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. Volume 8 of Bach Perspectives emphasizes the place of Bach's oratorios in their repertorial context. These essays consider Bach's oratorios from a variety of perspectives: in relation to models, antecedents, and contemporary trends; from the point of view of musical and textual types; and from analytical vantage points including links with instrumental music and theology. Christoph Wolff suggests the possibility that Bach's three festive works for Christmas, Easter, and Ascension Day form a coherent group linked by liturgy, chronology, and genre. Daniel R. Melamed considers the many ways in which Bach's passion music was influenced by the famous poetic passion of Barthold Heinrich Brockes. Markus Rathey examines the construction and role of oratorio movements that combine chorales and poetic texts (chorale tropes). Kerala Snyder shows the connections between Bach's Christmas Oratorio and one of its models, Buxtehude's Abendmusiken spread over many evenings. Laurence Dreyfus argues that Bach thought instrumentally in the composition of his passions at the expense of certain aspects of the text. And Eric Chafe demonstrates the contemporary theological background of Bach's Ascension Oratorio and its musical realization

Nicholas Temperley has pioneered the history of popular church music in England, as expounded in his classic 1979 study, The Music of the English Parish Church; his Hymn Tune Index of 1998; and his magisterial articles in The New Grove. This volume brings together fourteen shorter essays from various journals and symposia, both British and American, that are often hard to find and may be less familiar to many scholars and students in the field. Here we have studies of how singing in church strayed from artistic control during its neglect in the 16th and 17th centuries, how the vernacular 'fuging tune' of West Gallery choirs grew up, and how individuals like Playford, Croft, Madan, and Stainer set about raising artistic standards. There are also assessments of the part played by charity in the improvement of church music, the effect of the English organ and the reasons why it never inspired anything resembling the German organ chorale, and the origins of congregational psalm chanting in late Georgian York. Whatever the topic, Temperley takes a fresh approach based on careful research, while refusing to adopt artistic or religious preconceptions.

This Companion provides an accessible and up-to-date introduction to the musical work and cultural world of Joseph Haydn. Readers will gain an understanding of the changing social, cultural, and political spheres in which Haydn studied, worked, and nurtured his creative talent. Distinguished contributors provide chapters on Haydn and his contemporaries, his working environments in Eisenstadt and Eszterhaza, his aesthetics, and address humour and exoticism in Haydn's oeuvre. Chapters on the reception of his music explore keyboard performance practices, Haydn's posthumous reputation, and recorded performances and images of his symphonies. The book also surveys the major genres in which Haydn wrote, including symphonies, string quartets, keyboard sonatas and trios, sacred music, miscellaneous vocal genres, and operas composed for Eszterhaza and London.

More than 70 works of Hogarth include musical references, and Jeremy Barlow's book is the first full-length work devoted to this aspect of his imagery. The first two chapters examine the evidence for Hogarth's interest in music and the problems of assessing accuracy, realism and symbolic meaning in his musical representations. Subsequent chapters show how musical details in his works may often be interpreted as part of his satirical weaponry; the starting point seems to have been his illustrations of the clamorous 'rough music' protest in Samuel Butler's immensely popular poem Hudibras. Hogarth's use of music for satirical purposes also has connections with a particular type of burlesque music in 18th-century England. It may be seen too in the roles played by his humiliated fiddlers or abject ballad singers. Each of the final two chapters focuses on a particular Hogarth subject: his paintings of a scene from a theatrical satire of music and society, The Beggar's Opera, and the print The Enraged Musician itself. The latter work draws together uses of musical imagery discussed previously and the book concludes with an analysis of its internal relations from a musical perspective. The book is lavishly illustrated with Hogarth's drawings, prints and paintings. Many other images are reproduced to provide contextual background. Several indices and appendices enhance the book's value as a reference tool: these include an annotated index of Hogarth's instruments, with photographs or other representations of the instruments he depicts; a detailed index of Hogarth's works with musical imagery; the texts and music for broadside ballads and single-sheet songs related to Hogarth's titles; 18th-century texts and street cries related to Hogarth's The Enraged Musician, and other musical examples indicated in the text. Also included is a facsimile of Bonnell Thornton's burlesque Ode on St CA|cilia's Day.

