In Search of Real Music gives a new perspective on the history of classical music from 1600 to 2000 AD. Written for anyone who enjoys classical music and wants to know more about how it developed, it presents a profile of the music produced in each 50-year period, with additional sections describing the progress of musical instruments, the orchestra, publishing and recording, and the buildings designed for operas and concerts. This book sets out the recollections and research of one amateur listener. As a schoolboy, Clive Bate played the violin in the National Youth Orchestra under Walter Susskind and Hugo Rignold. Later he played in Bryan Fairfax's Polyphonia for the celebrated first performance of Havergal Brian's Gothic Symphony. Although he became immersed in a career in I.T. and management consultancy, music remained his principal interest. With retirement he turned his attention to writing this concise history. It is neither an encyclopedia nor a set of biographies, but explores the crucial events, traditions and changes that shaped the course of the art form that is one of Europe's greatest contributions to civilization. In Search of Real Music will allow you to make connections between strands of history that are rarely brought together, and thus enrich your understanding of the music you love.

For the wedding pianist, this comprehensive collection contains 44 piano solos of the most frequently requested wedding preludes, processionals, interludes, and recessionals; plus, other beautiful music to play at receptions. Lush arrangements of popular and standard romantic ballads complement a treasury of piano masterworks, and selected Christian wedding favorites. The wedding party and their guests will enjoy the beauty of these timeless favorites. Additionally, a 4-page guide will aid brides, grooms and pianists in choosing music for the ceremony. Titles: Adagio Cantabile (2nd Movement from Beethoven's "Grande Sonate Path?tique") * Andante, from Elvira Madigan (Mozart) * Be Thou My Vision (Traditional) * Beauty and the Beast, from Walt Disney's Beauty and the Beast * Bist Du Bei Mir (Be Thou With Me) (Bach) * Bridal Chorus, from Lohengrin (Wagner) * Canon in D (Pachelbel) * Clair De Lune, from Suite Bergamasque (Debussy) * Dream a Little Dream of Me (Standard) * Emily (Johnny Mandel) * First Gymnop?die (Satie) * The Flower Duet, from Lakm? (Delibes) * Household of Faith (Steve Green) * How Beautiful (Twila Paris) * I Will Be Here (Steven Curtis Chapman) * I'm in the Mood for Love (Standard) * Jesu, Joy of Man's Desiring (Bach) * Laura (Standard) * La R?jouissance, from Music for the Royal Fireworks (Handel) * Love Theme from Romeo and Juliet (Tchaikovsky) * Love Theme from Scheherezade (Mendelssohn) * Love Will Be Our Home (Steven Curtis Chapman) * More Than You Know (Standard) * Nocturne in E-Flat Major (Chopin) * Notturno (Grieg) * O Mio Babbino Caro (Puccini) * O Perfect Love (Traditional) * Ode to Joy (Beethoven) * Panis Angelicus (Franck) * Plaisir D'Amour (Martini) * Polka Dots and Moonbeams (Standard) * The Prayer (Celine Dion and Andrea Bocelli) * Prelude in C Major, from The Well-Tempered Clavier, Book 1 (Bach) *Prelude in D-Flat Major (Chopin) * Prelude, from Te Deum (Charpentier) *

A pianist, arranger, and composer, William Pursell is a mainstay of the Nashville music scene. He has played jazz in Nashville's Printer's Alley with Chet Atkins and Harold Bradley, recorded with Johnny Cash and Patsy Cline, performed with the Nashville Symphony, and composed and arranged popular and classical music. Pursell's career, winding like a crooked river between classical and popular genres, encompasses a striking diversity of musical experiences. A series of key choices sent him down different paths, whether it was reenrolling with the Air Force for a second tour of duty, leaving the prestigious Eastman School of Music to tour with an R&B band, or refusing to sign with the Beatles' agent Sid Bernstein. The story of his life as a working musician is unlike any other-he is not a country musician nor a popular musician nor a classical musician but, instead, an artist who refused to be limited by traditional categories. Crooked River City is driven by a series of recollections and personal anecdotes Terry Wait Klefstad assembled over a three-year period of interviews with Pursell. His story is one not only of talent, but of dedication and hard work, and of the ins and outs of a working musician in America. This biography fills a crucial gap in Nashville music history for both scholars and music fans.