholas Temperley

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.

He demonstrates the enormous diversity and constant change that characterized every aspect of music during this period. By dividing his text into twenty-year spans, Downs is able to trace the development of musical style. Within each span he looks at the social conditions and daily life of the musician, and the aesthetics and audience preferences in structures, performing combinations and styles. The lesser composers, or Kleinmeister, are observed, since they are the most accurate mirrors of their times. Haydn, Mozart and Beethoven receive full biographical scrutiny at each stage of their development. Copious music examples and abundant illustrations are also provided."

With the Harry Potter film series now complete, Alfred Music Publishing and Warner Bros. Entertainment are proud to present big note piano arrangements from the eight epic films together in one collectible volume. For the first time ever, 36 sheet music selections by John Williams, Patrick Doyle, Nicholas Hooper, and Alexandre Desplat are collected along with eight pages of color stills from The Sorcerer's Stone to The Deathly Hallows, Part 2. By popular request, "Leaving Hogwarts" from The Sorcerer's Stone appears in print in this collection for the first time. It's a perfect gift for pianists of all ages who love the music of Harry Potter. Titles: Diagon Alley * Family Portrait * Harry's Wondrous World * Hedwig's Theme * Leaving Hogwarts * Nimbus 2000 * Voldemort * The Chamber of Secrets * Fawkes the Phoenix * Buckbeak's Flight * Double Trouble * Hagrid the Professor * Harry in Winter * Hogwarts March * Potter Waltz * This Is the Night * Dumbledore's Army * Fireworks * Loved Ones and Leaving * Professor Umbridge * Dumbledore's Farewell * Harry and Hermione * In Noctem * When Ginny Kissed Harry * Farewell to Dobby * Godric's Hollow Graveyard * Harry and Ginny * Obliviate * Ron Leaves * Snape to Malfoy Manor * Courtyard Apocalypse * Harry's Sacrifice * Lily's Lullaby * Lily's Theme * Severus and Lily * Statues.

This collection is a compilation of many of the paths taken by scholars in their pursuit of knowledge about Schumann over the last half-century. Selected for their topical breadth and quality, the writings showcase different points of departure as well as their authors' allegiance to diverse methods of investigation.

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.

The Craft of Tonal Counterpoint is an introduction and workbook for the analysis and composition of tonal counterpoint. Tonal counterpoint is the basis of all classical music composition; students of music theory and composition are all required to take a course on this topic. Using examples from the music of J.S.Bach - the master of this style - the author takes students through a series of carefully graded, cumulative exercises that stress both analysis and writing. Benjamin covers chromaticism and fugal writing in exceptional detail. The exercises cover a wide range of formats, including error detection, liner pitch reduction, analysis and composition. The book also incorporates a 100-page anthology of scores and compositional models.

Specially arranged in a clear, easy-to-read format, The Easy Piano Series: Classical contains 16 really easy arrangements of classical greats for the Grade 1-2 level pianist. With music by Bach, Beethoven, Mozart, Schubert, Holst, Tchaikovsky and more.

Beethoven's many surviving sketchbooks bear witness to the vast creative labor that lay behind the musical masterpieces he left to posterity. Among them, one of the most famous is the ""Eroica"" Sketchbook, containing all the known sketches for the ""Eroica"" Symphony, the ""Waldstein"" Sonata, and other works of 1803-04. These include his first sketches for the opera Leonore (later entitled Fidelio), as well as the unfinished opera Vestas Feuer, the oratorio Christus am Oelberge, the Triple Concerto, songs, keyboard compositions, and early sketches that later bore fruit in the Fourth Piano Concerto and the Fifth and Sixth Symphonies. It also contains ideas for works that were never completed. The ""Eroica"" Sketchbook is essentially a diary of Beethoven's creative work during one of the great turning points in his career. As such, this edition deepens our understanding of Beethoven's creative process, and offers new insights into some of Beethoven's most celebrated works. This edition makes available both a complete facsimile and transcription of the sketchbook for the first time, along with a detailed commentary on the origins, contents, and significance of this vitally important source.

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.

for SATB accompanied (piano or organ) and unaccompanied 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.

Music in the Classical World: Genre, Culture, and History provides a broad sociocultural and historical perspective of the music of the Classical Period as it relates to the world in which it was created. It establishes a background on the time span-1725 to 1815-offering a context for the music made during one of the more vibrant periods of achievement in history. Outlining how music interacted with society, politics, and the arts of that time, this kaleidescopic approach presents an overview of how the various genres expanded during the period, not just in the major musical centers but around the globe. Contemporaneous treatises and commentary documenting these changes are integrated into the narrative. Features include the following: A complete course with musical scores on the companion website, plus links to recordings-and no need to purchase a separate anthology The development of style and genres within a broader historical framework Extensive musical examples from a wide range of composers, considered in context of the genre A thorough collection of illustrations, iconography, and art relevant to the music of the age Source documents translated by the author Valuable student learning aids throughout, including a timeline, a register of people and dates, sidebars of political importance, and a selected reading list arranged by chapter and topic A companion website featuring scores of all music discussed in the text, recordings of most musical examples, and tips for listening Music in the Classical World: Genre, Culture, and History tells the story of classical music through eighteenth-century eyes, exposing readers to the wealth of music and musical styles of the time and providing a glimpse into that vibrant and active world of the Classical Period.

From the series examining the development of music in specific places during particular times, this book looks at the classical period, in Europe and America, from Vienna and Salzburg to the Iberian courts and Philadelphia.