In terms of musical composition, all but the first five of his thirty-five years were astoundingly productive for Wolfgang Amadeus Mozart (1756 91). A stream of glorious symphonies, piano concertos, chamber music, operas and the sublime but unfinished Requiem poured from his pen. German philologist and archaeologist Otto Jahn (1813 69) was inspired to write a scholarly biography of Mozart following a conversation at Mendelssohn's funeral in 1847. He immersed himself in intensive research on the composer and his music, publishing the first edition of this landmark work in four volumes between 1856 and 1859. A second edition followed in 1867, incorporating new material and making use of Kochel's 1862 catalogue of Mozart's works. It is from this edition that Pauline D. Townsend made her three-volume English translation, first published in 1882. Volume 2 covers Mozart the man, the break with Colloredo, his move to Vienna, marriage, and Freemasonry."

In terms of musical composition, all but the first five of his thirty-five years were astoundingly productive for Wolfgang Amadeus Mozart (1756 91). A stream of glorious symphonies, piano concertos, chamber music, operas and the sublime but unfinished Requiem poured from his pen. German philologist and archaeologist Otto Jahn (1813 69) was inspired to write a scholarly biography of Mozart following a conversation at Mendelssohn's funeral in 1847. He immersed himself in intensive research on the composer and his music, publishing the first edition of this landmark work in four volumes between 1856 and 1859. A second edition followed in 1867, incorporating new material and making use of Kochel's 1862 catalogue of Mozart's works. It is from this edition that Pauline D. Townsend made her three-volume English translation, first published in 1882. Volume 3 discusses the Mozart Da Ponte operas and the Requiem, and also includes a list of his works."

Born in 1893 into the only African American family in White Sulphur Springs, Montana, Emmanuel Taylor Gordon (1893-1971) became an internationally famous singer in the 1920s at the height of the Harlem Renaissance. With his musical partner, J. Rosamond Johnson, Gordon was a crucially important figure in popularizing African American spirituals as an art form, giving many listeners their first experience of black spirituals. Despite his fame, Taylor Gordon has been all but forgotten, until now. Michael K. Johnson illuminates Gordon's personal history and his cultural importance to the legacy of the Harlem Renaissance, arguing that during the height of his celebrity, Gordon was one of the most significant African American male vocalists of his era. Gordon's story-working in the White Sulphur Springs brothels as an errand boy, traveling the country in John Ringling's private railway car, performing on vaudeville stages from New York to Vancouver to Los Angeles, performing for royalty in England, becoming a celebrated author with a best-selling 1929 autobiography, and his long bout of mental illness-adds depth to the history of the Harlem Renaissance and makes him one of the most fascinating figures of the twentieth century. Through detailed documentation of Gordon's career-newspaper articles, reviews, letters, and other archival material-the author demonstrates the scope of Gordon's cultural impact. The result is a detailed account of Taylor's musical education, his career as a vaudeville performer, the remarkable performance history of Johnson and Gordon, his status as an in-demand celebrity singer and author, his time as a radio star, and, finally, his descent into madness. Can't Stand Still brings Taylor Gordon back to the center of the stage.

Marie-Henri Beyle (1783 1842), better known by his pen name Stendhal, is remembered today for such novels as Le Rouge et le Noir. In his lifetime, he wrote in a variety of literary genres and under a multitude of names. Louis-Alexandre-Cesar Bombet was his choice of pseudonym for these early works, originally published in French in 1814. His lives of Haydn and Mozart were substantially derived from works by Giuseppe Carpani and Theophile Winckler respectively. Despite this audacious plagiarism, Stendhal's passion for music is evident, especially for Mozart, whose Clemenza di Tito he had enjoyed in Konigsberg during the winter of 1812 whilst serving in Napoleon's army. Of especial interest to the modern reader are Stendhal's frequent digressions expressing his forthright opinions on the issues and figures of his day. This reissue is of Robert Brewin's English translation of 1817, with additional notes by the composer William Gardiner.

