George Michael is the single most played artist on UK radio for the last two decades. He has sold 100 million albums world-wide and had seven UK number one singles and albums. This paperback edition of the biography tells his story from the formation of Wham! in the early 1980s with friend Andrew Ridgley. Their success with hits including Young Guns (Go For It), and Club Tropicana and their split in 1986. His success as a solo artist with albums including Faith and Listen Without Prejudice. His legal battle with Sony which cost him millions of his own money. His personal life including his secret boyfriend Anselmo Feleppo who died in 1993, his former muse Kathy Jeung and art dealer Kenny Goss. Careless Whispers is the final word on a true original.

The Letters of C.P.E. Bach is a complete edition of the correspondence of the most famous of J.S. Bach's sons. Very few of these letters have appeared previously in English translation. They provide a fascinating picture of an eighteenth-century composer hard at work publishing his own music, debating aesthetic matters, and championing the music and teachings of his father. The readable translation, detailed index, extensive cross referencing, and glossary of names make this an accessible and useful volume.

This innovative account of the Gilbert and Sullivan partnership provides a unique insight into the experience of both attending and performing in the original productions of the most influential and enduring pieces of English-language musical theatre. In the 1870s, Savoy impresario Richard D'Oyly Carte astutely realized that a conscious move to respectability in a West End which, until then, had favored the racy delights of burlesque and French operetta, would attract a new, lucrative morally 'decent' audience. This book examines the commercial, material and human factors underlying the Victorian productions of the Savoy operas. Unusually for a book on 'G&S', it focuses on people and things rather than author biography or literary criticism. Examining theatre architecture, interior design, marketing, and typical audiences, as well as the working conditions and personal lives of the members of a Victorian theatre-company, 'Respectable Capers' explains how the Gilbert and Sullivan operas helped to transform the West End into the family-friendly 'theatre land' which still exists today.

The first full-length study devoted to Ignaz Moscheles (1794-1870), pianist, conductor and composer. This book, the first full-length study devoted to Ignaz Moscheles (1794-1870), explores how the son of middle-class Jewish parents in Prague became one of the most important musicians of his era, achieving recognition and world-wide admiration as a virtuoso pianist, conductor and composer, a sought-after piano teacher, and a pioneer in the historical performance of early music. Placing Moscheles' career within the context of the social, political and economic milieu in which he lived, the book offers new insights into the business of music and music making; the lives and works of his contemporaries, such as Schumann, Meyerbeer, Chopin, Hummel, Rossini, Liszt, Berlioz and others; the transformation of piano playing from the classical to romantic periods; and the challenges faced by Jewish artists during a dynamic period in European history. A section devoted to Moscheles' engagement as both a performer and editor with the music of J. S. Bach and Handel enhances our understanding of nineteenth-century approaches to early music, and the separate chapters that detail Moscheles' interactions with Beethoven and his extraordinarily close relationship with Mendelssohn adds considerably to the existing literature on these two masters. MARK KROLL has earned worldwide recognition as a harpsichordist, scholar and educator during a career spanning more than forty years. Professor emeritus at Boston University, Kroll has published scholarly editions of the music of Hummel, Geminiani, Charles Avison and Francesco Scarlatti, and is the author of Johann Nepomuk Hummel: A Musician's Lifeand World; Playing the Harpsichord Expressively; and The Beethoven Violin Sonatas.

Renowned music historian Philipp Spitta has written that of all the German musicians of the 19th century, none has exercised a greater influence over his own generation and that succeeding it than Weber. Spitta s statement reflects Weber s popularity at the end of the nineteenth century both for his place as a foundational figure of German Romantic opera and for his role in the early German Nationalist movement in music. Indeed, Weber s Der Freischutz is still considered the first German Romantic opera, enjoying a place of privilege in the modern operatic repertoire with performances held the world over and at least two cinematic productions. Despite its enormous popularity throughout the nineteenth century, however, Weber s swan song, Oberon, has remained separate from the mainstream thrust of our modern understanding of German Romantic opera. In Carl Maria von Weber: Oberon and the Cosmopolitanism in the Early German Romantic, music historian and theorist Joseph E. Morgan reassesses Weber s work and aesthetics not just for their influence but also as an expression of the aesthetics and cosmopolitanism that underlay the early Romantic and Nationalist movement in Germany. In a discussion with analyses that features nearly one-hundred musical examples, Morgan tracks the development of Weber s musical style across his career. The investigation culminates with Weber s last and long-misunderstood work, explaining its thematic and harmonic organization, its stylistic idiosyncrasies, and the tenuous place that it holds on the margins of the operatic canon. The discussion is enhanced and corroborated by frequent attention to correlating developments in other art from the period, including painting, poetry and literature. This text will be of interest to students, scholars, and connoisseurs interested in acquiring a new insight on the performance, reception, and aesthetics of early German Romantic opera. Further, because of the interdisciplinary nature of the investigation, anyone interested in the early romantic and nationalist movement in Germany will also certainly find interesting and valuable insights in this book."

