A most gifted musician of his generation, this book traces Gideon Klein's short life through his music, his diaries and documents as well as the reminiscences of his friends and family. Don't Forget about Me' chronicles the extraordinary and moving story about the young Czech pianist and composer Gideon Klein. Standing on the threshold of what was to be an auspicious career, Klein's musical activities in Prague were ruptured, as he, his family and friends were deported, interned in the Terezin (Theresienstadt) prison camp and ghetto. There his life took an even more unexpected turn, as he galvanised prisoners into an astonishing array of musical activities, and he composed his finest and most compelling music. Until recently, Klein's music has largely been performed within the context of Holocaust memorialisation. But events commemorating the Klein centenary in 2019 offered audiences and musicians the opportunity to re-assess and reposition Klein's place in the history of twentieth-century music and European modernism. David Fligg's monograph on Klein, the first in a quarter of a century, continues this process. Drawing on hitherto unpublished archival sources, interviews with Holocaust survivors who were imprisoned with him, many rare photographs and detailed musical analysis, 'Don't forget about me' recounts Klein's life from his Moravian childhood (he was born in Prerov in 1919), charting the development of his musical talent. It presents the first detailed examination of how the teenage Klein engaged with the numerous artistes who were at the centre of the vibrant cultural environment of pre-war Prague. Klein was finally transported to an isolated and bleak Auschwitz sub-camp, in the freezing closing weeks of 1944, where he was killed in a massacre by the retreating prison guards. His story, along with the compositions which remarkably survived Terezin, is one of the most fascinating of Czech Jews during the Holocaust, and documents how one young man continued to make music in the face of evil.

'Success is a state of mind... Success isn't about conquering something; it's being happy with who you are.' - Stylist Magazine, 2011. Multi-platinum, Grammy Award-winning pop icon Britney Spears is one of the most successful and celebrated entertainers in pop history selling nearly 150 million records worldwide. Born in Mississippi and raised in Louisiana, Britney started out as a dancer and gymnast, before landing a role at twelve years old in 'The All New Mickey Mouse Club'. She became a household name as a teenager when she released her first single '...Baby One More Time'. This collection of Britney's relatable, inspiring and hugely optimistic quotes reveals a caring, generous personality who champions following your dreams. Despite a very public and at times troubling life, this is a book which sparkles with positivity and happiness; the 'Princess of Pop' offers you the best advice and lifts you up when you're down. Sample Quotes: 'Performing is my therapy, to become different people onstage.' USA Today, 2013 'I have my relationship with God and myself, and that's what matters to me. I really don't care what most people think.' - V Magazine, 2016

Ravel composed the original piano version of this piece in 1899 after resuming his studies at the Paris Conservatory. It was published the next year and became an overnight success. Despite some self-criticism of his youthful work for being "poor in form," Ravel thought well enough of it to prepare an orchestral version in late 1910, which was given its premiere under the baton of Henry Wood at the Manchester Gentlemen's Concerts on 27 February 1911. This newly-engraved critical edition will be appreciated by Ravel fans, students, and conductors everywhere.

This volume of spellbinding essays explores the tense relationship between Alfred Hitchcock and Bernard Herrmann, providing new perspectives on their collaboration. Featuring chapters by leading scholars of Hitchcock's work, including Richard Allen, Charles Barr, Murray Pomerance, Sidney Gottlieb and Jack Sullivan, the collection examines the working relationship between the pair and the contribution that Herrmann's work brings to Hitchcock's idiom. Examining key works, including The Man Who Knew Too Much, Psycho, Marnie and Vertigo, the essays explore approaches to sound, music, collaborative authorship and the distinctive contribution that Herrmann's work with Hitchcock brought to this body of films, examining the significance, meanings, histories and enduring legacies of one of film history's most important partnerships. By engaging with the collaborative work of Hitchcock and Herrmann, the book explores the ways in which film directors and composers collaborate, how this collaboration is experienced in the film text, and the ways in which such partnerships inspire later work. -- .

