Uncovering Music of Early European Women (1250 - 1750) brings together nine chapters that investigate aspects of female music-making and musical experience in the medieval and early modern periods. Part I, "Notes from the Underground," treats the spirituality of women in solitude and in community. Parts II and III, "Interlude" and "Music for Royal Rivals," respond to Joan Kelly's famous feminist question and suggest that women of a certain stature did have a Renaissance. Part IV, "Serenissime Sirene," plays with the notion of the allure of music and its risks in Venice during the Baroque. The process of uncovering requires close listening to women's creative endeavors in an ongoing effort to piece together equitably the terrain of early music. Contributors include: Cynthia J. Cyrus, Claire Fontijn, Catherine E. Gordon, Laura Jeppesen, Eva Kuhn, Anne MacNeil, Jason Stoessel, Elizabeth Randell Upton, and Laurence Wuidar. An invaluable book for college students and scholars interested in the social and cultural meanings of women in early music.

An in-depth study of the life of Sir Hamilton Harty (1879-1941), pianist, composer and conductor of the Halle Orchestra, who arguably made Manchester the most important focus for music in Britain in his day. Sir Hamilton Harty (1879-1941) is best known as the conductor of the Halle Orchestra, who arguably made Manchester the most important focus for music in Britain in his day. This book chronicles and analyses Harty's illustrious career, from his establishment as London's premiere accompanist in 1901 to his years as a conductor between 1910 and 1933, first with the LSO and then with the Halle, to his American tours of the 1930s. Tragically, Harty died from cancer in 1941 at the age of only 61. This book also looks at Harty's life as a composer of orchestral and chamber works and songs, notably before the First World War. Although Harty's music cleaved strongly to a late nineteenth-century musical language, he was profoundly influenced during his days in Ulster and Dublin by the Irish literary revival. A great exponent of Mozart and especially Berlioz, Harty was also a keen exponent of British music and an active supporter of American composers such as Gershwin. Harty's role in the exposition of standard and new repertoire and his relationship with contemporary composers and performers are also examined, against the perspective of other important major British conductors such as Sir Thomas Beecham, Malcolm Sargent and Sir Henry Wood. Additionally, the book analyses the debates Harty provoked on the subjects of women orchestral players, jazz, modernism, and the music of Berlioz. JEREMY DIBBLE is Professor of Music at Durham University and author of John Stainer: A Life in Music(The Boydell Press, 2007) and monographs on C. Hubert H. Parry, Charles Villiers Stanford and Michele Esposito.

First published in 1996, this volume counters the attitude of paying more attention to the performer than to the piece. Too often, Anthony Hopkins argues, music is simply regarded as a pleasant background noise to accompany our other activities, whereas Beethoven offers much more than that. Hopkins aim to promote hearing, rather than listening. He examines Beethoven's piano concertos numbers 1 through 5, along with the violin concerto in D Major, Op. 61, and the Triple Concerto, Op. 56.

First published in 1999, the essays that follow have been selected from the author's writings to explore musical institutions in 15th and 16th century Italy with a detailed focus on the papal choir, but with additional comments on Mantua (Mantova), Florence and France. Much of the material which formed the basis of those essays was largely drawn from archives. Richard Sherr explores diverse areas including the Medici coat of arms in a motet for Leo X, performance practice in the papal chapel during the 16th century, the publications of Guglielmo Gonzaga, Lorenzo de' Medici as a patron of music and homosexuality in late sixteenth-century Italy.

First published in 1998, this volume comprises papers given at a conference on Lawes and his music held at Oxford in September 1995 to commemorate the 350th anniversary of his death. They examine not only Lawes's music but the milieu in which he worked. Part One examines the musical life of the English Court in Lawes's day, noting his activities there and his involvement with companies of players. Manuscript studies and a detailed account of the fatal battle are also included. Part Two comprises seven essays exploring the wide range of his instrumental and vocal music. William Lawes is acknowledged as the most exciting and innovative composer working in England during the reign of Charles I. His tragic early death at the Siege of Chester in 1645 only served to heighten his reputation among his contemporaries, lending him also the cloak of martyrdom in the service of his king.