Mozart's piano concertos stand alongside his operas and symphonies as his most frequently performed and best loved music. They have attracted the attention of generations of musicologists who have explored their manifold meanings from a variety of viewpoints. In this study, John Irving brings together the various strands of scholarship surrounding Mozart's concertos including analytical approaches, aspects of performance practice and issues of compositional genesis based on investigation of manuscript and early printed editions. Treating the concertos collectively as a repertoire, rather than as individual works, the first section of the book tackles broad thematic issues such as the role of the piano concerto in Mozart's quasi-freelance life in late eighteenth-century Vienna, the origin of his concertos in earlier traditions of concerto writing; eighteenth-century theoretical frameworks for the understanding of movement forms, subsequent historical shifts in the perception of the concerto's form, listening strategies and performance practices. This is followed by a 'documentary register' which proceeds through all 23 original works, drawing together information on the source materials. Accounts of the concertos' compositional genesis, early performance history and reception are also included here, drawing extensively on the Mozart family correspondence and other contemporary reports. Drawing together and synthesizing this wealth of material, Irving provides an invaluable reference source for those already familiar with this repertoire.

In Bach in America, volume 5 of Bach Perspectives, nine scholars track Johann Sebastian Bach's reputation in America from an artist of relative obscurity to a cultural mainstay whose music has spread to all parts of the population, inspired a wealth of scholarship, captivated listeners, and inspired musicians.

More than a hundred years passed after Bach's death in 1750 before his music began to be known and appreciated in the United States. Barbara Owen surveys Bach's early reception in America and Matthew Dirst focuses on John Sullivan Dwight's role in advocating Bach's work. Michael Broyles considers the ways Bach's music came to be known in Boston and Mary J. Greer offers a counterpoint in her study of Bach's reception in New York.

The volume continues with Hans-Joachim Schulze's essay linking the American descendants of August Reinhold Bach to J. S. Bach through a common sixteenth-century ancestor. Christoph Wolff focuses on Bach's descendants in America, particularly Friederica Sophia Bach, the daughter of Bach's eldest son, Wilhelm Friedemann. Peter Wollny evaluates several manuscripts not included in Gerhard Herz's study of Bach Sources in America. The book concludes with examinations of Bach's considerable influence on American composers. Carol K. Baron compares the music of Bach and Charles Ives and Stephen A. Crist measures Bach's influence on the jazz pianist and composer Dave Brubeck.

This lively book takes us back to the first performances of five famous musical compositions: Monteverdi's Orfeo in 1607, Handel's Messiah in 1742, Beethoven's Ninth Symphony in 1824, Berlioz's Symphonie fantastique in 1830, and Stravinsky's Sacre du printemps in 1913. Thomas Forrest Kelly sets the scene for each of these premieres, describing the cities in which they took place, the concert halls, audiences, conductors, and musicians, the sound of the music when it was first performed (often with instruments now extinct), and the popular and critical responses. He explores how performance styles and conditions have changed over the centuries and what music can reveal about the societies that produce it. Kelly tells us, for example, that Handel recruited musicians he didn't know to perform Messiah in a newly built hall in Dublin; that Beethoven's Ninth Symphony was performed with a mixture of professional and amateur musicians after only three rehearsals; and that Berlioz was still buying strings for the violas and mutes for the violins on the day his symphony was first played. Kelly's narrative, which is enhanced by extracts from contemporary letters, press reports, account books, and other sources, as well as by a rich selection of illustrations, gives us a fresh appreciation of these five masterworks, encouraging us to sort out our own late twentieth-century expectations from what is inherent in the music.

This is the first multi-disciplinary study of the dissemination of Italian culture in northern Europe during the "long eighteenth century" (1689-1815). The book covers a diverse range of important artists such as Amigoni, Canaletto and Rosalba Carriera, as well as opera singers, commedia dell'arte performers and librettists who left Italy to seek work beyond the Alps. It also considers key themes such as social networks, the relationships between court and market cultures, the importance of religion and politics to the reception of culture, and the evolution of taste.

Mozart's Clarinet Concerto, written in 1791 during the last month of the famous composer's life, is the most frequently performed and highly revered concerto in clarinet literature. This insightful book examines the concerto in detail and analyzes the musical theories and performance techniques of eight of the world's greatest clarinetist's: Stanley Hasty, Robert Marcellus, Anthony Gigliotti, Harold Wright, Rudolf Jettel, Ulysse Delecluse, Jack Brymer, and Michel Incenzo. The author's introductory chapter offers historical perspective on the most significant points of each interpretation, highlighting both the striking number of similarities and also the important differences in each artist's approach to the concerto. The insight into the musical thinking of these renowned artists will be of interest to all musical performers and to all lovers of music. David E. Etheridge, vice-president of the International Clarinetists Society, and a former player in the Oklahoma Symphony Orchestra, is a professor of clarinet at the University of Oklahoma. He holds a doctorate in musical arts from the Eastman School of Music.

