Fanny Mendelssohn-Bartholdy (1805-1847), like her younger brother Felix, demonstrated prodigious musical talent as a child. In their youth, Fanny and Felix were inseparable friends; they encouraged each other, collaborated in musical endeavors, and received the same education and training from distinguished tutors. But as an adolescent, Fanny was told by her father that her role as a woman was to concern herself with her home and that music could be only secondary, even though she had become a remarkable pianist and composer. She married Wilhelm Hensel, a respected portrait painter who encouraged her musical talents. Fulfilling her domestic role as wife and as mother of their son, Sebastian, she continued to compose - principally lieder - and to organize concerts in her home that became an integral part of the Berlin musical scene. Her talents were warmly received during a journey to Italy, particularly by Gounod, who heard her play from memory the music of Bach, Beethoven, and Mendelssohn. At forty years of age Fanny finally went against the orders of her father and of Felix and published her compositions. She had just begun to receive critical praise when she died suddenly at the age of forty-two. Her death was a devastating blow to Felix, who survived her by barely six months. This book, originally published in French in 1992, is the first and only authoritative biography of Fanny Mendelssohn and contains a complete list of her published compositions. Set against the backdrop of a privileged life in Berlin in the early nineteenth century, Francoise Tillard's vivid portrait describes an exceptional artist - she left behind four hundred works - who could have held her own among thegreatest if she had not been prohibited from venturing into the professional world.

The Golden Age of popular music began prior to World War I with composers and lyricists writing hit songs for Tin Pan Alley, for musical plays, for Vaudeville, and for radio. It blossomed from the 1920s through the early 1950s, defined by a mood and style filled with rhythm and romance and with memorable, melodic, literate music. Although this book focuses on hit songs by major song writers such as Berlin and Gershwin, Kern and Hammerstein, Rodgers and Porter, major collaborators are included as well. Contemporary songwriters, continuing with the style of the Golden Age include Marvin Hamlisch, Andrew Lloyd Webber, Burt Bacharach, and Stevie Wonder. A separate chapter concentrates on celebrities and women of song.

A preface outlining a brief history of American song provides an historical perspective in which to examine the Golden Age of music. Organized alphabetically within chronological periods, this guide to popular music will appeal to scholars and general enthusiasts alike. More than eleven hundred composers and lyricists are included along with the thousands of musical hits they have written spanning from Tin Pan Alley, Broadway and Hollywood musicals, and through the Big Band era.

Pierre Monteux became famous at the age of 38 for conducting the riotous world premiere of Igor Stravinsky's Rite of Spring in Paris on May 29, 1913. The composer, fearing bodily harm, escaped through a backstage window, while the imperturbable conductor persisted, forever to be identified with the event. He would also conduct the first concert performance and one of the first two recordings of Stravinsky's masterpiece, the other one conducted by Stravinsky himself. Though French by birth, the distinctively portly man with the walrus mustache resisted being typecast as a French conductor. He could have been a European maestro: he played for Brahms, worked with Grieg, presided over the world premieres of major works by Ravel, Stravinsky and many others, was Diaghilev's conductor of choice. But it was Monteux's American audiences, especially in San Francisco and Boston, who would love him the most over the course of a long career. He conducted many American premieres, works of Debussy, Falla, Ravel, and among the more than a dozen Boston premieres, those of The Rite of Spring and of Mahler's First Symphony. Canarina, a conductor and teacher of conducting himself, studied with Monteux for seven summers and brings great personal warmth and understanding to this wise, admiring and honest book, the first full-length biography of the man whom so many knew and loved as "Maitre."

The Polish composer Henryk Górecki (born 1933) achieved world-wide renown in 1992 when his Third Symphony, written in 1976, was recorded on CD and became an international bestseller. It is now one of the best known musical compositions of recent years, yet Górecki's other music is still relatively little known. This study, the first detailed account of his works in any language, provides biographical information as background to the music, and is by a leading enthusiast for Górecki's music.

This engaging book discusses the colorful personalities Land beloved music of the French romantic organist-composers. Michael Murray draws vivid portraits of Aristide Cavaille-Coll (1811-1899), the greatest and most influential organ builder of his time, and of seven oilier musicians with connections to Cavaille-Coll and to onc another: Camille Saint-Saens (1835-1921), Cesar Franck (1822-1890), Charles-Marie Widor (1844-1937), Louis Vicine (1870-1937), Marcel Dupre' (1886-1971), Jean Langlais (1907-1991), and Olivier Messiaen (1908-1992).

