This is the first book by an experienced conductor to explore the orchestra's contribution to Mozart's greatest operatic works: Idomeneo, Die Entfuhrung aus dem Serail, Die Schauspieldirektor, Le nozze di Figaro, Don Giovanni, Cosi fan tutte, La clemenza di Tito, and Die Zauberfloete. It is written for the concert and opera going public who are interested in enlarging their knowledge and appreciation of these masterpieces, but also contains many practical suggestions for aspiring conductors.

Metric Manipulations in Haydn and Mozart makes a significant contribution to music theory and to the growing conversation on metric perception and musical composition. Focusing on the chamber music of Haydn and Mozart produced during the years 1787 to 1791, the period of most intense metric experimentation in the output of both composers, author Danuta Mirka presents a systematic discussion of metric manipulations in music of the late 18th-century. By bringing together historical and present-day theoretical approaches to rhythm and meter on the basis of their shared cognitive orientations, the book places the ideas of 18th-century theorists such as Riepe, Sulzer, Kirnberger and Koch into dialogue with modern concepts in cognitive musicology, particularly those of Fred Lerdahl and Ray Jackendoff, David Temperley, and Justin London. In addition, the book puts considerations of subtle and complex meter found in 18th-century musical handbooks and lexicons into point-by-point contact with Harald Krebs's recent theory of metrical dissonance. The result is an innovative and illuminating reinterpretation of late 18th-century music and music perception which will have resonance in scholarship and in analytical teaching and practice. Metric Manipulations in Haydn and Mozart will appeal to students and scholars in music theory and cognition/perception, and will also have appeal to musicologists studying Haydn and Mozart.

The story of a revolution in music and technology, told through a century of recordings of the music of Johann Sebastian Bach

In "Reinventing Bach," his remarkable second book, Paul Elie tells the electrifying story of how musicians of genius have made Bach's music new in our time, at once restoring Bach as a universally revered composer and revolutionizing the ways that music figures into our lives.

As a musician in eighteenth-century Germany, Bach was on the technological frontier--restoring organs, inventing instruments, and perfecting the tuning system still in use today. Two centuries later, pioneering musicians began to take advantage of breakthroughs in audio recording to make Bach's music the sound of modern transcendence. The sainted organist Albert Schweitzer played to a mobile recording unit set up at London's Church of All Hallows in order to spread Bach's organ works to the world beyond the churches. Pablo Casals, recording at Abbey Road Studios, made Bach's cello suites existentialism for the living room; Leopold Stokowski and Walt Disney, with "Fantasia," made Bach the sound of children's playtime and Hollywood grandeur alike. Glenn Gould's "Goldberg Variations" opened and closed the LP era and made Bach the byword for postwar cool; and Yo-Yo Ma has brought Bach into the digital present, where computers and smartphones put the sound of Bach all around us. In this book we see these musicians and dozens of others searching, experimenting, and collaborating with one another in the service of Bach, who emerges as the very image of the spiritualized, technically savvy artist.

"Reinventing Bach" is a gorgeously written story of music, invention, and human passion--and a story with special relevance in our time, for it shows that great things can happen when high art meets new technology.

This book 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.

Mozart's Ghosts traces the many lives of this great composer that emerged following his early death in 1791. Crossing national boundaries and traversing two hundred years-worth of interpretation and reception, author Mark Everist investigates how Mozart's past status can be understood as part of today's veneration. Everist forges new paths to reach the composer, examining a number of ways in which Western culture has absorbed the idea of Mozart, how various cultural agents have appropriated, deployed, and exploited Mozart toward both authoritarian and subversive ends, and how the figure of Mozart and his impact illuminate the cultural history of the last two centuries in Europe, England, and America. Modern reverence for the composer is conditioned by earlier responses to his music, and Everist argues that such earlier responses are more complex than allowed by a simple "reception studies" model. Closely linking nine case studies in an innovative cultural and theoretical framework, the book approaches the developing reputation of the composer from death to the present day along three paths: "Phantoms of the Opera" deals with stage music, "Holy Spirits" addresses the trope of the sacred, and "Specters at the Feast" considers the impact of Mozart's music in literature and film. Mozart's Ghosts adeptly moves the study of Mozart reception away from hagiography and closer to cultural and historical criticism, and will be avidly read by Mozart scholars and students of eighteenth-century music history, as well as literary critics, historians of philosophy and aesthetics, and cultural historians in general.

Practical Method for Beginners, Op. 599. Czerny's piano exercises have been revered since they were created. Together with Hanon's The Virtuoso Pianist and Czerny's own The School of Velocity, Czerny's Practical Method for Beginners on the Pianoforte is among the most widely practiced set of exercises in the piano repertoire.

'It will take more than an earthquake to keep me from doing my work...'
Music changed Romel Joseph's life. But on Jan. 12, 2010, it also saved it.
That's when the blind musician and educator became trapped under three stories of rubble-the remains of the music school he founded in Port-au-Prince, Haiti-following the earthquake that devastated his country. But Romel, filled with faith in God and a desire to realize his dreams, remained alert. He survived, he says, by performing a different violin concerto or sonata every hour until the moment of his rescue.
The Miracle of Music captures his remarkable ordeal, which has captivated audiences around the world. His story has been featured in The Miami Herald, The Washington Post, the London Times, the CBS News with Katie Couric, the BBC, and others. But the narrative has been incomplete-until now.
This inspiring story is about how a blind Haitian boy became a Juilliard-trained violinist, a world-renowned musician, and used the music in his soul to overcome his life's obstacles and help those around him. It is about the successful struggle to keep open the New Victorian School, a premiere music education institution, despite untold obstacles. It is about the hopes and dreams and perseverance of a country. And it is about love and empathy that keeps us going even when the ground is shaking under our feet.