In Dramaturgical Leaves: Essays about Musical Works for the Stage and Queries about the Stage, Its Composers and Performers, the third volume in Janita R. Hall-Swadley's The Collected Writings of Franz Liszt, Liszt heralds his admiration for early nineteenth-century opera and musical stage works. He honors Gluck, the musical prophet, as the cultivator of dramatic truth in the Romantic opera Orpheus, expounds on Beethoven's harmonic inventions and innovative treatment of form in Fidelio, and argues for the latter's incidental music to Goethe's Egmont as the epitome of music organicism, a complete unity of words and tone. He also comments on Weber's Euryanthe as offering the most progressive musical characterizations and declamation-even more so than his popular work Der Freischutz-and on how both works prefigure Wagner's music dramas; awards Mendelssohn, whose genius Liszt ranks only slightly less than Beethoven's, top honors for creating in Midsummer's Night Dream the highest standards of music poetry; suggests how Scribe and Meyerbeer's Robert the Devil paints a mental image of art's eternal flames, where poet and musician share equal space in the development of music tragedy; reveals how the poetic deficiencies in the libretto to Schubert's Alfonso and Estrella are too easily overlooked because of the music's melodic and lyrical supremacy; and offers in contrast Auber's Mute from Portici, a remarkable text by many historically picturesque musical motives that are universal and nationalistic at the same time. Finally Liszt offers an early gender study in music in his essay about Bellini's Montague and Capulet (as well as its impact on nineteenth-century audiences), a look at Boieldieu's White Lady as a sublime depiction of literary music, and Donizetti's Favorite as colored with a special type of imagery, a laterna magica, in Liszt's hand. The beloved soprano Pauline Viardot-Garcia receives special attention in an essay devoted entirely to her, and Liszt proffers a critique of entr'acte music as a pointless tradition that dethrones music and insults the artist and composer by making music a "palate cleanser." This volume includes a detailed discussion about what it meant to be patronized by Liszt and how his support-financial, literary, and musical-helped shape many a music career. It also offers commentary on how gender in opera was sometimes obscured not only for dramatic interest but also as part of the process of outlining a nation's identity,as well as a thorough study of Liszt's concepts of Gestalt theory, the Archetype, and his musical Weltanschauung (his musical "world view"), all revealing his contribution to 19th-century music philosophy as it relates to opera. Finally, a historical review of entr'acte music is presented-how it began and how it developed-to clarify Liszt's stance against it, making this volume a necessary read for music historians, serious musicians, and music connoisseurs alike.

This book delves into the aural splendor of the Beatles' discography, breaking down each song and taking a close look at how the group's music sounds through headphones rather than external speakers. Mistakes, studio chatter, secret meanings and other audio esoterica are all identified and discussed. Thousands of books have been written about the Beatles' music, but this is the first to look at their discography through the prism of headphones, which yield a unique, artistic listening experience. The author argues that the Beatles should be heard through headphones to appreciate the real depth of their musical creativity and to fully understand the timeless songs that remain influential to this day.

An investigation of the considerable influence of Wagner's stay in Zurich from 1849 to 1858 -- a period often discounted by scholars -- on his career. When the people of Dresden rose up against their king in May 1849, Richard Wagner went from Royal Kapellmeister to republican revolutionary overnight. He gambled everything, but the rebellion failed, and he lost all. Now a wantedman in Germany, he fled to Zurich. Years later, he wrote that the city was "devoid of any public art form" and full of "simple people who knew nothing of my work as an artist." But he lied: Zurich boasted arguably the world's greatest concentration of radical intellectuals and a vibrant music scene. Wagner was accepted with open arms. This book investigates Wagner's affect on the musical life of the city and the city's impact on him. Mathilde Wesendonck emerges not as Wagner's passive muse but as a self-assured woman who exploited gender expectations to her own benefit. In 1858, Wagner had to flee Zurich after again gambling everything -- this time on Mathilde -- and again losing.But it was in Zurich that Wagner wrote his major theoretical works; composed Das Rheingold, Die Walkure, and parts of Siegfried and Tristan und Isolde; first planned Parsifal; held the first festival of his music; and conceived of a theater to stage his own works. If Wagner had been free in 1849 to choose a city in which to seek heightened intellectual stimulation among the like-minded and the similarly gifted, he could have come to nomore perfect place. Chris Walton teaches music history at the Musikhochschule Basel in Switzerland. He is the recipient of the 2010 Max Geilinger Prize honoring exemplary contributions to the literary and cultural relationship between Switzerland and the English-speaking world.

