Viennese composer Hugo Wolf produced one of the most important song collections of the nineteenth century when he set to music fifty-three poems by the great German poet Eduard Mörike. Susan Youens reappraises this singular collaboration, examining selected Mörike songs in detail to shed new light on the sophisticated interplay between poetry and music. Although Wolf is known as "the Poet's Composer," someone who revered poetry and served it faithfully in his music, Youens reveals how his Mörike songs were also influenced by his own life, psychology and experiences.

From the eighteenth century to our own, Mozart has remained one of the world's most inventive and popular composers. The essays in this collection examine Mozart and his art from psychological, historical, cultural, and aesthetic perspectives. They set Mozart, first, in the timeless ahistorical space reserved for individuals of spectacular creativity, then in his time, and finally in our own time. Most of the authors are not professional Mozart scholars or musicologists, but all are Mozart lovers. Each speaks of Mozart and his accomplishments from a particular position of expertise - as psychologist, historian, biographer, economist, musicologist, literary critic, film critic. These essays originated in a three-day symposium organized by the Woodrow Wilson Center in 1991 to observe the bicentennial of the composer's death. In nonspecialist language, they seek to draw out the human genius of Mozart from the divinely inspired Mozart of myth, who took his notes directly from God. They consider Mozart as prodigy, as working composer, as family member, as late-eighteenth-century man, and as an enduring cultural presence, whose significance has changed over the course of two centuries, but whose stature has only grown.

Just after recording with John Coltrane in 1963, baritone singer Johnny Hartman (1923-1983) told a family member that "something special" occurred in the studio that day. He was right - the album, containing definitive readings of "Lush Life" and "My One and Only Love," resides firmly in the realm of iconic; forever enveloping listeners in the sounds of romance. In The Last Balladeer, author Gregg Akkerman skillfully reveals not only the intimate details of that album but the life-long achievements and occasional missteps of Hartman as an African-American artist dedicated to his craft. This book carefully follows the journey of the Grammy-nominated vocalist from his big band origins with Earl Hines and Dizzy Gillespie to featured soloist in prestigious supper clubs throughout the world. Through exclusive interviews with Hartman's family and fellow musicians (including Tony Bennett, Billy Taylor, Kurt Elling, Jon Hendricks, and others), accounts from friends and associates, newly discovered recordings and studio outtakes, and in-depth research on his career and personal life, Akkerman expertly recollects the Hartman character as a gentleman, romantic, family man, and constant contributor to the jazz scene. From his international concerts in Japan, Australia, and England to his steady presence as an American nightclub singer that spanned five decades, Hartman personifies the "last balladeer" of his kind, singing with a sentiment that captured the attention of Clint Eastwood, who brought Hartman's songs to the masses in the film The Bridges of Madison County. In the first full-length biography and discography to chronicle the rhapsodic life and music of Johnny Hartman, the author completes a previously missing dimension of vocal-jazz history by documenting Hartman as the balladeer who crooned his way into so many hearts. Backed by impeccable research but conveyed in a conversational style, this book will interest not only musicians and scholars but any fan of the Great American Songbook and the singers who brought it to life.

An important new reference source for students of western musical culture, this volume directs the user to all pertinent, substantive, and accessible information concerning the life and works of Sir Michael Tippett, widely recognized as one of this century's most significant composers. The book is divided into four main sections: a biography, an annotated list of works and performances, a discography, and an extensive bibliography. Five appendices provide additional information for the researcher including a chronological list of compositions, a classified list of published compositions, honors and awards won by the composer, ballet and television productions, and resources available. The brief biography which begins the volume provides a convenient source for basic factual information about Tippett's life. The works and performances section presents in one alphabetical sequence all known musical works by Tippett, including early unpublished compositions. Each citation includes information about year of composition, duration, genre, instrumentation, additional statements of responsibility, commissions and dedications, location of existing manuscripts, published editions, and a selected list of performances. The discography contains all known commercial recordings of Tippett's music along with information about performers, date and place of recording, and a chronological listing of all issues of the performance. Divided into three sections, the bibliography covers writings by Tippett, books and articles about Tippett, and reviews of his works culled from the Times (London), the New York Times, and a variety of major and local newspapers around the world. Taken as a whole, this is amasterful contribution to the reference works available on the great composers of the twentieth century.