From the very beginning of the nineteenth century, many elements of Spanish culture carried an air of 'exoticism' for the French-and nothing played more important of a role in shaping the French idea of Spain than the country's musical tradition. However, as Samuel Llano argues in Whose Spain?, perceptions and representations of Spanish musical identities changed in the early twentieth century, due to the emergence of the hispanistes. These specialists on Spanish music and culture, who wrote encyclopedic and 'scientific' articles on 'Spanish music,' strived to endow the world of Spanish music with a sense of authority and knowledge. Yet, the writings of those hispanistes and other music critics showed a highly sensationalist attitude, aimed at describing 'Spanish music' in a way that was instrumental to the interests of French musicians. At the same time, the Spanish fought to articulate their own identities through the creation and performance of new musical works. In this book, Llano analyzes the socio-political discourses underpinning critical and musicological descriptions of 'Spanish music' and the discourse's connection with French politics and culture. He also studies operas and other musical works for the stage as privileged sites for the production of Spanish musical identities, given the enhanced possibilities of performance for cultural and critical engagement. The study covers the period 1908 to 1929, when representations of 'Spanish music' in the writings of the hispaniste Henri Collet and other French musicians underwent several transformations, mostly sparked by the need to reformulate French identity during and after the First World War. Ultimately, Llano demonstrates that definitions of 'French' and 'Spanish' music were to some extent interdependent, and that the public performances of these pieces even helped the musical community in France to begein to reformulate their notions of 'Spanish music' and identity.

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone

Mozart's Marriage of Figaro was one of his most successful works after its premiere in 1786. While the opera continues to be widely performed, the overture to the opera is performed even more often as a concert piece. This is a Pocket Score of the opera, designed for study and reference for performers.

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

Beethoven permeates American culture. His image appears on countless busts and coffee mugs; his music is heard in movie scores, TV soundtracks, commercials, and pop songs; he is Schroeder s god in Peanuts and Chuck Berry s freaked-out parent in "Roll over Beethoven." In this book, Michael Broyles seeks to understand the composer as he exists in the American imagination and explores how Beethoven became a cultural icon. Broyles examines Beethoven s appearance in a variety of contexts: American commercialism, the Afrocentrist and black power movements, and the modernist critique of Romanticism. He considers portrayals of Beethoven in American film and theater and the uses of his music in film scores, as well as references to Beethoven and his music in disco, country, rock, and rap. In the end, he shows that to examine Beethoven on American soil is to examine America itself."

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.

This wonderful collection by Erik Satie contains scores for the solo piano. It is a fine example of the composer s work and a fantastic addition to any classical musician s repertoire. Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

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

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.

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.'

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.

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 title contains book & 4 CDs. The three centuries covered in this series offer a broad range of artists and their works. Sometimes it is hard to find access and to maintain an overview. The "Masterpieces Series" offers an ideal package, which gives the reader a compact, comprehensible, and entertaining overview of the painting and the music of each century. This brand new concept is unique: each book presents and comments on the most important paintings of the respective century in chronological order. The Music: The four CDs offer the most important musical works of the accordant eras. An extensive preface presents and explains each century and its characteristics and provides explanations of the specific connections between the history of music and painting.

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.

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.

A few weeks after the reunification of Germany, Leonard Bernstein raised his baton above the ruins of the Berlin Wall and conducted a special arrangement of Beethoven's Ninth Symphony. The central statement of the work, that "all men will be brothers," captured the sentiment of those who saw a brighter future for the newly reunited nation. This now-iconic performance is a palpable example of "musical monumentality" - a significant concept which underlies our cultural and ideological understanding of Western art music since the nineteenth-century. Although the concept was first raised in the earliest years of musicological study in the 1930s, a satisfying exploration of the "monumental" in music has not yet been made. Alexander Rehding, one of the brightest young stars in the field, takes on the task in Music and Monumentality, an elegant, thorough treatment that will serve as a foundation for all future discussion in this area.
Rehding sets his focus on the main players of the period within the Austro-German repertoire -Beethoven, Liszt, Wagner, Brahms, Bruckner and Mahler- as he unpacks a two-fold definition of "musical monumentality." In the conventional sense, monumentality is a stylistic property often described as 'grand, ' 'uplifting, ' and 'sublime' and rife with overpowering brass chorales, sparkling string tremolos, triumphant fanfares, and glorious thematic returns. Yet Rehding sees the monumental in music performing a cultural task as well: it is employed in the service of establishing national identity. Through a clear theoretical lens, Rehding examines how grand sound effects are strategically employed with the view to overwhelming audiences, how supposedly immutable musical halls of fame change over time, how challenging musical works are domesticated, how the highest cultural achievements are presented in immediately consumable form-in a word, how German music emerges as a unified cultural and musical brand.