This book is a facsimile reprint and may contain imperfections such as marks, notations, marginalia and flawed pages.

This book is a facsimile reprint and may contain imperfections such as marks, notations, marginalia and flawed pages.

Francesco Geminiani: The art of playing on the violin: containing all the rules necessary to attain to a perfection on that instrument, with great variety of compositions which will also be very useful to those who study the violoncello, Harpsichord etc. Contains 24 examples & 12 compositions. Facsimile of the 1751 edition.

In the first book to account for the growing prominence of Asians in the world of Western classical music, Mari Yoshihara grapples with the significance of this trend. This is a book about the about the origins of a social and cultural phenomenon, but it is also about the lives and work of individual musicians devoted to their art.

From adagio to voyage, over 800 steps, movements, poses, and concepts are fully defined. A pronunciation guide and cross-references to alternate names for similar steps and positions that vary from the Russian to the French or Italian schools are also invaluable aids.

The International Who's Who in Classical Music 2020 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 2020 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.

Imposing Harmony is a groundbreaking analysis of the role of music and musicians in the social and political life of colonial Cuzco. Challenging musicology's cathedral-centered approach to the history of music in colonial Latin America, Geoffrey Baker demonstrates that rather than being dominated by the cathedral, Cuzco's musical culture was remarkably decentralized. He shows that institutions such as parish churches and monasteries employed indigenous professional musicians, rivaling Cuzco Cathedral in the scale and frequency of the musical performances they staged.Building on recent scholarship by social historians and urban musicologists and drawing on extensive archival research, Baker highlights European music as a significant vehicle for reproducing and contesting power relations in Cuzco. He examines how Andean communities embraced European music, creating an extraordinary cultural florescence, at the same time that Spanish missionaries used the music as a mechanism of colonialization and control. Uncovering a musical life of considerable and unexpected richness throughout the diocese of Cuzco, Baker describes a musical culture sustained by both Hispanic institutional patrons and the upper strata of indigenous society. Mastery of European music enabled elite Andeans to consolidate their position within the colonial social hierarchy. Indigenous professional musicians distinguished themselves by fulfilling important functions in colonial society, acting as educators, religious leaders, and mediators between the Catholic Church and indigenous communities.

In its scope and command of primary sources and its generosity of scholarly inquiry, Nikolai Findeizen's monumental work, published in 1928 and 1929 in Soviet Russia, places the origins and development of music in Russia within the context of Russia's cultural and social history.

Volume 2 of Findeizen s landmark study surveys music in court life during the reigns of Elizabeth I and Catherine II, music in Russian domestic and public life in the second half of the 18th century, and the variety and vitality of Russian music at the end of the 18th century."

In its scope and command of primary sources and its generosity of scholarly inquiry, Nikolai Findeizen's monumental work, published in 1928 and 1929 in Soviet Russia, places the origins and development of music in Russia within the context of Russia's cultural and social history.

Volume 2 of Findeizen s landmark study surveys music in court life during the reigns of Elizabeth I and Catherine II, music in Russian domestic and public life in the second half of the 18th century, and the variety and vitality of Russian music at the end of the 18th century."

In his concertos Beethoven joined in a sort of human expression that seems almost universal: a discourse of the individual and the group, or of leader and followers who sometimes work together in harmony and sometimes appear pitted one against the other (early definitions of the concerto, indeed, were divided as to which was the main idea of the genre cooperation or conflict). In his concertos Beethoven typically cast himself as leader; the concerto was for him mainly a youthful preoccupation intimately bound up with his prowess and ambition as a public pianist. The hope is that a wide-ranging consideration of the historical context will serve to cast new light upon the music itself, which remains the central focus of this study."

Medtner's outstanding one-movement concerto was composed from 1914 to 1917 and given its premiere at a special concert in Moscow on May 12, 1918, featuring the composer as piano soloist and Serge Koussevitzky as conductor. For the first time, this work is now available in a clear, easy-to-read and affordable score.

The Third Symphony is Brahms at his most masterful and most appealing, from the great fanfare motive of its opening measures to the lyrical melancholy of the world-famous POCO ALLEGRETTO movement. The work appears here in full score, with bar-numbered movements and ample margins at the bottom of each page for notes and analysis.

This book is a facsimile reprint and may contain imperfections such as marks, notations, marginalia and flawed pages.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

Composed in 1718 while Handel was residing in Cannons Park. Like the other Chandos Anthems, it was comissioned by the Earl of Carnarvon James Brydges, subsequently named First Duke of Chandos. The anthem was first performed that year under the composer's direction ay St. Lawrence's Church in Cannons Park. The text is taken from Psalms 117, 135, and 148 in Nahum Tate and Nicolas Brady's 1696 "New Versions of the Psalms."This complete vocal and pano score, edited by Max Seiffert with a piano reduction by Karl Pasler, is an unabridged reprint of the score first issued by Breitkopf & Hartel, Leipzig ca. 1900.

"I am sure harpists throughout the world will love to read this inspiring account of Henriette Renie's life as seen through the eyes of one of her oldest and dearest friends and former students. Available now in this fine English edition prepared with devotion by Jaymee Haefner, this small volume gives the reader a glimpse of the heart and soul of this great harpist and pedagogue." Susann McDonald ----- "This is truly one of the finest and most detailed compilations of Renie's life in existence today. It has always been sad to me that Mlle Renie did not receive the tributes via the media that she so truly deserved, probably because of the time in which she lived. For Carlos Salzedo to say, 'Mlle Renie is higher above all harpists than the heavens above the earth' is very profound. It is so helpful to the harp world to have the information provided in this book and I will encourage all my students and friends to read it. This book represents many hours and years of careful research and devotion to an important cause." Linda Wood Rollo ----- "Henriette Renie was one of the most inspirational harpists in history. She set a standard of excellence that harpists for generations will aspire to. This thorough and comprehensive look at Renie's life and achievements is a treasure, containing information that is imperative to all harpists." Dr. Carrol McLaughlin ----- "The Legend of Henriette Renie is the most extensive resource currently available on the life of this significant artist in the history of the harp whose life reflected, intersected, and influenced many of the artistic and cultural trends in late nineteenth to early-mid-twentieth century France. It is an immeasurable contribution to the harp world and to those who are interested in learning about a person who profoundly affected her chosen profession yet also reflected the cultural and social restrictions of her time." Dr. Ann Yeung ----- "There are so few harpists in the world that each of the great ones leaves an identifiable imprint. Renie has had a far reaching effect on the world of the harp, and the opportunity to learn about her life and philosophy should be part of the education of every serious harpist. She also has much to offer those who consider the place of faith in everyday life." Anna Vorhes