Based on the latest research, including Mozart family correspondence recently released, this fully illustrated and definitive portrait of one of the most revered yet enigmatic figures of all time reveals heretofore unknown facets of Mozart's complicated family background and explodes the myth of this musical genius as the "eternal child". Photos & musical pieces.

Louis Armstrong performed under the pseudonym Ted Shawne while Fats Waller took the name Flip Wallace. Recordings by Duke Ellington and his Cotton Club orchestra are to be found under 22 different pseudonyms. These are among the more than 3,000 pseudonyms unearthed by Allan Sutton in his pioneering guide to pseudonyms used on American recordings between 1892 and 1942. Organized into sections dealing with vocal artists and instrumental groups, the volume has indexes for legal names, label groups, and vocal and instrumental names. Encompassing all musical styles, from opera to pop vocals, from jazz and blues to country music, and covering both vocal and instrumental performers, this is an invaluable research tool for discographers and music and theatre historians alike.

"Francis Poulenc: A Bio-Bibliography" is a thorough presentation of the works of this often performed and critically appreciated 20th-century composer. George R. Keck traces events in Poulenc's life and offers a list of works and performances with the primary focus on those facts and influences which contributed to the development of the composer's distinctive musical style. Included in the text is a substantial discography as well as annotated entries by and about the composer which cover every phase of his career and affirm Poulenc's place in 20th-century music.

The highly selective annotated bibliography comprises the major portion of the text. Since Keck's documentation of the development of Poulenc's style covers only representative works, he includes a list of all of Poulenc's compositions, arranged both alphabetically and chronologically, in the two appendixes. A complete index of names, places, and titles concludes the book.

This generously illustrated selection of fifty reviews and essays, written between 1914 and 1962 by thirty American critics, draws together some of the best, most influential, and most interesting writing on Montemezzi, revealing for the first time the full depth of his impact in the United States, the country to which he moved in 1939.

For many reasons Hans Pfitzner was and remains controversial. This stems partly from his difficult personality, and partly from the nationalistic context in which are set his cultural beliefs. His music has also tended to be coloured by such labels as conservative and romantic. Yet he actually has a wide reputation for his `musical legend' Palestrina, and there is much in his output which sets him as the true heir of Wagner and Schumann. This is the first study in English of Pfitzner's output. It sets his music in the context of his cultural opinions, which, though conceived as reflections on music, have acquired a more political status to which the history of Pfitzner's times has contributed. It offers a revaluation of his music, partly in order to reveal the innate value of his stage works, chamber music, and songs, and also to illustrate the historical importance of his ideas, which reflect a German conservative tradition which was taken over and nearly destroyed by the Third Reich.

Peter Asher met the Beatles in the spring of 1963, the start of a lifelong association with the band and its members. He had a front-row seat as they elevated pop music into an art form, and he was present at the creation of some of the most iconic music of our times. Asher is also a talented musician in his own right, with a great ear for what is new and fresh. Once, when Paul McCartney wrote a song that John Lennon didn’t think was right for the Beatles, Asher asked if he could record it. “A World Without Love� became a global number-one hit for his duo, Peter & Gordon. A few years later Asher was asked by Paul McCartney to help start Apple Records; the first artist Asher discovered and signed up was a young American singer-songwriter named James Taylor. Before long he would be not only managing and producing Taylor but also (having left Apple and moved to Los Angeles) working with Linda Ronstadt, Neil Diamond, Robin Williams, Joni Mitchell, and Cher, among others. The Beatles from A to Zed grows out of his popular radio program “From Me to You� on SiriusXM’s The Beatles Channel, where he shares memories and insights about the Fab Four and their music. Here he weaves his reflections into a whimsical alphabetical journey that focuses not only on songs whose titles start with each letter, but also on recurrent themes in the Beatles’ music, the instruments they played, the innovations they pioneered, the artists who influenced them, the key people in their lives, and the cultural events of the time. Few can match Peter Asher for his fresh and personal perspective on the Beatles. And no one is a more congenial and entertaining guide to their music.