An unorthodox musician from the start, singer-songwriter Joni Mitchell's style of composing, performing, and of playing (and tuning) the guitar is unique. In the framework of sexual difference and the gendered discourses of rock this immediately begs the questions: are Mitchell's songs specifically feminine and, if so, to what extent and why? Anne Karppinen addresses this question focusing on the kind of music and lyrics Mitchell writes, the representation of men and women in her lyrics, how her style changes and evolves over time, and how cultural context affects her writing. Linked to this are the concepts of subjectivity and authorship: when a singer-songwriter sings a song in the first person, about whom are they actually singing? Mitchell offers a fascinating study, for the songs she writes and sings are intricately woven from the strands of her own life. Using methods from critical discourse analysis, this book examines recorded performances of songs from Mitchell's first nine studio albums, and the contemporary reviews of these albums in Anglo-American rock magazines. In one of the only books to discuss Mitchell's recorded performances, with a focus that extends beyond the seminal album Blue, Karppinen explores the craft of Mitchell's songwriting and her own attitudes towards it, as well as the dynamics and politics of rock criticism in the 1960s and 1970s more generally.

Reveals the brilliant musical and pedagogical thinking of the famed eighteenth- and early nineteenth-century Neapolitan composer and teacher of royal students. Giovanni Paisiello (1740-1816) was one of the most important composers of opera in the eighteenth century. His operas were performed throughout Europe, and his fame led to appointments as a maestro di cappella and composer at prominent European courts. This book is the first study to address his work as a teacher of composition and what we would today call music theory. The practice of partimento (figured or unfigured bass lines) was an integral part of the training of musicians at the renowned conservatories in eighteenth-century Naples. By employing these often-unprepossessing partimento bass lines, young musicians learned the techniques of variation, improvisation, and composition while seated at the harpsichord. Paisiello's Regole per bene accompagnare il Partimento (Rules for Harpsichordists; 1782) survives in both autograph and printed forms. It contains forty-six partimenti that have long been considered the core of his pedagogic oeuvre. However, two recently discovered manuscripts contain a further forty-one unknown partimenti, notated as two- and three-part disposizioni (realizations). The present study offers numerous insights gleaned from the surviving sources and bolsters our understanding of how to perform the music of Paisiello and his contemporaries: music that has often survived in an incomplete form. These findings are relevant not just for keyboard players but also for singers, instrumentalists, and anyone interested in the inner workings of eighteenth- and early nineteenth-century music.

Soviet and Russian music of the first third of the 20th century--with the exception of the music of a few high-profile composers who were officially sponsored by the State--is still largely unexplored territory, known only to a few specialists. Nevertheless, the music has considerable intrinsic value well beyond its curiosity appeal, and includes many pieces unaccountably forgotten and certainly worth reviving, to the ultimate enhancement of our concert repertoire. The study of this music also explains much about the foundations of Soviet culture and its subsequent suppression and decline under the Stalinist yoke. The purpose of this volume is to stimulate interest in this little-known area of Soviet/Russian music. The works charted here constitute a great flowering of avant-garde music which was then savagely dealt with for Stalin's political purposes.

The paperback edition of the bestselling biography. The Kinks are the quintessential British sixties band, revered for an incredible series of classic songs ('You Really Got Me', 'Waterloo Sunset' and 'Lola' to name but a few) and critically acclaimed albums (The Village Green Preservation Society). Featuring original interviews with key band members Ray Davies, his brother Dave and Mick Avory, as well as Chrissie Hynde and many others close to the group, every stage of their career is covered in fascinating detail: the hits, the American successes of the 1970s and the legendary band in-fighting. Nearly 50 years after they formed, The Kinks influence is still being felt today as strongly as ever.