The book offers to lovers of French music and culture -- and especially to student organists -- details of these composers' lives and times and of their styles and techniques. Drawing on his personal acquaintance with Messiaen, Langlais, Dupre', and other famous contemporaries, and on period documents, original accounts, early recordings, and other primary sources, Murray examines the relationship between organ building and musical composition, the nature of romanticism and classicism, and the ever-perplexing question of composer versus interpreter.

This study, the first of its kind on a work of Vaughan Williams, traces the genesis of the composer's enigmatic final symphony as documented in the surviving manuscripts. The latter reveal an underlying programme based on Hardy's Tess of the D'Urbervilles, and chart the composer's struggle to find the technical means by which to realize his most complex spiritual vision.

Domenico Dragonetti (1763-1846) was the most famous double-bass player in history. He dominated the English musical world for just over half a century. This critical biography explores his extraordinary career as musician, composer, entrepreneur, and pedagogue.

"Charles Wuorinen: A Bio-Bibliography" is a chronicle, a lexicon, a manual, a narrative, and a testament to the life and work of an American musical genius. The work contains a biography, discography, interview, comprehensive listing of works and detailed roster of performances, and almost 1,200 annotated citations of writings about the music of this important composer. The oral history component--the interview--is the foundation of the book in that it expresses the composer's philosophy of music and of life and serves as a contrast to the many annotations featuring critical commentary on his music. No one even remotely connected with contemporary music and the arguments and discussions thereof should be without this book.

The Oxford History of English Music, Volume 2 takes the story of English Music from c.1715 to the present day, following on from Volume 1, published in 1991. It discusses not only the music of major composers but that of many lesser figures, together with folk music, light and popular music, and the social and historical background.

Paul McCartney and John Lennon described him as the Beatles' "favorite group," and yet no figure in popular music is as much of a paradox as Harry Nilsson. A major celebrity at a time when stadium rock was in its infancy and huge concerts and festivals were becoming the norm, Nilsson's instrument was the studio, his stage the dubbing booth, his greatest technical triumphs were masterful examples of studio craft, and he studiously avoided live performance. He was a gifted composer of songs for a wide variety of performers, having created vivid flights of imagination for the Ronettes, the Yardbirds and the Monkees, yet Nilsson's own biggest hits were almost all written, ironically, by other composers and lyricists. He won two Grammies, had two top ten singles, and numerous album successes. Once described by his producer Richard Perry as "the finest white male singer on the planet," near the end of his life, his career was marked by voice-damaging substance abuse and the infamous deaths of both Keith Moon and Mama Cass in his London flat. His music remains prevalent today, through the 1995 tribute album For the Love of Harry: Everybody Sings Nilsson (featuring performances of Nilsson's hits by Ringo Starr, Stevie Nicks, Fred Schneider and others) and recent covers, such as Aimee Mann's recording of "One" (popularized as the main track on the Magnolia soundtrack) and Neko Case's arrangement of "Don't Forget Me" on her album, Middle Cyclone. In this first ever full-length biography of Nilsson, author Alyn Shipton traces Nilsson's life from his Brooklyn childhood to his Los Angeles adolescence, and charts his gradual move into the spotlight as a talented songwriter. With interviews from Nilsson's friends, family and associates, and material drawn from an unfinished draft autobiography Nilsson was writing prior to his death, Shipton probes beneath the enigma and the paradox to discover the real Harry Nilsson, and thereby reveals one of the most creative talents in 20th century popular music.

Presenting detailed information about 14 standard anthologies, this useful music reference tool lists all excerpts and complete compositions, provides information concerning the type of score presented, and includes an index of composers and sources as well as an index of complete compositions and movements. The book is designed primarily for researchers and teachers of music theory to make the search for analytical source material easier and faster than previously possible. The anthologies cited are all currently in print or are generally available in music libraries. The book lists all excerpts, complete compositions, and movements contained in the anthologies, providing information concerning the type of score (full, piano reduction, etc.) employed, source of the excerpt, and specific theoretical topics. This is the only book that details anthologies in a manner that makes a search quick and easy.

Darkthrone's A Blaze in the Northern Sky (1992) is a foundational keystone of the musical and aesthetic vision of the notorious Norwegian black metal scene and one of the most beloved albums of the genre. Its mysterious artwork and raw sound continue to captivate and inspire black metal fans and musicians worldwide. This book explores the album in the context of exoticism and musical geography, examining how black metal music has come to conjure images of untamed Nordic wildernesses for fans worldwide. In doing so, it analyzes aspects of musical style and production that created the distinctly "grim" sound of Darkthrone and Norwegian black metal.