Malcolm Arnold's music encompassed a variety of forms from opera and ballet through orchestral and chamber music to film scores. His most famous film score, for which he won an Oscar award in 1957, is The Bridge on the River Kwai. In 1953 he was commissioned to compose Homage to the Queen, a ballet to celebrate the coronation of Queen Elizabeth II. Arnold was knighted by the Queen in 1993 in honor of his contributions to English music. As with the other volumes in the Greenwood Bio-Bibliographies in Music series, this work includes a brief biography, discography, complete list of works and performances, and an annotated bibliography. Music scholars, musicians, and those with an interest in the music of Malcolm Arnold will appreciate the extensive information gathered in this one volume. Since Malcolm Arnold has retired from composing, this book features the most complete list of his compositions, including some of his newly discovered early works. The works are listed alphabetically within genre. The author also provides a chronological listing of the works through which trends and developments in Arnold's compositions may be traced. Sir Malcolm Arnold's input with the project assures the accuracy and completeness of this bio-bibliography.

Carl Ruggles (1876-1971) was the epitome of the New England iconoclast. A composer of the American avant-garde movement, he wrote, in a very concise and dissonant style, a small body of truly unique musical works. He lived to be 95, composing to the very end of his life, but left behind a mere eight sanctioned works which he had rewritten and refined over decades. In the 1920s, he was at the focal point of ultra-modern music-making. Since there is currently a renewed interest in his work, this bio-bibliography is timely and needed, and of interest to scholars, students, and performers.

During the 1920s, had Edgard Varese or Charles Ives been asked to name America's greatest living composer, the response would have been Carl Ruggles. Forty years later, such eminent experts on American music as Nicolas Slonimsky, Virgil Thomson, and Aaron Copland would each describe Ruggles as our most technically refined composer. Ruggles, with Varese and Ives, was the standard-bearer of the atonal movement in this century's third decade. With the rise of American realism, he slipped out of the public eye. Recent years have seen a resurgence of performances of his works and research on his music; consequently, there is a need for this timely bio-bibliography.

For three decades, Anthony Braxton has been alternately celebrated, dismissed, and attacked for his musical innovations. His ambitious efforts to reconcile and personalize the historically divergent and often conflicting worldviews and principles of African-American (jazz), American Experimental (post-Ives), and Western European (post-serial) traditions have attracted both loyal supporters and passionate critics. Mike Heffley has followed Braxton's widely varied music from its beginning, and in 1988 began a professional musical relationship with him. His "biography" of Braxton's music is just that--a look at the music as if it were a living entity, with a traceable ancestry, a describable place in the world, and a history full of drama, intrigue, and passion. The music scholar will find here all the information necessary to understand the contents, contexts, and concepts of Braxton's music, and to further that understanding. The general reader will find the human and trans-human qualities that make the music so compelling to its makers and lovers.

The international Number One bestseller.

Over a million copies sold in the English language.

Published in 23 foreign languages.

‘A heartfelt memoir . . . there is a fearlessness to his prose, a willingness to engage with his past, that chimes with his songwriter’s desire to give voice to the people around him’ Sunday Times “Writing about yourself is a funny business…But in a project like this, the writer has made one promise, to show the reader his mind. In these pages, I’ve tried to do this.” —Bruce Springsteen, from the pages of Born to Run

In 2009, Bruce Springsteen and the E Street Band performed at the Super Bowl’s halftime show. The experience was so exhilarating that Bruce decided to write about it. That’s how this extraordinary autobiography began.

Over the past seven years, Bruce Springsteen has privately devoted himself to writing the story of his life, bringing to these pages the same honesty, humor, and originality found in his songs.

He describes growing up Catholic in Freehold, New Jersey, amid the poetry, danger, and darkness that fueled his imagination, leading up to the moment he refers to as “The Big Bang”: seeing Elvis Presley’s debut on The Ed Sullivan Show. He vividly recounts his relentless drive to become a musician, his early days as a bar band king in Asbury Park, and the rise of the E Street Band. With disarming candor, he also tells for the first time the story of the personal struggles that inspired his best work, and shows us why the song “Born to Run” reveals more than we previously realized.