Iconic images from fiery scenes of catharsis in Gone With the Wind and Rebecca to The Third Man's decadent cinematography have proven inseparable from their accompanying melodies. From the 1910s-50s, producer David O. Selznick depended upon music to distinguish his films from his competitors'. By demonstrating music's value in film and encouraging its distribution through sheet music, concerts, radio broadcasts, and soundtrack albums, Selznick changed audiences' relationship to movie music. But what role did Selznick play in the actual music composition that distinguished his productions, and how was that music made? As the first of its kind to consider film music from the perspective of a producer, this book tells the story of the evolution of Selznick's style through the many artists whose work defined Hollywood sound. Utilizing thousands of archival documents, chapters in this book unearth and analyze Selznick's efforts in the late silent-era, his work at three major Hollywood studios, and his accomplishments as an independent producer, including music-making for King Kong, A Star is Born, Prisoner of Zenda, Duel in the Sun, among many others.

Beloved not only in Britain, George Frideric Handel (1685-1759) is admired as a composer the world over. His inventive and sensitive melodic genius and his exuberant brilliance in depicting the spectacular are best displayed in his Messiah and Zadok the Priest. Larger than life, Handel impressed all who met him and was adept at promoting his works, arranging for their publication and even selling them from his home in London's Brook Street. His dogged determination to triumph over the many reverses of his career and the fickle enthusiasms of the Georgian public is the stuff of three-volume novels. This sympathetic and highly readable biography by the composer and author William Smith Rockstro (1823-95) was first published in 1883. Wherever possible, autograph manuscripts have been consulted and the book contains the first detailed catalogue of Handel's output. Among other works, Rockstro's biography of Mendelssohn is also reissued in this series.

The organist and writer William Spark (1823-97) is best remembered for his active role in the Leeds musical scene, notably his involvement in the People's Concerts and the Leeds Festival. Spark had been articled to the organist and composer Samuel Sebastian Wesley in 1840 and accompanied him when he moved to Leeds two years later. Following several posts as an organist, he worked with Henry Smart on the design of the organ for Leeds town hall in 1858, giving regular recitals on it thereafter. He wrote on a wide variety of musical topics and the present work, first published in 1888, brings together his personal reminiscences and anecdotes. The pen portraits of eminent musicians - including conductor Sir Michael Costa, composer Felix Mendelssohn and soprano Adelina Patti - offer a remarkably informed insight into the development of musical culture in the nineteenth century.

A longstanding, successful and frequently controversial career spanning more than four decades establishes David Bowie as charged with contemporary cultural relevance. That David Bowie has influenced many lives is undeniable to his fans. He requisitions and challenges his audiences, through frequently indirect lyrics and images, to critically question sanity, identity and essentially what it means to be 'us' and why we are here. Enchanting David Bowie explores David Bowie as an anti-temporal figure and argues that we need to understand him across the many media platforms and art spaces he intersects with including theatre, film, television, the web, exhibition, installation, music, lyrics, video, and fashion. This exciting collection is organized according to the key themes of space, time, body, and memory - themes that literally and metaphorically address the key questions and intensities of his output.

The Sunday Times bestseller The tale of two Waltz Kings: how the Strauss family took Europe by storm during the nineteenth century. The Strauss family name is forever intertwined with Vienna - as is their music. Two generations of this remarkable family transformed and popularised the waltz, delighting all of Viennese society with their prolific compositions. But behind the melody lay a darker discord, as the Strausses tore themselves apart while Vienna itself struggled to secure its place in a rapidly changing world. In The Last Waltz John Suchet skilfully portrays this gripping story, capturing the family dramas, the tensions, triumphs and disasters, all set against the turbulent backdrop of Austria in the nineteenth century, from revolution to regicide. Discover the truth behind Vienna's extraordinary musical dynasty.

Nadia Boulanger - composer, critic, impresario and the most famous composition teacher of the twentieth century - was also a performer of international repute. Her concerts and recordings with her vocal ensemble introduced audiences on both sides of the Atlantic to unfamiliar historical works and new compositions. This book considers how gender shaped the possibilities that marked Boulanger's performing career, tracing her meteoric rise as a conductor in the 1930s to origins in the classroom and the salon. Brooks investigates Boulanger's promotion of structurally motivated performance styles, showing how her ideas on performance of historical repertory and new music relate to her teaching of music analysis and music history. The book explores the way in which Boulanger's musical practice relied upon her understanding of the historically transcendent masterwork, in which musical form and meaning are ideally joined, and shows how her ideas relate to broader currents in French aesthetics and culture.

