In the early seventeenth century, enthusiasm for the violin swept across Europe-this was an instrument capable of bewitching virtuosity, with the power to express emotions in a way only before achieved with the human voice. With this new guide to the Baroque violin, and its close cousin, the Baroque viola, distinguished performer and pedagogue Walter Reiter puts this power into the hands of today's players. Through fifty lessons based on the Reiter's own highly-renowned course at The Royal Conservatory of the Hague, The Baroque Violin & Viola, Volume II provides a comprehensive exploration of the period's rich and varied repertoire. The lessons in Volume II cover the early seventeenth-century Italian sonata, music of the French Baroque, the Galant style, and the sonatas of composers like Schmelzer, Biber, and Bach. Practical exercises are integrated into each lesson, and accompanied by rich video demonstrations on the book's companion website. Brought to life by Reiter's deep insight into key repertoire based on a lifetime of playing and teaching, The Baroque Violin & Viola, Volume II: A Fifty-Lesson Course will enhance performances of professional and amateur musicians alike.

The chansons in this collection are examples of polyphonic settings of French secular verse, nearly ten thousand of which appear in printed or manuscript sources during the sixteenth century. The eighty-four pieces were chosen for their musical value; great masters as well as lesser known composers, who made significant contributions to the genre, are represented. Primarily, the chansons are for four mixed voices. A number of settings for other combinations, from two-part to seven-part, are also included. he

inch....this work is likely to become a standart work very quickly and is to be recommended to all schools where recorder studies are undertaken inch. (Oliver James, Contact Magazine) A novel and comprehensive approach to transferring from the C to F instrument. 430 music examples include folk and national songs (some in two parts), country dance tunes and excerpts from the standard treble repertoire ofBach, Barsanti, Corelli, Handel, Telemann, etc. An outstanding feature of the book has proved to be Brian Bonsor's brilliantly simple but highly effective practice circles and recognition squares designed to give, in only a few minutes, concentrated practice on the more usual leaps to and from each new note and instant recognition of random notes. Quickly emulating the outstanding success of the descant tutors, these books are very popular even with those who normally use tutors other than the Enjoy the Recorder series.

This book answers questions from real classical music lovers about things they have always wondered but didn't know whom to ask. The information in this book is not readily found in music history or appreciation books, nor can it be found on line. Questions explored are: Do string players in orchestras get paid more because they play more than other instruments? Why does an orchestra tune to an oboe when there are electronic tuners? How does a composer decide what key to compose in? Why is the 1812 Overture played on the 4th of July? And many, many more! The answers represent behind the scenes, real world, insights into how classical musicians view and discuss these questions. There is even some insight into the jokes classical musicians find funny. This book is intended for the person who loves listening to classical music, either live or recorded and will provide hours of enjoyment as the reader invariably shakes his or her head and asks in wonderment "Who knew!"

A group of resourceful kids start "solution-seekers.com," a website where "cybervisitors" can get answers to questions that trouble them. But when one questioner asks the true meaning of Christmas, the kids seek to unravel the mystery by journeying back through the prophecies of the Old Testament. What they find is a series of "S" words that reveal a "spectacular story " With creative characters, humorous dialogue and great music, The "S" Files is a children's Christmas musical your kids will love performing.

Redefining Music Studies in an Age of Change: Creativity, Diversity, Integration takes prevailing discourse about change in music studies to new vistas, as higher education institutions are at a critical moment of determining just what professional musicians and teachers need to survive and thrive in public life. The authors examine how music studies might be redefined through the lenses of creativity, diversity, and integration. which are the three pillars of the recent report of The College Music Society taskforce calling for reform. Focus is on new conceptions for existent areas-such as studio lessons and ensembles, academic history and theory, theory and culture courses, and music education coursework-but also on an exploration of music and human learning, and an understanding of how organizational change happens. Examination of progressive programs will celebrate strides in the direction of the task force vision, as well as extend a critical eye distinguishing between premature proclamations of "mission accomplished" and genuine transformation. The overarching theme is that a foundational, systemic overhaul has the capacity to entirely revitalize the European classical tradition. Practical steps applicable to wide-ranging institutions are considered-from small liberal arts colleges, to conservatory programs, large research universities, and regional state universities.

A group of resourceful kids start "solution-seekers.com," a website where "cybervisitors" can get answers to questions that trouble them. But when one questioner asks the true meaning of Christmas, the kids seek to unravel the mystery by journeying back through the prophecies of the Old Testament. What they find is a series of "S" words that reveal a "spectacular story!" With creative characters, humorous dialogue and great music, The "S" Files is a children's Christmas musical your kids will love performing.