First published in 1998, this broad survey includes a large number of musical illustrations and provides an indispensable guide for both students and teachers. Hexachords and solmization syllables formed the foundations of musical language during the sixteenth century. Yet, owing to changes over time in music education and style, there no longer exists widespread general knowledge of hexachords. Without this awareness it is impossible to appreciate fully the music of the most important composers of the Renaissance such as Palestrina, Lasso and Monteverdi. This book is the first attempt to fill such a gap in our understanding of hexachords and how they were employed in late-Renaissance music. Lionel Pike's research covers the period from Willaert to Dowland (c. 1530-1600) and examines the ways in which the uses of hexachords developed in the hands of different composers. The book concludes with an investigation of English examples of hexachords in vocal and instrumental music.

An essential exploration of Nordic composers and musicians, and the distinctive culture that continues to shape them Once considered a musical backwater, the Nordic region is now a musical powerhouse. Conductors from Denmark and Finland dominate the British and American orchestral scene. Interest in the old masters Sibelius and Grieg is soaring and progressive pop artists like Bjoerk continue to fascinate as much as they entertain. Andrew Mellor journeys to the heart of the Nordic cultural psyche. From Reykjavik to Rovaniemi, he examines the success of Nordic music's performers, the attitude of its audiences, and the sound of its composers past and present-celebrating along the way some of the most remarkable music ever written. Mellor peers into the dark side of the Scandinavian utopia, from xenophobia and alcoholism to parochialism and the twilight of the social democratic dream. Drawing on a range of genres and firsthand encounters, he reveals that our fascination with Nordic societies and our love for Nordic music might be more intertwined than first thought.

This volume illuminates musical connections between Britain and the continent of Europe, and Britain and its Empire. The seldom-recognized vitality of musical theatre and other kinds of spectacle in Britain itself, and also the flourishing concert life of the period, indicates a means of defining tradition and identity within nineteenth-century British musical culture. The objective of the volume has been to add significantly to the growing literature on these topics. It benefits not only from new archival research, but also from fresh musicological approaches and interdisciplinary methods that recognize the integral role of music within a wider culture, including religious, political and social life. The essays are by scholars from the USA, Britain, and Europe, covering a wide range of experience. Topics range from the reception of Bach, Mozart, and Liszt in England, a musical response to Shakespeare, Italian opera in Dublin, exoticism, gender, black musical identities, British musicians in Canada, and uses of music in various theatrical genres and state ceremony, and in articulating the politics of the Union and Empire.

Music, theatre and politics have maintained a long-standing, if varying and problematic, relationship. In the Ancient World, the relationship used to be a harmonious one, scholars have us believe, glorifying the moment at the beginning of Western history when a political community, or polis, affirmed itself in a practice that purportedly achieved the perfect integration of music and theatre. To revive this original harmony was, of course, one of the main impulses that engendered the genre of opera. However, while it is widely recognized that the political represented a prius in the Ancient triangle of music, theatre and politics, there has been little attention to the status of the political in the triangle's modern variety. Nonetheless, the relationship between the three continues to be strong. In many contexts, the political still takes priority, encouraging or curbing artistic creativity. The contributions in this volume bridge the conventional chronological division between 'late Romantic' and 'modern' music to thematize a wide array of issues in the context of Germany. The contributors focus on a national tradition and period in which the friction between music, theatre and politics grew particularly intense. Major themes include: reception history; the entwining of aesthetic and political intentions on the part of composers, critics and historians; and the construction and/or critique of collective political identities in and through music theatre.