Born to Run will be revelatory for anyone who has ever enjoyed Bruce Springsteen, but this book is much more than a legendary rock star’s memoir. This is a book for workers and dreamers, parents and children, lovers and loners, artists, freaks, or anyone who has ever wanted to be baptized in the holy river of rock and roll.

Rarely has a performer told his own story with such force and sweep. Like many of his songs (“Thunder Road,” “Badlands,” “Darkness on the Edge of Town,” “The River,” “Born in the U.S.A.,” “The Rising,” and “The Ghost of Tom Joad,” to name just a few), Bruce Springsteen’s autobiography is written with the lyricism of a singular songwriter and the wisdom of a man who has thought deeply about his experiences.

Vladimir Ussachevsky (1911-1990), a pioneer in electronic music, was also a composer, teacher and administrator of the Columbia-Princeton Electronic Music Center. His more than 44 works involving electroacoustics reflect the importance of his contribution to electronic music. Ussachevsky studied with Howard Hanson, Bernard Rogers and Otto Luening and his style varied from neoromantic and Russian Orthodox influences in choral music and other compositions before 1952 to electronic and computer music from 1952 to his death in 1990. This volume in the Greenwood series Bio-Bibliographies in Music includes a brief biography and detailed list of works and performances, discography, mediagraphy, and bibliography of writings about and by Ussachevsky.

Music scholars, especially those with an interest in electronic music or those interested in learning more about Vladimir Ussachevsky, will appreciate the detailed information about his works and writings compiled in this one volume. The works and performances section is organized by type of music, including electronic, orchestral, chamber, keyboard, choral and vocal. Also included are both an alphabetical and chronological list of compositions, a list of Ussachevsky's collaborations, arrangements and sound effects, and an index.

Offering commentary, musical analysis, and detailed interpretation of her songs' lyrics, this book examines the qualities of Sheryl Crow's music that have served to establish the artist's success and popularity. Sheryl Crow continues to be celebrated for her legacy as a singer-songwriter and pop culture icon. This book provides an introduction to Sheryl Crow's entire music catalog. Organized into chronological periods of time, the author weaves biographical facts throughout a narrative rich with details about her songs: how they were created, recorded, distributed, and modified in live performance. Accompanying commentary features song analysis-including song structure, chord progression, and melody-and provides fascinating insights into the lyrical content of Crow's songwriting. The work begins with Crow's upbringing, her musical roots and influences, and how they manifested themselves in her later career. Subsequent sections delve into her road to success and eventual stardom, revealing how her rise to fame and widespread popularity was littered with broken friendships, acrimony, and suicide. The last several chapters follows her life after a diagnosis of breast cancer and the adoption of her sons. The work also includes a chapter on B-sides and rare songs by Crow. Presents an in-depth and complete listening guide to all of Crow's songs, including B-sides and rarities Features insightful commentary with song analysis Includes a glossary of musical and technical terms for the non-specialist

'I think my music deserves to be considered as a whole', Igor Stravinsky remarked at the end of a long and restless career, and that is exactly what the authors of The Apollonian Clockwork do. In 1982, convinced that there is no essential difference between 'early' and 'late' Stravinsky, Louis Andriessen and Elmer Schonberger were the first to write a monograph on the composer which radically breaks with the habit of dividing his works into 'Russian', 'neoclassical' and 'serial'. In an essay which continually shifts in its approach, style and perspective, the authors elaborate on their insight that a single, immutable compositional attitude underlies the whole of Stravinsky's oeuvre. By this token the book not only offers an analysis of the composer's protean work and artistry but takes example by it as well.

From the Preface: " ... an account of the girlhood of the famous pianist whose art and personality are vividly remembered by the older generation of the music lovers of to-day ..."