Stephen Storace (1762-96) was a prominent opera composer in London. His works exemplify the best in English opera, with music closely integrated with the drama, and including attractive tunes the audience could sing and play at home. Theatrical life and music publishing are both examined from the perspective of Storace's works.

Described by Lennon as 'the best thing I've ever done', and widely regarded by critics as his best solo album, John Lennon/Plastic Ono Band was released alongside the remarkable Yoko Ono/Plastic Ono Band on 11 December 1970. With first-hand commentary by John & Yoko, members of the Plastic Ono Band and other key figures in their lives, and packed with evocative and revealing letters, artworks and photographs, this incisive volume offers new insights into the raw emotions and open mindset of Lennon after marriage to Ono and the break-up of the Beatles. Following their wedding in March 1969, Lennon and Ono decided that their future musical endeavours should be credited to a conceptual vehicle, the Plastic Ono Band. The band featured an ever-changing line-up of musicians, including Eric Clapton, Klaus Voormann, Ringo Starr, Alan White, George Harrison, Billy Preston and Jim Keltner, all of whom played live with Lennon and Ono, and contributed to their recordings. The fearless honesty that John & Yoko inspired in one another in their search for truth, meaning and peace had a huge impact on Lennon's song writing, resulting in the creation of tracks that are intensely personal and unlike anything previously heard in popular music, including 'Mother', 'Working Class Hero' and 'God'. This book takes those lyrics as a starting point and explores Lennon's life, relationships and world view during this transformative period.

One hundred years after the singer's birth, Peggy Lee: A Century of Song brings to life the eventful career of an iconic performer whose contributions to the Great American Songbook, jazz, popular music, and film music remained unparalleled. Lee stood out among her peers as an exquisite singer possessing a cool vocal style, a songwriter frequently collaborating with leading composers of American jazz and film music, and a globally-loved entertainer with star quality. Tish Oney sheds new light upon this Grammy Lifetime Achievement Award winner's impressive musical talents while guiding the reader through the best of Lee's fifty-plus albums, radio and TV performances, creative contributions to the film industry, and over half a century of finely-polished live performances. Oney focuses on the evolution of Peggy Lee's recorded music, vocal development, artistic achievements, and contributions to American music while interviews with Lee's family, friends, and music colleagues reveal new insights and memories of this musical icon. Peggy Lee enables readers to discover a brilliant artist's inimitable legacy in the history of American popular music.

Both Dylan and Cohen have been a presence on the music and poetry landscape spanning six decades. This book begins with a discussion of their contemporary importance, and how they have sustained their enduring appeal as performers and recording artists. The authors argue that both Dylan and Cohen shared early aspirations that mirrored the Beat Generation. They sought to achieve the fame of Dylan Thomas, who proved a bohemian poet could thrive outside the academy, and to live his life of unconditional social irresponsibility. While Dylan’s and Cohen’s fame fluctuated over the decades, it was sustained by self-consciously adopted personas used to distance themselves from their public selves. This separation of self requires an exploration of the artists’ relation to religion as an avenue to find and preserve inner identity. The relationship between their lyrics and poetry is explored in the context of Federico García Lorca’s concept of the poetry of inspiration and the emotional depths of ‘duende.’ Such ideas draw upon the dislocation of the mind and the liberation of the senses that so struck Dylan and Cohen when they first read the poetry and letters of Arthur Rimbaud and Lorca. The authors show that performance and the poetry are integral, and the ‘duende,’ or passion, of the delivery, is inseparable from the lyric or poetry, and common to Dylan, Cohen and the Beat Generation.

Violet Balestreri Archer is a leading force in contemporary music of North America. One of Canada's most prolific composers, she is also an outspoken advocate of contemporary music. Her career as an educator is exceptional, and she has been untiring in her efforts to persuade composers to write educational pieces for youth and publishers to publish them. Her own music has been performed throughout the world and at international festivals and music congresses. This bio-bibliography is the first book-length study of Archer. It is comprised of four main parts: a short biography; a complete list of more than 290 compositions, organized by genre, with information on premieres and selected performances; a discography; and a bibliography of writings by and about the composer. All sections are fully cross-referenced and indexed, and appendixes organize the works alphabetically by title and chronologically.