(Max Eschig). 33 pieces in standard notation: Capricho arabe (Serenata) * Recuerdos de la Alhambra * Danza mora * Lagrima (Preludio) * Preludios (1-7) * Endecha (Preludio) * Alborada (Capricho) * Adelita (Mazurka) * Marieta (Mazurka) * Sueno (Mazurka) * Mazurka * Gran vals * Las dos hermanitas (Dos valses) * El columpio (Cancion de cuna) * Rosita (Polka) * Pavana (al estilo antiguo) * Maria (Gavota) * Minuetto * Estudio en formade minuetto * Sueno (Estudio de tremolo) * La mariposa * Estudio de velocidad * Estudio sobre un tema de Bach * Estudio brillante de Alard * La cartagenera I Sobre temas populares murcianos (J. Arcas I F. Tarrega) * Jota aragonesa (J. Arcas I F. Tarrega) * El carnaval de Venecia I Grandes variaciones (F. Tarrega I S. Garcia)

Combining the International Who's Who in Classical Music and the International Who's Who in Popular Music, this two-volume set provides a complete view of the whole of the music world. Within the International Who's Who in Classical Music, each biographical entry comprises personal information, principal career details, repertoire, recordings and compositions, and full contact details where available. Appendices provide contact details for national orchestras, opera companies, music festivals, music organizations and major competitions and awards. The International Who's Who in Popular Music boasts detailed entries, including full biographical information, such as principal career details, recordings and compositions, honours and contact information.

Goethe's Faust, a work which has attracted the attention of composers since the late eighteenth century and played a vital role in the evolution of vocal, operatic and instrumental repertoire in the nineteenth century, hashad a seminal impact in musical realms. That Goethe's poetry has proved pivotal for the development of the nineteenth-century Lied has long been acknowledged. Less acknowledged is the seminal impact in musical realms of Goethe's Faust, a work which has attractedthe attention of composers since the late eighteenth century and played a vital role in the evolution of vocal, operatic and instrumental repertoire in the nineteenth century. While Goethe longed to have Faust set to musicand considered only Mozart and perhaps Meyerbeer as being equal to the task, by the end of his life he had abandoned hope that he would live to witness a musical setting of his text. Despite this, a floodtide of musical interpretations of Goethe's Faust came into existence from Beethoven to Schubert, Schumann to Wagner and Mahler, and Gounod to Berlioz; and a broad trajectory can be traced from Zelter's colourful description of the first setting ofGoethe's Faust to Alfred Schnittke's Faust opera (1993). This book explores the musical origins of Goethe's Faust and the musical dimensions of its legacy. It uncovers the musical furore caused by Goethe's Faust and considers why his polemical text has resonated so strongly with composers. Bringing together leading musicologists and Germanists, the book addresses a wide range of issues including reception history, the performative challenges of writing music for Faust, the impact of the legend on composers' conceptual thinking, and the ways in which it has been used by composers to engage with other contemporary intellectual concepts. Constituting the richest examination to date of the musicality of language and form in Goethe's Faust and its musical rendering from the eighteenth to twenty-first centuries, the book will appeal to music, literary and Goethe scholars and students alike. LORRAINE BYRNE BODLEY is Senior Lecturer in Musicology at Maynooth University and President of the Society for Musicology in Ireland. Contributors: Mark Austin, Lorraine Byrne Bodley, NicholasBoyle, John Michael Cooper, Siobhan Donovan, Osman Durrani, Mark Fitzgerald, John Guthrie, Heather Hadlock, Julian Horton, Ursula Kramer, Waltraud Meierhofer, Eftychia Papanikolaou, David Robb, Christopher Ruth, Glenn Stanley, Martin Swales, J. M. Tudor

The International Who's Who in Classical Music 2018 is a vast source of biographical and contact information for singers, instrumentalists, composers, conductors, managers and more. Each entrant has been given the opportunity to update his or her information for the new improved 2017 edition. Each biographical entry comprises personal information, principal career details, repertoire, recordings and compositions, and full contact details where available. Appendices provide contact details for national orchestras, opera companies, music festivals, music organizations and major competitions and awards. International Who's Who in Classical Music includes individuals involved in all aspects of the world of classical music: composers, instrumentalists, singers, arrangers, writers, musicologists, conductors, directors and managers. Key Features: - over 8,000 detailed biographical entries - covers the classical and light classical fields - includes both up-and-coming musicians and well-established names. This book will prove valuable for anyone in need of reliable, up-to-date information on the individuals and organizations involved in classical music.