The Art of Tango offers a systematic exploration of the performance, arrangement and composition of the universally popular tango. The author discusses traditional practices, the De Caro school and the pioneering oeuvre of four celebrated innovators: Pugliese, Salgan, Piazzolla and Beytelmann. With an in-depth focus on both reception and practice, the volume and its companion website featuring supplementary audio-visual materials analyse, decode, compare and discuss literature, scores and recordings to provide a deeper understanding of tango's artistic concepts, characteristics and techniques. River Plate tango is explored through the lens of artistic research, combining the study of oral traditions and written sources. In addition to a detailed examination of the various approaches to tango by the musicians featured in this book, three compositions by the author embodying creative applications of the research findings are discussed. The volume offers numerous tools for developing skills in practice, inspiring new musical output and the continuation of research endeavours in the field. Illustrating the many possibilities of this musical language that has captivated musicians and audiences worldwide, this book is a valuable resource for everyone with an interest in tango, whether they be composers, performers, arrangers, teachers, music lovers or scholars in the field of popular music studies.

Clarinetist Kenny Davern ranked among the best jazz musicians for over 50 years. The unique and instantly recognizable sound of his clarinet, coupled with a wide ranging intellect and quick sense of humor drew praise and applause and endeared him to his fans and friends. The Life and Music of Kenny Davern tells the story of this fascinating musician who had a vision of how he wanted his music to sound and who persisted in the face of adversity until he achieved that vision. Edward N. Meyer conducted interviews with friends, family, colleagues, and critics of Kenny Davern, as well as the man himself, to gain a comprehensive and personal narrative of the artist's life. Beginning with the tragic events that shaped his early life, Meyer traces Davern's growth from a young boy raised in an atmosphere of conflict into an acclaimed, self-assured musician and a warm and loving husband and father. Meyer describes the state of the jazz music business in the last half of the 20th century and fully establishes Davern's status within that scene. Meyer also explores a side of Davern that the public never saw: Davern's hunger for reading made him a knowledgeable and well-respected person with experts outside the world of jazz. With more than 30 photos, a comprehensive discography, bibliography, and index, this volume will fascinate jazz students, fans, and scholars.

This is the first scholarly work to document the musical life of Joseph Holbrooke, one of Britain's most prolific and controversial composers during the first half of the twentieth century. Holbrooke was outspoken on many issues, including the maligned fortunes of British composers, which he believed were brought about by apathy and indifference on the part of critics and the public. Despite doubts in various quarters over Holbrooke's ability to forge a unique compositional idiom, many of his works were performed to critical acclaim in Britain, Europe, and the United States. Today, Holbrooke's music is increasingly enjoyed and recorded. Joseph Holbrooke: Composer, Critic, and Musical Patriot opens with a biographical overview of Holbrooke that concentrates on his relationship with Granville Bantock and Wales and the role that Lord Howard de Walden played in Holbrooke's work and development. Contributors offer studies of a selection of repertory by Holbrooke, including his chamber music, the operas Pierrot and Pierrette and The Enchanted Garden, and his tone poem "The Raven." The final chapter describes Holbrooke's patriotism by examining his book Contemporary British Composers, which was published in 1925. Included is an appendix that provides the first comprehensive and corrected list of Holbrooke's compositions. This book will interest not only musicologists, musicians and listeners interested in the repertory of the British classical music tradition but also scholars and general readers interested in the ways Celticism, poetic inspiration, and nationalist ideology were expressed in the work of classical composers in the early twentieth century.