Redefining Music Studies in an Age of Change: Creativity, Diversity, Integration takes prevailing discourse about change in music studies to new vistas, as higher education institutions are at a critical moment of determining just what professional musicians and teachers need to survive and thrive in public life. The authors examine how music studies might be redefined through the lenses of creativity, diversity, and integration. which are the three pillars of the recent report of The College Music Society taskforce calling for reform. Focus is on new conceptions for existent areas-such as studio lessons and ensembles, academic history and theory, theory and culture courses, and music education coursework-but also on an exploration of music and human learning, and an understanding of how organizational change happens. Examination of progressive programs will celebrate strides in the direction of the task force vision, as well as extend a critical eye distinguishing between premature proclamations of "mission accomplished" and genuine transformation. The overarching theme is that a foundational, systemic overhaul has the capacity to entirely revitalize the European classical tradition. Practical steps applicable to wide-ranging institutions are considered-from small liberal arts colleges, to conservatory programs, large research universities, and regional state universities.

Classical music can be a dangerous pastime... What with love affairs, their conductor dropping dead, a stolen cello and no money, Stockwell Park Orchestra is having a fraught season. After Mrs Ford-Hughes is squashed and injured by a dying guest conductor mid-concert, she and her husband withdraw their generous financial backing, leaving the orchestra broke and unsure of its future. Cellist Erin suggests a recovery plan, but since it involves their unreliable leader, Fenella, playing a priceless Stradivari cello which then goes missing, it's not a fool-proof one. Joshua, the regular conductor, can't decide which affair to commit to, while manager David's nervous tic returns at every doom-laden report from the orchestra's treasurer. There is one way to survive, but is letting a tone-deaf diva sing Strauss too high a price to pay? And will Stockwell Park Orchestra live to play another season? What people are saying about Life, Death and Cellos: "I was charmed... a very enjoyable read." Marian Keyes "Life, Death and Cellos is a witty and irreverent musical romp, full of characters I'd love to go for a pint with. I thoroughly enjoyed getting to know the Stockwell Park Orchestra and can't wait for the next book in the series." Claire King, author of The Night Rainbow "Life, Death and Cellos is that rare thing - a funny music book. Rogers knows the world intimately, and portrays it with warmth, accuracy and a poetic turn of phrase. Sharp, witty and richly entertaining." Lev Parikian, author of Why Do Birds Suddenly Disappear? "With its retro humour bordering on farce, this novel offers an escape into the turbulent (and bonkers) world of the orchestra." Isabel Costello, author of Paris Mon Amour "Dodgy post-rehearsal curries, friendly insults between musicians, sacrosanct coffee-and-biscuit breaks, tedious committee meetings: welcome to the world of the amateur orchestra. Throw in a stolen Stradivarius, an unexpected fatality and the odd illicit affair and you have Life, Death and Cellos, the first in a new series by Isabel Rogers." Rebecca Franks, BBC Music Magazine "...a very funny tale of musical shenanigans set in the febrile atmosphere of the Stockwell Park Orchestra" Ian Critchley

"La Musica de Haydn en la "Creacion" no es patetica como la de Haendel en sus Oratorios: tiene siempre ese verdor de primavera, esa sutileza que entrega la linea ondulante en la danza de la Corte, esa inspiracion de frescura y optimismo que solo se encuentra en algunos pintores del Renacimiento y en los poetas bucolicos de la Helade y del Lacio."

WE SANG BETTER consists of two volumes of very clear advice about singing from great singers of the past. Volume 1 (ISBN 978-84-940477-8-7) is entitled How we sang and contains 250 tips on how to sing from singers 1800 to 1960. This volume is 490 pages long, and contains 130 illustrations. Tamagno never scooped his notes - so said star soprano Amelita Galli-Curci of the famous tenor. In the two volumes of We Sang Better, 200 of the greatest singers explain their art in over 70,000 of their own words. In Volume 1 the singers show you their approach, their ideals, and how they learnt to sing. Anderson arranges their evidence coherently, in easily followed tips. Their advice was uniform - work patiently on developing your own natural voice, with no forcing. The singers then provide the details by which you grow your voice and acquire a firm but flexible technique. Finally you will have a singing voice that is: personal beautiful easy accurate true on the note, and carries well in a large hall with clear diction & the ability to move your audience. As Verdi said, any art worthy of the name must be natural, spontaneous and simple. These singers explain how they kept to this ideal, staying clear of scientific 'discoveries', over-muscularity, and teachers with set 'methods'. These singers worked with Rossini, Donizetti, Bellini, Auber, Meyerbeer, Weber, Schubert, Mendelssohn, Liszt, Verdi, Wagner, Brahms, Gounod, Massenet, Debussy, Puccini, Strauss, Elgar, etc & kept to nearly all the recommendations that came from the castrati in the previous two centuries. James Anderson is a musician who has worked for the Arts Council of Great Britain and has run major European Festivals. Regretting the scarcity of supreme singing today, he has spent the last 30 years researching and collating this advice. He now helps young singers through the Singers Legacy website. For your information, the second volume (ISBN 978-84-940477-9-4) is entitled Why it was better and contains further evidence & reasoning from singers 1800 to 1960. Volume 2 is 260 pages long and has 20 illustrations.