Gerald Finzi (1901-1956) was a British composer, editor, author, and outdoorsman/agrarian. Many of his works (a body of fewer than 50) are choral or solo vocal in nature. At the heart of his musical contributions is a unique blend of the metaphysical and mystical with a true love for everything English. Typical of many of the volumes in the Greenwood Press series, this work serves as an awareness tool, introducing an important 20th-century composer labeled variously as a miniaturist, a pastoral composer, and a minor Edwardian musician--but with a singular style that differed from his contemporaries' yet reflected in part the English tradition of Elgar, Parry, and Vaughan Williams in particular. Growing up with the music of these composers as models, Finzi quickly succeeded in the art of writing songs. His work is just now beginning to receive wider publicity through recordings and public performance. A set of 15 anecdotes contributed by major artists is assembled in this work, containing the artists' reactions to Finzi and his compositions.

The Sibelius Companion represents in its collected chapters the most advanced research in the field of Sibelius studies today. Since mid-century, so much new information has come to light that our understanding of both the man and his music has changed profoundly. These changes are fully represented in the present volume. Some of the topics examined, particularly the vocal music, including Luonnotar^, which is here given a brilliant and provocative analysis, have previously been neglected. Other chapters deal with more familiar works, such as the Second and the Seventh Symphonies, which are approached in the light of recent scholarship and fresh perspective. Readers will find new light on Sibelius's biography, the first English-language investigation ever done of Sibelius and Karelianism, pioneering sketch studies, new analytical methods for understanding the music, studies in reception history, an assessment of the state of Sibelious research with a rich bibliography, the most complete chronological catalogue of works available, and a full Register of Names that identifies in considerable detail over 100 individuals and organizations important in Sibelius's creative life. Written in an accessible style, newly researched and fully documented, ^IThe Sibelius Companion^R will interest scholars, students, and music enthusiasts alike.

A true icon of American popular culture, songwriter and entertainer Bob Dylan was a catalyst for changing social currents in the 1960s. His songs of the 60s, such as "Blowin' in the Wind," immediately conjure up an era even for those too young to have witnessed it. Although he often shuns the public eye and has dropped out of sight for long periods in his career, Dylan continues to write and perform and remains influential on the popular music scene. Unswerving in his antiwar stance, he shocked audiences of the February 1991 Grammy Awards ceremony, at which he was honored with a lifetime achievement award, by singing his "Masters of War" during Operation Desert Storm.

Elusive to biographers, Dylan has inspired relatively few substantive accounts, although much has been written about his music. The present study presents an accurate summary of his life and an analysis of his pivotal role in popular music. His more than 400 songs and other writings, recordings, concert tours, and film and television appearances are all fully documented, as are bootleg recordings and recordings of his music by other singers. Presented in a lively manner with much anecdotal material, the facts and the myths about Dylan and the strengths and weaknesses of writings about him are carefully assessed in this one-volume source on the man and his work.

This book examines formal organization in Haydn's symphonies. The structure of individual movements as well as the relationships between them are analysed in detail. All common instrumental forms of the Classical era (sonata, rondo, variations, and so forth) are discussed. The author reconstructs Haydn's principles of formal thought and explains how these principles governed his compositional choices.

This book is about how music "in a key" is composed. Further, it is about how such music was composed when it was no longer compulsory to do so, starting a few years before the First World War. In an eclectic journey through the history of compositional technique, Daniel Harrison contends that the tonal system did not simply die out with the dawn of twentieth century, but continued to supplement newer techniques as a compelling means of musical organization, even into current times. Well-known art music composers such as Bartok, Hindemith, Prokofiev, and Messiaen are represented alongside composers whose work moves outside the standard boundaries of art music: Leonard Bernstein, Murice Durufle, Frank Martin, Xiaoyong Chen. Along the way, the book attends to military bugle calls, a trailer before a movie feature, a recomposition of a famous piece by Arnold Schoenberg, and the music of Neil Diamond, David Shire, and Brian Wilson. A celebration of the awesome variety of musical expressions encompassed in what is called tonal music, Pieces of Tradition is a book for composers seeking ideas and effects, music theorists interested in its innovations, and all those who practice the analysis of composition in all its modern and traditional variations.

A favorite country music artist, Eddy Arnold has been recording since 1944. This work details each recording session, as well as the records on which each song appeared, and includes 104 songs that were never released. An appendix lists basic biographical information. Of interest to music historians, discographers, and fans, this is the most comprehensive discography available on Eddy Arnold, whose career spans six decades.