In Please Please Tell Me Now, bestselling rock biographer Stephen Davis tells the story of Duran Duran, the quintessential band of the 1980s. Their pretty boy looks made them the stars of fledgling MTV, but it was their brilliant musicianship that led to a string of number one hits. By the end of the decade, they had sold 60 million albums; today, they've sold over 100 million albums-and counting. Davis traces their roots to the austere 1970s British malaise that spawned both the Sex Pistols and Duran Duran-two seemingly opposite music extremes. Handsome, British, and young, it was Duran Duran that headlined Live Aid, not Bob Dylan or Led Zeppelin. The band moved in the most glamorous circles: Nick Rhodes became close with Andy Warhol, Simon LeBon with Princess Diana, and John Taylor dated quintessential British bad girl Amanda De Cadanet. With timeless hits like "Hungry Like the Wolf," "Girls on Film," "Rio," "Save a Prayer," and the bestselling James Bond theme in the series' history, "A View to Kill," Duran Duran has cemented its legacy in the pop pantheon-and with a new album and a worldwide tour on the way, they show no signs of slowing down anytime soon. Featuring exclusive interviews with the band and never-before-published photos from personal archives, Please Please Tell Me Now offers a definitive account of one of the last untold sagas in rock and roll history-a treat for diehard fans, new admirers, and music lovers of any age.

Beyonce is not simply a pop sensation. She is a cultural phenomenon empowering the oppressed and dispossessed, challenging white privilege and misogyny and exploding gender politics. But who is Beyonce Knowles-Carter? And how did a small girl from Houston become the strong confident woman whose albums sell in their millions and whose songs have become anthems against racial and sexual discrimination and oppression? This biography sets out to reveal exactly that.

His name was Prince, and he was funky. He was also inspiring, infuriating, visionary and otherworldly. Channelling contradictions in search of his own unique truth, he eventually changed his name to an unpronounceable glyph that merged the male and female symbols in an outward expression of his inner dualities. Gifted with the ability to play almost every instrument on his records, and shifting between musical styles as much as he switched-up his looks, he refused to acknowledge boundaries. Instead, he brought opposing forces together in a life-long quest to reconcile a dirty mind with a love for God. In doing so, the mini Minneapolis genius became a world-conquering icon whose towering legacy continues to shape pop culture.

Vladimir de Pachmann was perhaps history's most notorious pianist. Widely regarded as the greatest player of Chopin's works, Pachmann embedded comedic elements-be it fiddling with his piano bench or flirting with the audience-within his classic piano recitals to alleviate his own anxiety over performing. But this wunderkind, whose admirers included Franz Liszt and music critic James Gibbons Huneker (who cheekily nicknamed Pachmann the "Chopinzee"), would by the turn of the century find his antics on the concert stage scorned by critics and out of fashion with listeners, burying his pianistic legacy. In Chopin's Prophet: The Life of Pianist Vladimir de Pachmann, the first biography ever of this remarkable figure, Edward Blickstein and Gregor Benko explore the private and public lives of this master pianist, surveying his achievements within the context of contemporary critical opinion and preserving his legacy as one of the last great Romantic pianists of his time. Chopin's Prophet paints a colorful portrait of classical piano performance and celebrity at the turn of the 20th century while also documenting Pachmann's attraction to men, which ultimately ended his marriage but was overlooked by his audiences. As the authors illustrate, Pachmann lived in a radically different world of music making, one in which eccentric personality and behavior fit into a much more flexible, and sometimes mysterious, musical community, one where standards were set not by certified experts with degrees but by the musicians themselves. Detailing the evolution of concert piano playing style from the era of Chopin until World War I, Chopin's Prophet tells the fantastic and true story of an artist of and after his time.