Compiled in cooperation with the Antonin Dvorak Society of Prague, Czechoslovakia, to commemorate the 150th anniversary of the composer's birth, this is the first book-length discography on Dvorak. It updates the discography appended to Jarmil Burghauser's Antonin Dvorak Thematic Catalogue (1960). Burghauser, President of the Dvorak Society, explains in a foreword to the present work that, due to the immense proliferation of Dvorak recordings, it was decided not to include a discography in the revised edition of the Thematic Catalogue. Organized similarly to the Catalogue by genres and works, Antonin Dvorak on Records may be used in conjunction with it and, further, will be valuable to musicians, students, collectors, and others primarily interested in the recordings. The discography selects from the many thousands of Dvorak recordings those of excellence and historic significance on LP and CD formats, representing the diversity of the oeuvre. The volume introduction surveys the recording history before the LP revolution. Indexes provide access to the recordings by works and by performers and performing groups.

This is the first book-length study of Shostakovich’s Twenty-Four Preludes and Fugues for piano, Opus 87. Mark Mazullo explains the cultural context in which Shostakovich composed, relates the cycle to piano works (by Bach, Hindemith, and others), and offers individual commentaries on each of the Preludes and Fugues.

While acknowledging that Pierre Boulez is not a philosopher, and that he is wary of the potential misuse of philosophy with regard to music, this study investigates a series of philosophically charged terms and concepts which he uses in discussion of his music. Campbell examines significant encounters which link Boulez to the work of a number of important philosophers and thinkers, including Adorno, Levi-Strauss, Eco and Deleuze. Relating Boulez's music and ideas to broader currents of thought, the book illuminates a number of affinities linking music and philosophy, and also literature and visual art. These connections facilitate enhanced understanding of post-war modernist music and Boulez's distinctive approach to composition. Drawing on a wide range of previously unpublished documentary sources and providing musical analysis of a number of key scores, the book traces the changing musical, philosophical and intellectual currents which inform Boulez's work."

Internationally recognized American composer Elliott Cook Carter, Jr. has composed over three dozen substantial pieces, ranging from stage and choral works to ballets, symphonies, and chamber music. Even at age 85, he continues to pioneer trails into new territory in modern American music. Carter has been the recipient of two Guggenheim Fellowships, two Pulitzer Prizes for Music, and numerous other awards and honors. This book contains a listing of all compositions by Carter with detailed information on premiere performances, a complete discography, and annotated citations of Carter's writings and writings about Carter and his music.

Mordechai Gebirtig was one of the most influential and popular writers of Yiddish songs and poems. Born in 1877, he became a prolific poet and song writer, using everything he saw, heard and knew about people. His legacy, therefore, is not only one of melodies and lyrics, but also a treatise on Jewish life in Poland under the benign neglect of the Austrians, the ever growing hostility of the Poles, and finally, the terror of the Germans, who destroyed the people, their culture, and, to a great measure, their memory. Schneider's book for the first time brings his work to an English-speaking audience, offering a collection of all of his major works, complete with the scores, transliterated Yiddish text, and English translation. Her book offers a rare insight into the world of Eastern European Jews, their culture, and their music.

Gebirtig's most famous song Es Brent--It's Burning--was written in response to a 1936 pogrom. It became a stirring hymn for the survivors of the Holocaust, who felt that the words suited their own situation very well. Gebirtig himself was shot in the Cracow Ghetto in June 1942. Neither he nor any of his close family survived the war. However, as this volume shows, his songs and poems remain an enduring voice for a Jewish community nearly lost to the Nazis. They constitute a precious legacy for anyone interested in the world of Eastern Europe Jews, their culture, and their music.