Sergei Rachmaninoff was a renowned composer, pianist, and conductor. Because he was a member of the Russian aristocracy, he fled the country after the tsar's abdication, and eventually relocated in the United States. Many of his compositions are for piano, yet he also composed orchestral and symphony works, three operas, choral and liturgical works, some chamber works, and numerous songs. This guide catalogues his numerous works and performances, provides a detailed bibliography, and includes a discography of recordings released within the last half-century.

Cross-referenced throughout, this volume should appeal to music and Rachmaninoff scholars who are looking for a comprehensive guide to further research.

Iannis Xenakis' Persepolis stood as witness to one of the most important events in modern human history, the Iranian Revolution in 1979. Its existence is owed to an invitation to participate in the 1971 Shiraz Arts Festival, which was overseen by Empress Farah Pahlavi. Like the Festival, and the extravagant celebratory party held the same year, Xenakis' symbolic paean to Persian history was polarizing. Many loved it, others detested it. Overwhelming but also subtle and precise in its non-harmonic shifts in texture and density, listeners and critics simply did not know what to make of it. This book tells the story of Xenakis' early history and involvement in the Resistance against the Axis occupation of Greece during the Second World War, escape and re-settlement in Paris, work as an architect with Le Corbusier, and distinct views on world history and politics that all led to his 1972 electro-acoustic album Persepolis.

Camille Saint-Saëns 1835-1921: A Thematic Catalogue of his Complete Works defines the achievement of this great French composer. All his musical works are presented: the well-recognized masterpieces, the childhood sketches, the unpublished compositions, and the previously unknown pieces now revealed for the first time. This comprehensive collection fully documents the composer's extraordinary contribution to the musical world. Volume 1 concentrates specifically on his instrumental output, while the two later volumes will cover Dramatic Works and Choral & Vocal Works respectively.

Sir Michael Tippett is widely considered to be one of the most individual composers of the twentieth century, whose music continues to be performed to critical acclaim throughout the world. Written by a team of international scholars, this Companion provides a wide ranging and accessible study of Tippett and his works. It discusses the contexts and concepts of modernism, tradition, politics, sexuality and creativity that shaped Tippett's music and ideas, engaging with archive materials, relevant literature and models of interpretation. Chapters explore the genres in which Tippett composed, including opera, symphony, string quartet, concerto and piano sonata, to shed new light on his major works and draw attention to those that have not yet received the attention they deserve. Directing knowledge and expertise towards a wide readership, this book will enrich the listening experience and broaden understanding of the music of this endlessly fascinating and challenging composer.

The Rolling Stones' Beggars Banquet is one of the seminal albums in rock history. Arguably it not only marks the advent of the 'mature' sound of the Rolling Stones but lays out a new blueprint for an approach to blues-based rock music that would endure for several decades. From its title to the dark themes that pervade some of its songs, Beggars Banquet reflected and helped define a moment marked by violence, decay, and upheaval. It marked a move away from the artistic sonic flourishes of psychedelic rock towards an embrace of foundational streams of American music - blues, country - that had always underpinned the music of the Stones but assumed new primacy in their music after 1968. This move coincided with, and anticipated, the 'roots' moves that many leading popular music artists made as the 1960s turned toward a new decade; but unlike many of their peers whose music grew more 'soft' and subdued as they embraced traditional styles, the music and attitude of the Stones only grew harder and more menacing, and their status as representatives of the dark underside of the 60s rock counterculture assumed new solidity. For the Rolling Stones, the 1960s ended and the 1970s began with the release of this album in 1968.