Passionate and intense in one moment, ironic or brash in the next, Mahler's music speaks with a diversity of voices that often undermine its own ideals of unity, narrative struggle and transcendent affirmation. The composer plays constantly with musical genres and styles, moving between them without warning in a way that often bewildered his contemporaries. Ranging freely across Mahler's symphonies and songs in a thoughtful and thorough study of his musical speech, Julian Johnson considers how this body of music foregrounds the idea of artifice, construction and musical convention while at the same time presenting itself as act of authentic expression and disclosure. Mahler's Voices explores the shaping of this music through strategies of calling forth its own mysterious voice--as if from nature or the Unconscious--while at other times revealing itself as a made object, often self-consciously assembled from familiar and well-worn materials.
A unique study not of Mahler's works as such but of Mahler's musical style, Mahler's Voices brings together a close reading of the renowned composer's music with wide-ranging cultural and historical interpretation. Through a radical self-awareness that links the romantic irony of the late 18th-century to the deconstructive attitude of the late 20th-century, Mahler's music forces us to rethink historical categories themselves. Yet what sets it apart, what continues to fascinate and disturb, is the music's ultimate refusal of this position, acknowledging the conventionality of all its voices while at the same time, in the intensity of its tone, speaking "as if" what it said were true. However bound up with the Viennese modernism that Mahler prefigured, the urgency of this act remains powerfully resonant for our own age.

New York City witnessed a dazzling burst of creativity in the 1920s. In this pathbreaking study, Carol J. Oja explores this artistic renaissance from the perspective of composers of classical and modern music, who along with writers, painters, and jazz musicians, were at the heart of early modernism in America. She also illustrates how the aesthetic attitudes and institutional structures from the 1920s left a deep imprint on the arts over the 20th century.

Aaron Copland, George Gershwin, Ruth Crawford Seeger, Virgil Thomson, William Grant Still, Edgard Varèse, Henry Cowell, Carl Ruggles, Marion Bauer, Dane Rudhyar--these were the leaders of a talented new generation of American composers whose efforts made New York City the center of new music in the country. They founded composer societies--such as the International Composers' Guild, the League of Composers, the Pan American Association, and the Copland-Sessions Concerts--to promote the performance of their music, and they nimbly negotiated cultural boundaries, aiming for recognition in Western Europe as much as at home. They showed exceptional skill at marketing their work. Drawing on extensive archival material--including interviews, correspondence, popular periodicals, and little-known music manuscripts--Oja provides a new perspective on the period and a compelling collective portrait of the figures, puncturing many longstanding myths.

American composers active in New York during the 1920s are explored in relation to the "Machine Age" and American Dada; the impact of spirituality on American dissonance; the crucial, behind-the-scenes role of women as patrons and promoters of modernist music; cross-currents between jazz and concert music; the critical reception of modernist music (especially in the writings of Carl Van Vechten and Paul Rosenfeld); and the international impulse behind neoclassicism. The book also examines the persistent biases of the time, particularly anti-Semitisim, gender stereotyping, and longstanding racial attitudes.

Irwin Bazelon, one of the most original figures in American music in the second half of the 20th century, devoted his life to the art of composition. He was also well known for his musical compositions for films, television, commercials, and documentaries. His music was inspired by his experiences in the fast-paced environments of Chicago and New York. This major bibliography presents a biographical sketch, which details the influence of city life on the composer's artistic creativity, a catalogue of his compositions and performances, and a discography. A bibliography includes excerpts from the composer's lectures and other unpublished writings.

This thorough research tool will appeal to scholars of 20th-century music and to Bazelon fans. An archive of the composer's collections is included, and the separate book sections are cross-referenced throughout.

Stuart offers the most thorough discography of the works and recordings of Igor Stravinsky to date as well as a chronicle of the composer's recording career. As the first discography to list all of Stravinsky's recorded compositions, including concert and broadcast performances, both pre- and post-World War II, as well as all LP issues, this volume displays the wide range of Stravinsky's talent. The significance of Robert Craft's contribution to the continued exposure of Stravinsky's works after 1948 is well documented, as are the piano performances recorded by Stravinsky's son. A lengthy introductory essay traces Stravinsky's recording history from his early use of the pianola through the advent of more sophisticated musical technology which enabled the composer to become the composer-performer. The discography itself lists 191 studio performances, catalogs recorded issues, and details unpublished recordings. The chronological index of Stravinsky's compositions which follows is cross-referenced to the recordings already cited, thereby showing each recording relative to the date of the work's composition. This extensive listing of recordings, combined with the narrative account of Stravinsky's recording history provides the collector with a valuable updated guide to almost all of the composer's works.