William Howard Schuman, a celebrated figure in 20th-century music, was a composer and a copious writer on music and music education. Early on, as a composer, he received the attention of several musicians and writers such as Nathan Broder, Elliott Carter, and Leonard Bernstein. He was the recipient of numerous prestigious awards, including the Pulitzer Prize, a Guggenheim Fellowship, and the New York Music Critics Circle Award. After teaching at Sarah Lawrence College from 1935 to 1945 and serving as president of the Juilliard School from 1945 to 1962, Schuman assumed the presidency of Lincoln Center, where he successfully implemented that institution's artistic programs. Schuman, who composed in several genres, is perhaps best known for his orchestral compositions and choral music. This reference work provides a biography and a thorough catalog and guide to Schuman's writings and compositions and to the current research available on this gifted and multi-talented musician. An invaluable resource to music scholars interested in William Schuman's career, five sections provide accessible detailed information: a biography, works and performances, discography, bibliography, and bibliography of writings by Schuman. The biography traces Schuman's life and career with an emphasis on illustrating his compositional activity. The bibliography includes books, dissertations, articles, and reviews that chronicle Schuman's activities from his days as a young composer to his death in 1992. An author index, index of compositions, and general index complete this in-depth reference on William Schuman.

Worldwide in scope and covering the second half of the 20th century, this work provides biographies and discographies of some 500 conductors and composers in many aspects of light and popular orchestral music, including film, show, theatre, and mood music. This is the first time the lives and recordings of such artists as Kostelanetz, Faith, Gould, as well as the orchestral recordings of such great popular composers as Gershwin, Kern, Porter, Rodgers, Berlin, and Coward, have been adequately documented and consolidated in an encyclopedic fashion. Almost 5,000 records and CDs are listed. Of interest to scholars, students, disc jockeys, record and CD collectors, film music buffs, and mood and production music enthusiasts. Popular orchestral music has been a neglected and often erroneously perceived and misunderstood genre in the 20th century. It has certainly not received the attention that it deserves and seems to be viewed as a "Cinderella" in relation to classical music and jazz. The genre, especially in the last 50 years, has been graced by exceptionally fine and highly esteemed conductors and arrangers, and also by a large number of highly regarded composers.

From the chaotic world of music journalism comes this collection of unabridged, unexpurgated interviews with four of the brightest, most influential and complex pop and rock musicians alive: Gene Simmons of Kiss, Peter Hook of New Order, Jerry Casale of Devo, and Scott Thunes of Frank Zappa fame. They are all bass players and they are all plainspoken, profane, stressed out, caustic, antagonistic and on occasion so belligerent they are prepared to engage in psychological warfare with their interviewer. Each interview is illustrated with striking, often candid photographs, and includes an introduction and a postscript. ..".the ultimate reason I liked this book was because of the very interesting circumstances of the interviews themselves. These people are almost impossible to get a hold of, let alone interview." - YourFlesh

Disney's animated trailblazing, Dostoyevsky's philosophical neuroses, Hendrix's electric haze, Hitchcock's masterful manipulation, Frida Kahlo's scarifying portraits, Van Gogh's vigorous color, and Virginia Woolf's modern feminism: this multicultural reference tool examines 200 artists, writers, and musicians from around the world. Detailed biographical essays place them in a broad historical context, showing how their luminous achievements influenced and guided contemporary and future generations, shaped the internal and external perceptions of their craft, and met the sensibilities of their audience.

In recent years, considerable scholarly attention has been paid to women in music, and information on the music of a handful of black women composers, such as Florence Price and Mary Lou Williams, has been published. Determined search, however, is needed to locate what little data is available on most such composers. Proceeding from a desire to use music of black women composers in her piano performance and teaching, Helen Walker-Hill has dedicated herself to uncovering this material, utilizing secondary sources and numerous archives, conducting interviews with composers, and engaging in voluminous correspondence with individuals and institutions. The result is the most comprehensive catalog of music composed by African American women to date. The depth of detail required limiting the scope to solo and ensemble piano music. However, an introductory overview on the contributions of black women in music and biographical sketches on the fifty-four composers profiled in the catalog contain broader information. Over 300 piano works are listed, with detailed descriptive information on close to 200 works the author was able to obtain and study, including sources and levels of difficulty. Appendixes list available published music, ensemble instrumentation, music for teaching, and music published before 1920. A selected bibliography and a selected discography are also provided. This biographical dictionary and descriptive catalog will be most directly useful to performers and teachers, but the breadth of information makes it valuable for research in music history, African American studies, and women's studies.