Music in 17th and early 18th century Italy was wonderfully rich and varied: in theatrical and secular vocal chamber music alone, we saw the rise of the solo song and cantata, and the birth and growth of opera, all establishing important new structural and expressive paradigms. But this was also a complex time of uncertainty and change, as 'old' and 'new' interacted in subtle and often surprising ways. There is still much to document, explore and explain in terms of composers and repertories and their multi-layered contexts. This collection of essays by European, British and American musicologists seeks to consolidate the recent growth interest in seventeenth century studies. It includes discussions of leading composers (d'India, Monteverdi, Rovetta, Steffani, Albinoni, Vivaldi and Handel), repertories (chamber laments, staged balli and operatic mad-scenes), geographical issues (the arrival of Neapolitan opera in Venice), institutional contexts, and iconography. Inspiration for the book was drawn from the poineering research of Nigel Fortune, to whom the volume is dedicated on his 70th birthday.

As Nicholas Kenyon says, quoting Ralph Vaughan Williams in the introduction to this volume, 'We all pay lip service to Henry Purcell, but what do we really know of him?'. Many aspects of the composer's life remain obscure, but, with the approach of the tercentenary of Henry Purcell's death in 1995, much of his music would be performed again, in some cases for the first time for many years. It was clear that many issues of performance practice needed to be aired before 1995; further it was equally clear that such discussion should begin early and should be available in published form. To this end, a group of scholars and performers gathered at Exeter College, Oxford in 1993 and the contents of this volume represents some of the fruits of their deliberation. The first part of the book considers purely musical issues, and covers a wide range of topics. Peter Holman looks at the importance of the Oxford set parts for Restoration Concerted Music in the overall picture of orchestral practice in the seventeenth century. This is followed by two organological essays, one on organs (Dominic Gwynne) and the other on violins (John Dilworth). The remainder of this first section has three studies of historical performance - on Percell's "Exotic" trumpet notes (Peter Downey), on Queen Mary's Funeral Music (Bruce Wood), and ornamenting Purcell's keyboard music (H Diack Johnson) - and two concerning singers and singing - Purcell's stage singers (Olive Baldwin and Thelma Wilson) and on voice ranges, voice types and pitch (Timothy Morris). The second part of the book, devoted to the stage works, opens with an examination of past performances of the dramatic operas in Michael Burden's essay, 'Percell debauch'd'. Contributors then examine the importance of allegory in performing stage works (Andrew Walkling), theatrical dance (Richard Semmens), costume and etiquette (Ruth Eva Ronen), stage music (Roger Savage), and aspects of performing Dioclesian (Julia and Frans Muller) and King Arthur (Lionel Sawkins).

This 1845 biography of Mozart by the music journalist Edward Holmes was the first to be published in English. Holmes, who numbered the poet Keats and the publisher Vincent Novello amongst his friends, wrote extensively for periodicals including the Musical Times and The Atlas. A lifelong admirer of Mozart's work, Holmes's keen understanding of its significance is evident throughout the biography. It is based on a thorough study of the then available printed and manuscript sources, in particular many of Mozart's letters which Holmes translated and included as he 'endeavoured throughout to let the composer tell his own story'. He was also able to consult Mozart's own catalogue of his works, that compiled by the publisher Johann Andre, and the Mozart autograph manuscripts bought by Andre from Mozart's widow Constanze. The work is written in a very approachable style and will appeal to anyone with an interest in Mozart.

'With disarming candour and courage, Martha tells us of finding her own voice and peace as a working artist and mother. Her story is made more unique because of the remarkably gifted musical family she was born into' EMMYLOU HARRIS Born into music royalty, daughter of Kate McGarrigle and Loudon Wainwright III and sister to singer Rufus Wainwright, Martha grew up in a world filled with incomparable folk legends. With the same emotional honesty that has come to define her music Martha describes her tumultuous public-facing journey from awkward, earnest and ultimately rebellious daughter, through her intense competition and ultimate alliance with her brother, Rufus, to the heartbreaking loss of their mother and finally discovering her voice as an artist. With candour and grace she writes of becoming a mother herself and making peace with her past struggles with Kate and her younger self. Ultimately, this book offers a thoughtful and deeply personal look into the extraordinary life of one of the most talented singer-songwriters in music today.