A unique and revelatory book of music history that examines in what is perhaps the best-known and most-popular symphony ever written and its four-note opening, which has fascinated musicians, historians, and philosophers for the last 200 years. Music critic Matthew Guerrieri reaches back before Beethoven's time to examine what might have influenced him in writing his Fifth Symphony, and forward into our own time to describe the ways in which the Fifth has, in turn, asserted its influence.

Muzio Clementi (1752?1832) was a famed composer, pianist, pedagogue, conductor, music publisher, editor, and piano manufacturer. Although born in Italy, he spent most of his life in England. In his time, he was known as "the father of the pianoforte," "father of modern piano technique," and "father of Romantic pianistic virtuosity." This is Volume 1 of Clementi's Sonatas and includes: Opus 2, No. 1 in C major * Opus 12, No. 1 in B-flat major * Opus 26, No. 2 in F-sharp minor * Opus 26, No. 3 in D major * Opus 34, No. 1 in C major * Opus 36, No. 1 in A major * Opus 36, No. 2 in F major.

The Anthology of Baroque Keyboard Music is paired with the DVD Performance Practices in Baroque Keyboard Music for a comprehensive look at the literature and performing conventions of the Baroque era. The comb binding creates a lay-flat book that is perfect for study and performance. On the DVD, Dr. Hinson performs music from the Anthology, and relates invaluable information on basic touches, articulations, dynamics and ornamentation that will help the performer create a more historically-informed performance. Also on this DVD is a lecture on the history of Baroque dance and the relationship between dance and music, with nine of the most popular court dances performed to Dr. Hinson's keyboard accompaniment by dancers in Baroque costume.

(E.B. Marks). 51 songs, including music from Casino Paradise, Dynamite Tonite, Greatshot, The Wind in the Willows, Ancient Cabaret, Minicabs, Songs to Dance, and songs not from a show, set, or cycle ("Lime Jello Marshmallow Cottage Cheese Surprise" and more). With notes on the songs, manuscript facsimiles, and composer comments. Includes several first editions and first-time transpositions. There are different songlists for the High Voice and Medium/Low Voice editions.

Three volumes in the acclaimed Notes On series about the life and key works of the world's greatest composers.

This new collection of Albéniz's piano gems joins the composer's Ibéria and España, the classic Dover edition already in its ninth printing. Here is a new gathering of brilliant keyboard music steeped in the lyric and rhythmic spirit of Spain. Contents: Suite española; Six spanish dances; The seasons; Rapsodia española and Rapsodia cubana; Mallorca; Zortzico (Basque Dance); the Third Suite Antigua (Minuetto and Gavotta); and the brilliant La Vega. Dover Original compilation of authoritative early editions.

This ambitious study offers a panoramic survey of musical thought in the eighteenth century and, at the same time, a close analysis of the important theoretical topics of the period. The result is the most comprehensive account ever given of the theory behind the music of late Baroque and early Classical composers from Bach to Beethoven. While giving preeminent theorists their due, Joel Lester also examines the works of over one hundred eighteenth- and seventeenth-century writers to show how prominent theories were received and applied in actual teaching situations. Beginning with the influence of Zarlino and seventeenth-century theorists, Lester goes on to focus on central traditions emerging from definitive works in the early eighteenth century: species counterpoint in the writings of Fux; thoroughbass as presented by Niedt and Heinichen; Rameau's harmonic theories and Mattheson's views on melodic structure. The author traces the development and interactions of these traditions over the remainder of the century, through the writings of Albrechtsberger, C. P. E. Bach, Kirnberger, Koch, Marpurg, Martini, Nichelmann, Riepel, and many others. This historical overview is leavened throughout with accounts of individual composers grappling with theoretical issues - Haydn's careful study of Fux's treatise, Mozart's instructions on harmony to his composition students, Beethoven's own student exercises. The links between various theoretical traditions, the pervasive influence of Rameau's harmonic thinking, and the harmonic theories of Koch are just some of the numerous topics given their first full treatment here. Many of the theorists Lester cites are either unknown or often misunderstoodtoday. By bringing their contributions to light and placing them within the context of theoretical tradition, Lester offers a fresh perspective, one that will inform and enhance any future study of this magnificent era in Western music.