Though The Velvet Underground were critically and commercially unsuccessful in their time, in ensuing decades they have become a constant touchstone in art rock, punk, post-punk, indie, avant pop and alternative rock. In the 1970s and 80s Lou Reed, John Cale and Nico produced a number of works that traveled a path between art and pop. In 1993 the original band members of Reed, Cale, Morrison and Tucker briefly reunited for live appearances, and afterwards Reed, Cale and briefly Tucker, continued to produce music that travelled the idiosyncratic path begun in New York in the mid-1960s. The influence of the band and band members, mediated and promoted through famous fans such as David Bowie and Brian Eno, seems only to have expanded since the late 1960s. In 1996 the Velvet Underground were in inducted into the Rock and Roll Hall of Fame, demonstrating how far the band had traveled in 30 years from an avant-garde cult to the mainstream recognition of their key contributions to popular music. In these collected essays, Pattie and Albiez present the first academic book-length collection on The Velvet Underground. The book covers a range of topics including the band's relationship to US literature, to youth and cultural movements of the 1960s and beyond and to European culture - and examines these contexts from the 1960s through to the present day.

This revised, enhanced edition of the life and works of composer and Admiral Jean Cras traces, through new research, the remarkable career of this celebrated composer, decorated war hero, scientist and inventor. As Henri Duparc's only protege, his "spiritual son" enjoyed the same level of esteem during the 1920s as his friends Ravel and Roussel. This edition sustains the renaissance of Jean Cras and includes a new chapter devoted to the composer's early songs, to be released concurrently. " Le Canadien Paul-Andre Bempechat, est parfaitement francophone mais c'est en anglais qu'il redige cette somme dediee a Jean Cras ... Tout y est, ... sa carriere marine, ... l'inventeur brilliant, l'esthete petri d'humanisme, le musicien dans son oeuvre. ... Le portrait est vivant, Jean Cras se tient devant vous et tous les secrets de son art subtil sont demontres. " - Diapason "There is no doubt that, in subsequent studies of Jean Cras's life and works, this book will be the first source to which the researcher turns. Bempechat's deft and skilful blending of a beautifully written and engaging biography with lucid and erudite musical analysis, interspersed with tales of military history and scientific discovery, has resulted in a book that is absolutely engaging on its own, as it tells the life story of a most extraordinary man." - Nineteenth-Century Music Review

- Applies cutting-edge musical-linguistic approach to the music of early modern England - Uses analysis of emphasis to produce new insights into composers' liturgical music, showing how their settings create different interpretations of the religious text - Relevant to musicology, music theory, and religious history

From Prince's superstardom to studio seclusion, this second book in the Prince Studio Sessions series chronicles the tumultuous years immediately following the Purple Rain era. Duane Tudahl takes us back into the world of Prince's musical masterpieces and personal battles, weaving together the voices of those who knew Prince best during this period. As Prince's relationship with his band, the Revolution, and his fiancee, Susan Melvoin, crumbled, he threw himself into creative catharsis, recording and releasing multiples studio albums and side projects. Prince and the Parade and Sign "O" the Times Era Studio Sessions provides a definitive chronicle of more than 260 recording sessions and two tours during 1985 and 1986. These years were full of struggle, but as millions of fans know, Prince would emerge from this darkness to show that the fire of true genius cannot be extinguished.

Reveals the great twentieth-century Italian composer's innovative handling of harmony, form, and text setting. Luigi Dallapiccola was one of twentieth century's most accomplished and admired composers. His music incorporated many of the twelve-tone techniques developed by Arnold Schoenberg, Alban Berg, and Anton von Webern, but blended their expressionistic impulses with an Italianate sense of lyricism. Brian Alegant's The Twelve-Tone Music of Luigi Dallapiccola traces the evolution of Dallapiccola's compositional technique over a thirty-year period (1942-74). Using both historical and music-analytical lenses, this book documents the influences of Webern and Schoenberg, highlights Dallapiccola's innovative handling of harmony, form, and text setting, and sheds light on several worksthat have been virtually ignored. Alegant's book will be a crucial source of insights for scholars and other readers interested in twentieth-century music. Brian Alegant is Professor of Music Theory at the Oberlin College Conservatory.