Oxford's highly successful listener's guides--The Symphony, The Concerto, and Choral Masterworks--have been widely praised for their blend of captivating biography, crystal clear musical analysis, and delightful humor. Now James Keller follows these greatly admired volumes with Chamber Music. Approaching the tradition of chamber music with knowledge and passion, Keller here serves as the often-opinionated but always genial guide to 192 essential works by 56 composers, providing illuminating essays on what makes each piece distinctive and admirable. Keller spans the history of this intimate genre of music, from key works of the Baroque through the emotionally stirring "golden age" of the Classical and Romantic composers, to modern masterpieces rich in political, psychological, and sometimes comical overtones. For each piece, from Bach through to contemporary figures like George Crumb and Steve Reich, the author includes an astute musical analysis that casual music lovers can easily appreciate yet that more experienced listeners will find enriching. Keller shares the colorful, often surprising stories behind the compositions while revealing the delights of an art form once described by Goethe as the musical equivalent of "thoughtful people conversing."

The definitive study of the LaSalle Quartet, for forty years the premier exponent of 'the new music' for string quartet. The LaSalle Quartet (1946-1987) was the premier exponent of 'the new music' for string quartet. Founded in 1946 at the Julliard School in New York, it became famous for its performances of works by the Second Viennese School and its commissioning of many new pieces by contemporary post-war composers. As a result, the quartets by Lutoslawski, Ligeti and Nono have since entered the standard repertory, sitting comfortably next to those by Schoenberg, Berg andWebern. The LaSalle Quartet's brilliant advocacy of the quartets by Alexander Zemlinsky resulted in best-selling recordings for Deutsche Grammophon. In an informative and critical dialogue between new and old, the LaSalleQuartet was also an incisive interpreter of the classical quartet repertory; many of its recordings are still in print. Its record as a teaching quartet is equally impressive, numbering among its students at the University of Cincinnati the Alban Berg, Brahms, Prazak, Artis, Buchberger, Ponche and Vogler Quartets. The LaSalle Quartet's founder and first violinist, Walter Levin, is himself a highly influential teacher whose students have included the conductor James Levine and the violinist Christian Tetzlaff, as well as many third-generation string quartets. This book, based on extensive interviews with Walter Levin conducted by Robert Spruytenburg over five years, is in equal measure autobiography, history of the Quartet, reminiscences of the contemporary composers who figured so prominently in its career, and penetrating commentary on the LaSalle Quartet's wide-ranging repertory. All these aspectsare artfully woven into a uniquely valuable, informative and entertaining document of musical life in the twentieth century. ROBERT SPRUYTENBURG lives in Basel. He was introduced to Walter Levin in 1988 and took part inhis chamber music courses. Since 2003, Spruytenburg has been working on the LaSalle Quartet's archives located at the Paul Sacher Foundation in Basel. He is a frequent contributor to classical music programmes for Swiss radio.

The Mozart Collection of the former PreuAische Staatsbibliothek (Prussian state library) is the largest and most important collection of the composer's original manuscripts and transcripts in the world. Since the end of the Second World War, part of the collection has been located in the university library in Krakow. For the microfiche edition, both parts of the holdings have been filmed (the autographs in color) for the first time. In addition to listing the microfiche, the catalogue contains a list of the signatures filmed in Berlin and Krakow and an index of the reproduced works in compliance with the a ~KAchelverzeichnisa (TM). The introduction provides insights into the history of the holdings.

The first regional history of music in England. Music in the West Country is the first regional history of music in England. Ranging over seven hundred years, from the minstrels, waits, and cathedral choristers of the fourteenth century to the Bristol Sound of the late twentieth, the book explores the region's soundscape, from its gateway cities of Bristol and Salisbury in the east to the Isles of Scilly in the west, and examines music-making in tiny villages as well as conditions in important centres such as Bath, Exeter, Plymouth, and Bournemouth. What emerges is both a study of the typical - musical practices which would apply to any English region - and a portrait of the unique - features born of the region's physicalisolation and charm, among them the growth of festival culture, the mythologising of folk music, the late survival of parish psalmody and nonconformist carolling, and the unique continuance, today, of a professional resort orchestra, the Bournemouth Symphony Orchestra. Banfield's vividly written and extremely readable history of music in the west country considers an array of subjects, firmly centred on people's stories: musical inventions and theidea of tradition, music as cultural capital, the economics of musical employment and the demographics of musicianship, musical networks, the relationship of the hinterlands to the metropolis, the influence of topography, the importance of institutions and events, and the question of how to measure value. A study in prosopography, it shows how people went about their lives with music and explores how things changed for them - or did not. STEPHENBANFIELD is Emeritus Professor of Music at the University of Bristol.

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.