Brahms once complained that singers never performed his songs in the groups in which he had published them, which he likened to 'song bouquets'. Over a century later, many singers and musicologists continue to ignore Brahms's wishes and focus on the individual songs rather than the bouquet groups. This is a detailed study of the implications of Brahms's comments. Following an examination of contemporary aesthetic and generic frameworks, the book traces Brahms's Lieder from their conception, to the arrangement into bouquets, to performance and reception, and examines the sometimes contradictory roles played by poet, composer, performer and recipient in creating coherence in song collections. An investigation of the graphic cycles of Max Klinger reveals a startling visual analogue of Brahms's conception of the song bouquet, and a final examination of the evidence of Brahms's aesthetic outlook reveals that his intentions may have been cyclic in more than one sense.

Self-described as a 'spotty, chubby, ginger teenager' with a love for Damien Rice and Nizlopi, Ed Sheeran was never an obvious bet to become a global superstar. And yet that's exactly what he's achieved, winning plenty of awards (and hearts) along the way. But how did a young musician go from selling CDs from his rucksack to becoming the millennial record-breaking international stadium act? Tracing his story from his bohemian childhood in Yorkshire and Suffolk to the release of his third album Divide, music journalist David Nolan chronicles Sheeran's musical life and times. Featuring exclusive interviews with friends, relatives, musical collaborators and key figures in his rise to stardom, Divide and Conquer tells the story of how Ed Sheeran went from school drop-out to one of the world's most successful musicians.

Now appearing in an English translation, this book by Szymon Paczkowski is the first in-depth exploration of the Polish style in the music of Johann Sebastian Bach. Bach spent almost thirty years living and working in Leipzig in Saxony, a country ruled by Friedrich August I and his son Friedrich August II, who were also kings of Poland (as August II and August III). This period of close Polish-Saxon relations left a significant imprint on Bach's music. Paczkowski's meticulous account of this complex political and cultural dynamic sheds new light on many of Bach's familiar pieces. The book explores the semantic and rhetorical functions that undergird the symbolism of the Polish style in Baroque music. It demonstrates how the notion of a Polish style in music was developed in German music theory, and conjectures that Bach's successful application for the title of Court Composer at the court of the Elector of Saxony and King of Poland would induce the composer to deliberately use elements of the Polish style. This comprehensive study of the way Bach used the Polish style in his music moves beyond technical analysis to place the pieces within the context of Baroque customs and discourse. This ambitious and inspiring study is an original contribution to the scholarly conversation concerning Bach's music, focusing on the symbolism of the polonaise, the most popular and recognizable Polish dance in 18th-century Saxony. In Saxony at this time the polonaise was associated with the ceremonies of the royal-electoral court in Dresden, and Saxon musicians regarded it as a musical symbol of royalty. Paczkowski explores this symbolism of the Polish royal dance in Bach's instrumental music and, which is also to be found to an even greater extent, in his vocal works. The Polish Style in the Music of Johann Sebastian Bach provides wide-ranging interpretations based on a careful analysis of the sources explored within historical and theological context. The book is a valuable source for both teaching and further research, and will find readers not only among musicologists, but also historians, art historians, and readers in cultural studies. All lovers of Bach's music will appreciate this lucid and intriguing study.

Early in his long career, the self-taught English music critic Ernest Newman (1868 1959) wrote this influential account of Gluck's life and musical achievements in relation to the intellectual life of the eighteenth century. First published in 1895, Gluck and the Opera traces the composer's ideas and his efforts to move opera forward after a period of stagnation. Musicians, thinkers and satirists had been writing for generations about the need to reform the opera, but it was Gluck who brought about far-reaching changes that paved the way for Mozart, Weber and Wagner. His most notable innovation was the fusing of the Italian and French operatic traditions. The first part of the book is a chronological account of Gluck's eventful career, which took him all over Europe but was centred on Paris and Vienna. The second part deals with Gluck in his broader cultural and intellectual context, and lists his works.

Francis Hueffer (1843-1889) was music critic for The Times from 1878 to 1889 and was also secretary of the Wagner Society founded in 1873. This 1874 book, much of it originally published in the Fortnightly Review, considers Wagner's role in the musical developments of the nineteenth century that followed the watershed of Beethoven's ninth symphony. It is one of the first works in English to explore the nature of Wagner's genius, and builds on an essay published by the author in The Academy about Wagner's own pamphlet on Beethoven. Hueffer's analysis of the formation of Wagner's artistic values and musical philosophy as embodied in his writings and music dramas is complemented by discussion of the songs of Schubert, Schumann and Liszt. The appendix provides an account of the performance of Beethoven's ninth which Wagner conducted at Bayreuth in 1872, and the laying of the foundation stone of the Festspielhaus.