Nicknamed the "Godmother of Punk," Patti Smith rose to fame during the 1970s New York counterculture movement where she welcomed a new breed of rock and roll. Smith sanctioned the presence of a strong-willed woman in the mainstream rock community by breaking not only the fragile glass ceiling, but also the "rules" about women on the rock stage. Smith pushed right up to the front of the punk scene, stripping down sexual, religious, and emotional barriers to create a raw, viscerally personal message. In Patti Smith: America's Punk Rock Rhapsodist, musician and historian Eric Wendell delves into the volatile mix of religious upbringing and musical and literary influences that gave shape to Smith's lyrics, music, and artistic output. Wendell explores how Smith's androgynous stage presence pulled the various societal triggers, adding a new layer of meaning to popular music performance. Songwriter and singer, performance artist and poet, Smith created work that drew together biography, history, and music into a powerful collage of an artist who shaped a generation of musicians. For poets and performers, as well as fans of Patti Smith and punk rock history, Patti Smith: America's Punk Rock Rhapsodist is the perfect introduction to Smith's achievements and the politics and art of a generation that is still felt.

An American drummer, a bass player from Newcastle and a guitarist a decade older than the other two, with little in common other than their musical brilliance and towering ambition, formed one of the most successful bands in history. Covering the years 1977-1986 and the brief reincarnation in 2007-2008, acclaimed biographers Caroline and David Stafford chronicle the rise and fall of the Police. Much like Reservoir Dogs but without the light relief, it's a tale of jealousy, anger and attrition both on the road and in the studio. And yet, despite - or perhaps because of - the battles, these three musicians, Sting, Andy and Stewart, each supremely talented in his own right, together achieved a symbiosis that produced music of soaring magnificence.

Experiencing Alice Cooper: A Listener's Companion takes a long overdue look at the music and stage act of rock music's self-styled arch-villain. A provocateur from the very start of his career in the mid-1960s, Alice Cooper, aka Vince Furnier, son of a lay preacher in the Church of Jesus Christ, carved a unique path through five decades of rock'n'roll. Despite a longevity that only a handful of other artists and acts can match, Alice Cooper remains a difficult act and artist to pin down and categorize. During the last years of the 1960s and the heydays of commercial success in the 1970s, Cooper's groundbreaking theatricality, calculated offensiveness, and evident disregard for the conventions of rock protocols sowed confusion among his critics and evoked outrage from the public. Society's watchdogs demanded his head, and Cooper willingly obliged at the end of each performance with his on-stage self-guillotining. But as youth anthem after youth anthem - "I'm Eighteen," "School's Out," "Elected," "Department of Youth"-rang out in his arena concerts the world over and across airwaves, fans flocked to experience Cooper's unique brand of rock. Critics searched for proper descriptions: "pantomime," "vaudeville," "retch-rock," "Grand Guignol." In 1973 Cooper headlined in Time magazine as "Schlock Rock's Godzilla." In Experiencing Alice Cooper: A Listener's Companion, Ian Chapman surveys Cooper's career through his twenty-seven studio albums (1969-2017). While those who have written about Cooper have traditionally kept their focus on the stage spectacle, too little attention has been paid to Cooper's recordings. Throughout, Chapman argues that while Cooper may have been rock's most accomplished showman, he is first and foremost a musician, with his share of gold and platinum albums to vouch for his qualifications as a musical artist.

The Routledge Handbook to the Music of Alfred Schnittke is a comprehensive study of the work of one of the most important Russian composers of the late 20th century. Each piece is discussed in detail, with particular attention to the composer's groundbreaking polystylism, as well as his unique approach to musical symbolism and his deep engagement with Christian themes. This is the first publication to look at Schnittke's output in its entirety, and for most works it represents either the first ever published analysis or the first in a language other than Russian. The volume presents new research from the Ivashkin-Schnittke Archive at Goldsmiths, University of London and the collection of Schnittke's compositional sketches at the Julliard Library in New York. It also draws on the substantial research on Schnittke's music published in the Russian language. Including a work list and bibliography of primary and secondary sources, this is an essential reference for all those interested in Russian music, 20th-century music and performance studies.