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.

Esther Williamson Ballou was greatly admired by all who encountered her remarkable versatility as a musician and teacher. Although her music has continued to be performed over the years since her death in 1973, this volume is the first book-length study of her life and contributions to the musical world. The result of an extensive bibliographical search, and repeated contact with Esther's husband, Harold, and her friends and colleagues, James R. Heintze's bio-bibliography will provide the researcher with information about what materials exist and where they are located, that until now was not available.

Focusing on Sinatra's presence in the recording studio, this discography catalogues Frank Sinatra's commercial records, V-Discs, and soundtrack film recordings. The first chapter covers Sinatra's early years as a vocalist with the big bands of Harry James and Tommy Dorsey. Entries then proceed chronologically with separate chapters for each decade. Data was collected from session reports in the files of record companies and from some union contracts. Commercial record and film soundtrack entries include band personnel and composer credits.

Frank Sinatra fans, music historians, and discographers will appreciate this comprehensive catalogue of session recordings in which Sinatra either sang or conducted. The sessions span Sinatra's entire career, from his early days through the nineties. Two indexes, of song titles and of artists, complete the book.

Few bands in the past three decades have proven as affecting or exciting as the Misfits, the ferocious horror punk outfit that lurked in the shadows of suburban New Jersey and released a handful of pivotal underground recordings during their brief, tumultuous time together. Led by Glenn Danzig, a singer possessed of vision and blessed with an incredible baritone, the Misfits pioneered a death rock sound that would reverberate through the various musical subgenres that sprung up in their wake. This Music Leaves Stains now presents the full story behind the Misfits and their ubiquitous, haunting skull logo, a story of unique talent, strange timing, clashing personalities, and incredible music that helped shape rock as we know it today. James Greene, Jr., maps this narrative from the band's birth at the tail end of the original punk movement through their messy dissolve at the dawn of the 1980s right on through the legal warring and inexplicable reunions that helped carry the band into the 21st century. Music junkies of any stripe will surely find themselves engrossed in this saga that finally pieces together the full story of the greatest horror punk band that ever existed, though Misfits fans will truly marvel at the thorough and detailed approach James Greene, Jr. has taken in outlining the rise, fall, resurrection, and influence of New Jersey's most frightening musical assembly.

Mozart wrote some of the greatest serenades for wind ensemble. He was not alone in writing works for wind sextet, octet, or larger ensembles-Over 12,000 works for wind harmony by over 2,200 composers are extant. Describing this new genre, Wind Harmony, which is far larger and more influential than ever recognized, this sourcebook includes biographical details, discusses many of the works, and presents country surveys. There is also a survey of the way wind instruments developed at the critical time, and of performance practices. Companion volumes, the ^IWind Ensemble Catalog^R and the ^IWind Ensemble Thematic Catalog 1700-1900^R, are cross-referenced. Mozart wrote some of the greatest serenades for wind ensemble. He was not alone in writing works for wind sextet, octet, or larger ensembles-over 12,000 works for wind harmony by over 2,200 composers are extant. Describing this new genre, Wind Harmony, which is far larger and more influential than ever recognized, this sourcebook includes biographical details, discusses many of the works, and presents country surveys. There is also a survey of the way wind instruments developed at the critical time, and of performance practices. Companion volumes, the ^IWind Ensemble Catalog^R and the ^IWind Ensemble Thematic Catalog 1700-1900^R, are cross-referenced. The authors identify what must be the major part of surviving wind harmony music. There is far more material than previously recognized, and its character is far more varied than is usually thought. In this work, the music is placed in context: why it was written, where it was played, and how it influenced other genres. The authors have collected new material, corrected previous mistakes, and filled in missing material. Public and private libraries have been scoured and monasteries searched throughout greater Europe. The sourcebook will be helpful for scholars and students, librarians, players, and music sellers.