(Book). In this candid and perceptive memoir of his 45-year career, bassist Jerry Scheff takes us onto Elvis's private jet, on tour with Bob Dylan, and into the studio with The Doors. A stalwart presence behind some of the greatest names of popular music, Scheff has also played with Roy Orbison, Elvis Costello, the Association, Neil Diamond, Johnny Mathis, the Everly Brothers, John Denver, and Nancy Sinatra, to name just a few. Eschewing hype, Scheff provides a behind-the-scenes perspective, from having worked sleeves rolled up, side by side, with the great artists in their factories. The book opens with the TCB band's learning of the King's death while en route to a tour date, a pivotal moment for him, the rest of the band, and the world at large. He then proceeds on a nonlinear journey that mirrors the process of true life-reflection, from his roots in San Francisco to his touring all over the world. This is a tale of a man who has truly grown a career from a genuine love of music and of his instrument, proving how following that gift can bring a person to places beyond his wildest dreams. It is an exciting inside view of the evolution and craft and work of making rock and roll a must-have for true music craftsmen and music junkies in general.

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

The first full-length analytic study devoted to the Concerto for Piano and Wind Instruments, combining sketch studies, musicological context, and straightforward analyses of all three movements. Stravinsky's "Great Passacaglia" marks the first full-length analytic study devoted to the Concerto for Piano and Wind Instruments, an important neoclassic piece composed by one of the most influential composers of the twentieth century. Donald Traut examines the complex significance of this piece for Stravinsky and his contemporaries. For the composer, the Concerto was both a major artistic accomplishment in his burgeoning neoclassic style and a vehicle for financial gain as a touring soloist, an endeavor that took him throughout Europe and was instrumental in bringing him to America for the first time. For many of Stravinsky's critics it came to represent all that was wrong with his new style, while for others it pointed the way forward through the past, taking on an important role in the Bach revival of the 1920s. By combining sketch studies, musicological context, and straightforward analyses ofall three movements, the book paints a comprehensive picture of the piece's creation, impact, and structure that will be of interest not only to musicologists and music theorists, but to pianists, conductors, and concert-goers aswell. Donald Traut is associate professor of music theory at the University of Arizona.

Examines literary, philosophical, and cultural influences on Mahler's thought and work from the standpoint of the composer's position in German-Jewish culture. Gustav Mahler's music is more popular than ever, yet few are aware of its roots in German literary and cultural history in general, and in fin-de-siecle Viennese culture in particular. Taking as its point of departure the many references to literature, philosophy, and the visual arts that Mahler uses to illustrate the meaning of his music, Reading Mahler helps audiences, critics, and those interested in musical and cultural history understand influences on Mahler's music and thinking that may have been self-evident to middle-class Viennese a hundred years ago but are much more obscure today. It shows that Mahler's oeuvre, despite its reliance on texts and images from the eighteenth and nineteenth centuries, is far more indebted to fin-de-siecle modernism and to an eclectic, proto-avantgardist agenda than has been previously realized. Furthermore, Reading Mahler is the first book to make Mahler's position within German-Jewish culture its analytical center. It also probes Mahler's problematic but often overlooked relationship with the musical and textual legacy of Richard Wagner. By integrating newer approaches in humanistic research - cultural studies, gender studies, and Jewish studies - Reading Mahler exposes the composer's critical view of German cultural history and offers a new understanding of his music. Carl Niekerk is Professor in the Department of German, the Program in Comparative and World Literature, and the Program in Jewish Culture and Society at the University of Illinois at Urbana-Champaign.

Only Nick Tosches, bestselling author of Dino and The Devil and Sonny Liston, could have woven this irresistible tale: part mystery, part biography, part meditation on the meaning and power of music.

A forgotten singer from the early days of jazz is at the center of this riveting narrative. For twenty years, Nick Tosches searched for facts about the life of Emmett Miller, a yodeling blackface performer whose songs prefigured jazz, country, blues, and much of the popular music of the twentieth century. Beginning with a handful of 78-rpm records and ending at a tombstone in a Macon, Georgia graveyard, Tosches pieces together a life—and illuminates the spirit of musicmakers from Cab Calloway to Bob Dylan, from Homer to the Rolling Stones.

This is a brilliant, inspired journey by one of the most original writers at work today.