The importance of nineteenth-century writing about culture has long been accepted by scholars, yet so far as music criticism is concerned, Victorian England has been an area of scholarly neglect. This state of affairs is all the more surprising given that the quantity of such criticism in the Victorian and Edwardian press was vast, much of it displaying a richness and diversity of critical perspectives. Through the study of music criticism from several key newspapers and journals (specifically The Times, Daily Telegraph, Athenaeum and The Musical Times), this book examines the reception history of new English music in the period surveyed and assesses its cultural, social and political, importance. Music critics projected and promoted English composers to create a national music of which England could be proud. J A Fuller Maitland, critic on The Times, described music journalists as 'watchmen on the walls of music', and Meirion Hughes extends this metaphor to explore their crucial role in building and safeguarding what came to be known as the English Musical Renaissance. Part One of the book looks at the critics in the context of the publications for which they worked, while Part Two focuses on the relationship between the watchmen-critics and three composers: Arthur Sullivan, Hubert Parry and Edward Elgar. Hughes argues that the English Musical Renaissance was ultimately a success thanks largely to the work of the critics. In so doing, he provides a major re-evaluation of the impact of journalism on British music history.

In many ways the history of British light music knits together the social and economic history of the country with that of its general musical heritage. Numerous 'serious' composers from Elgar to Britten composed light music, and the genre adapted itself to incorporate the changing fashions heralded by the rise and fall of music hall, the drawing room ballad, ragtime, jazz and the revue. From the 1950s the recording and broadcasting industries provided a new home for light music as an accompaniment to radio programmes and films. Geoffrey Self deftly handles a wealth of information to illustrate the immense role that light music has played in British culture over the last 130 years. His insightful assessments of the best and the most shameful examples of the genre help to pinpoint its enduring qualities; qualities which enable it to maintain a presence in the face of today's domination by commercial popular music.

(String Method). For unaccompanied violin.

Studies in English Organ Music is a collection of essays by expert authors that examines key areas of the repertoire in the history of organ music in England. The essays on repertoire are placed alongside supporting studies in organ building and liturgical practice in order to provide a comprehensive contextualization. An analysis of the symbiotic relationship between the organ, liturgy, and composers reveals how the repertoire has been shaped by these complementary areas and developed through history. This volume is the first collection of specialist studies related to the field of English organ music.

This volume constitutes the first complete publication of Marina Lobanova's study - banned in Russia in 1979 as "too avant-garde" and published there only in a bowdlerized version in 1990.
Drawing on baroque, classical, romantic, and contemporary music, Dr. Lobanova proposes an original concept of musical syntax with special emphasis on the role of the categories of time, space, and motion. Embracing such aspects of cultural life as poetry and philosophy, she deals with the problems of cultural dialogue and the disintegration of the concept of "absolute music."

Contents:
Introduction. Lawrence Kramer
'Red War is My Song': Whitman, Higginson and Civil War Music. John Picker
'No Armpits, Please: We're British': Whitman and English Music, 1884-1936. Byron Adams
Eros, Expressionism and Exile: Whitman in German Music. Walter and Werner Grünzweig
Reclaiming Walt: Marc Blitzstein's Whitman Settings. David Metzer
A Visionary Backward Glance: Divided Experience in Paul Hindemith's 'When Lilacs Last in the Doorway Bloom'd'. Kathy Rugoff
Like Falling Leaves: The Erotics of Mourning in Four Drum-Taps Settings. Lawrence Kramer

Combining the International Who's Who in Classical Music and the International Who's Who in Popular Music, this two-volume set provides a complete view of the whole of the music world. Within the International Who's Who in Classical Music, each biographical entry comprises personal information, principal career details, repertoire, recordings and compositions, and full contact details where available. Appendices provide contact details for national orchestras, opera companies, music festivals, music organizations and major competitions and awards. The International Who's Who in Popular Music boasts detailed entries, including full biographical information, such as principal career details, recordings and compositions, honours and contact information.