Examines Liszt's piano arrangements of music originally created for other instruments, especially the symphony orchestra and the Hungarian Gypsy band. Liszt's adaptation of existing music is staggering in its quantity, scope, and variety of technique. He often viewed the model work as a source that he strove to improve, rival, and even surpass. Liszt's Representation of Instrumental Sounds on the Piano: Colors in Black and White provides a comprehensive survey of Liszt's reworking of instrumental music on the piano, particularly his emulation of tone colors and idiomatic gestures. The book relatesLiszt's sonic reproductions to the widespread nineteenth-century interest in visual-art reproduction. Hyun Joo Kim illustrates Liszt's diverse approaches to the integrity of the music in a detailed, vivid, and insightful manner through close study of his arrangements of Beethoven's symphonies and Rossini's Guillaume Tell Overture, his two-piano arrangements of his own symphonic poems such as Mazeppa and Hunnenschlacht, and his Hungarian Rhapsodies. By examining orchestral music and Hungarian Gypsy-style music as sources of Liszt's sound representations, this book reveals Liszt's musical discourse as straddling the musical, cultural, and aesthetic divides between mainstream and peripheral, art and folk, serious and popular. HYUN JOO KIM holds a PhD from Indiana University and is an independent scholar in Seoul, South Korea.

Jean Sibelius's Violin Concerto is the story of Sibelius as performer and composer, of violin performing traditions, of histories of musical transmission, and of virtuosity itself. It investigates the history and legacy of one of the most recorded concertos in the violin repertoire. Sibelius, a celebrated and influential composer of the late 19th and 20th centuries, was an accomplished violinist, whose enduring interest in the instrument has been paralleled by the broad success of the only concerto in his oeuvre: his violin concerto (premiered in 1904 and revised in 1905). Considering how violinists engage with the work, author Tina K. Ramnarine discusses technology's central role in the concerto's transmission from Jascha Heifetz's seminal 1935 recording to contemporary online performances, gender issues in violin solo careers, and nature-based musical aesthetics that lead to thinking about the ecology of virtuosity in an era of environmental crisis. Beginning with Sibelius's early training as a violinist and his aspirations as a performer, Ramnarine traces the dramatic historical context of the violin concerto. It was composed as Finland underwent a period of heightened self-determination, nationalism, and protest against Russian imperial policies, and it heralded intense political dynamics relating to Europe's East-West border that have extended to the present. This story of the violin concerto points to the notion of Sibelius - and the virtuoso more generally - as a political figure.

Even after acquiring the Doctor of Laws degree from both the University of Berlin and the Sorbonne (discussed in a letter, along with the effects of living in Europe during the Nazi era), Konrad Wolff's enthusiasm for music was so overwhelming that he became a professional musician in his mid-thirties. That enthusiasm is contagious. The more one reads his work, the more one understands music, but perhaps of greater importance, the more one loves it.

This is the only collection of a substantial quantity of his prolific writings (many never published before) under one cover. With almost 200 musical illustrations and his engaging style of writing, teachers, students, and sophisticated music lovers will find articles such as Schubert's Reaction to Beethoven, Bach's Last Work, and Beethovenian Dissonances in Listz's Piano Music a pleasurable read and an easy way to learn. Correspondence with Sviatoslav Richter, among others, and a brilliant debate between Wolff and Alfred Brendel are unique contributions. Also impressive is the breadth of Wolff's culture. As one scholar who had read the manuscript exclaimed: The writing is so brilliant that it can be applied to fields other than music, as well.

Kurt Cobain and Ian Curtis. Through death, they became icons. However, the lead singers have been removed from their humanity, replaced by easily replicated and distributed commodities bearing their image. This book examines how the anglicised singers provide secular guidance to the modern consumer in an ever more uncertain world.