A translation of the only book that focuses solely on the pianistic aspect of Busoni's wide-ranging career. Ferruccio Busoni is most widely known today as the composer of such works as the Second Violin Sonata, the incidental music for Gozzi's Turandot, and the most monumental piano concerto in the repertory (some eighty minuteslong, with male chorus in the finale). But Busoni was also renowned in his day as an author and pedagogue and, most especially, as a pianist. Busoni's recordings of pieces by Chopin and Liszt -- and of his own arrangements of keyboard works by Bach and Beethoven -- are much prized and studied today by connoisseurs of piano playing. Yet even his most important biographers have cast only a cursory glance at the pianistic aspect of Busoni's fascinating career. Grigory Kogan's book Busoni as Pianist (published in Russian in 1964, and here translated for the first time) was and remains the first and only study to concentrate exclusively on Busoni's contributions to the worldof the piano. Busoni as Pianist summarizes reviews of Busoni's playing and his own writings on the subject. It also closely analyzes the surviving piano roles and recordings, and examines Busoni's editions, arrangements, and pedagogical output. As such, it will be of interest to pianists, teachers and students of the piano, historians, and all who love piano music and the art of piano playing. Grigory Kogan (1901-1979) was a leading Soviet pianist and music critic. A conservatory professor at the age of twenty-one, Kogan created the first-ever course in Russia dealing with the history and theory of pianism. Through his brilliant lectures, his concert performances, and his many books, articles, and reviews, Kogan influenced an entire generation of Soviet pianists. Svetlana Belsky is a teacher and performer, and is coordinator of Piano Studies at the University of Chicago.

The Sunday Times bestseller Growing up in Liverpool in the 1960s and '70s, when skinheads, football violence and fear of just about everything was the natural order of things, a young Will Sergeant found the emerging punk scene provided a shimmer of hope amongst a crumbling city still reeling from the destruction of the Second World War. From school-day horrors and mud flinging fun to nights at Liverpool's punk club, Eric's, Sergeant was fuelled by and thrived on music. It was this devotion that led to the birth of the Bunnymen, to the days when he and Ian McCulloch would muck around with reel-to-reel recordings of song ideas in the back parlour of his parents' council estate house, and to finding a community - friends, enemies and many in between - with those who would become post-punk royalty from the likes of Dead or Alive, Frankie Goes to Hollywood and the Teardrop Explodes to name a few. It was an uphill struggle to carve their name in the history of Liverpool music, but Echo and the Bunnymen became iconic, with songs like 'Lips Like Sugar,' 'The Cutter' and 'The Killing Moon'. By turns wry, explicit and profound, Bunnyman reveals what it was really like to be part of one of the most important British bands of the 1980s.

Francis Hueffer (1845 89) was born and studied music in Germany, but moved to London in 1869 to pursue a career as a critic and writer on music. He edited the series 'The Great Musicians' for Novello and Co., was music critic of The Times, wrote libretti for some now-forgotten operas, and was an early advocate and interpreter to the British of Wagner. Between his Richard Wagner and the Music of the Future (1874) and his translation of the correspondence of Wagner and Liszt (1888), he wrote Wagner in his own 'Great Musicians' series in 1881 (two years before the composer's death). The book surveys Wagner's life and his musical writings, and a separate chapter is devoted to each of the operas (except Parsifal, which was not performed until 1882). This is a fascinating contemporary assessment of the standard-bearer of the 'music of the future'.

Henry Sutherland Edwards (1828-1906) wrote this volume in Francis Hueffer's 'Great Musicians' series, published by Novello, in 1881. It was unusual for this series because of the addition of 'the School': most of the other books dealt with an individual composer, but Edwards discusses Bellini and provides chapters on Donizetti and Verdi (still alive, and at the height of his powers, at the time this book was published) as well as his main subject. The book covers Rossini's life and deals in detail with what the author regarded as his most significant works - a selection which may surprise or even outrage Rossini enthusiasts today.

Francis Hueffer (1845-89) was born and studied music in Germany, but moved to London in 1869 to pursue a career as a critic and writer on music. He edited the series 'The Great Musicians' for Novello and Co., was music critic of The Times, wrote libretti for some now-forgotten operas, and was an early advocate and interpreter to the British of Wagner. As well as writing Wagner in his own 'Great Musicians' series (1881), and Richard Wagner and the Music of the Future (1874), he translated the correspondence of Wagner and Liszt. This fascinating two-volume selection, published in 1888, covers the period 1841-61. Hueffer signals in his preface the importance to Wagner of the encouragement of Liszt - an established performer when Wagner was barely known and widely ridiculed, a musical mentor, an enthusiastic critic and eventually a father-in-law.