(Vocal Collection). With this 15-version collection, you'll always be ready to play Albert Hay Malotte's sacred classic anytime, anywhere, for anyone. The Revised Edition of this indispensable book is now even more valuable. In addition to Malotte's classic in five keys for solo voice and organ (E-flat, D-flat, C, B-flat, G), the same five keys for solo voice and piano, and a solo piano and solo organ arrangement, there are three vocal duet arrangements included soprano and alto (which could be sung by a soprano and baritone), soprano and tenor, and alto and baritone. The book is a great value; the sheet music to all these versions purchased separately would cost nearly $60

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.

Contents: Haydn Sonatas: C major, G major, D major, C# minor, E minor * Mozart Sonatas: C major (K. 565), F major (K. 280), F major (K. 332), G major (K. 283), A major (K. 331) * Beethoven Sonatas: G minor, Op. 49, No. 1; G major, Op. 49, No. 2; G major, Op. 79; E major, Op. 14, No. 1; G major, Op. 14, No. 2.

Beethoven's Moonlight Sonata, Op. 27, No. 2 is among the most popular and most frequently performed compositions by any great composer. Reflecting the depth of Beethoven's musical power, the Moonlight Sonata is one of the best-loved sonatas Beethoven ever composed. In this Belwin Classic Library edition, each page of the music is spaciously laid out, meticulous and uncluttered, with clear, clean engraving. All three movements are included: I. Adagio sostenuto, II. Allegretto, and III. Presto agitato.

Why do we feel the need to perform music in a historically informed style? Is this need related to wider cultural concerns? In this challenging study, John Butt sums up recent debates on the nature of the early music movement, calling upon a seemingly inexhaustible fund of ideas gleaned from historical musicology, analytic philosophy, literary theory, historiography and theories of modernism and postmodernism. He develops the critical views of both supporters and detractors, claiming ultimately that it has more intellectual and artistic potential than its detractors may have assumed.

What does it mean to say that music is deeply moving? Or that music's aesthetic value derives from its deep structure? This study traces the widely employed trope of musical depth to its origins in German-language music criticism and analysis. From the Romantic aesthetics of E. T. A. Hoffmann to the modernist theories of Arnold Schoenberg, metaphors of depth attest to the cross-pollination of music with discourses ranging from theology, geology and poetics to psychology, philosophy and economics. The book demonstrates that the persistence of depth metaphors in musicology and music theory today is an outgrowth of their essential role in articulating and transmitting Germanic cultural values. While musical depth metaphors have historically served to communicate German nationalist sentiments, Watkins shows that an appreciation for the broad connotations of those metaphors opens up exciting new avenues for interpretation.

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!"

Sumptuous settings, elaborate costumes and romance; the period drama is a feast for the senses. Capture the spirit of Austen and Hardy's England with these 14 evocative solos from classic literary adaptations. Featuring music by Carl Davis, Jeremy Sams and Adrian Johnston alongside Mozart, Clementi and Beethoven, carefully arranged for the intermediate pianist.
Includes:
'End Titles' from Emma * 'Main Theme' from Pride and Prejudice * 'Andante Favori WoO 57 (excerpt)' from Pride and Prejudice * 'An Adoring Heart' from Cranford * 'Sebastian' from Brideshead Revisited * 'The Beginning of the Partnership' from Shakespeare in Love * 'Main Theme' from Middlemarch and more.
"If you love this era of movie music, there is much to enjoy among these intermediate level pieces."
- Progressions magazine

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.

"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."

Coronations are the grandest of all state occasions. This is the first comprehensive in-depth study of the music that was performed at British coronations from 1603 to the present, encompassing the sixteen coronations that have taken place in Westminster Abbey and the last two Scottish coronations. Range describes how music played a crucial role at the coronations and how the practical requirements of the ceremonial proceedings affected its structure and performance. The programme of music at each coronation is reconstructed, accompanied by a wealth of transcriptions of newly discovered primary source material, revealing findings that lead to fresh conclusions about performance practices. The coronation ceremonies are placed in their historical context, including the political background and the concept of invented traditions. The study is an invaluable resource not only for musicologists and historians, but also for performers, providing a fascinating insight into the greatest of all Royal events.

Brings together contributions from across a wide array of musicological topics and subdisciplines, connecting different approaches to applied musicology and collecting the explosion in work over the past decade. Addresses questions of defining applied musicology as a field. Provides a go-to reference for students and scholars working in musicology and seeking applications beyond traditional academic paths.

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

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.

What is a sonata? Literally translated, it simply means 'instrumental piece'. It is the epitome of instrumental music, and is certainly the oldest and most enduring form of 'pure' and independent instrumental composition, beginning around 1600 and lasting to the present day. Schmidt-Beste analyses key aspects of the genre including form, scoring and its social context - who composed, played and listened to sonatas? In giving a comprehensive overview of all forms of music which were called 'sonatas' at some point in musical history, this book is more about change than about consistency - an ensemble sonata by Gabrieli appears to share little with a Beethoven sonata, or a trio sonata by Corelli with one of Boulez's piano sonatas, apart from the generic designation. However, common features do emerge, and the look across the centuries - never before addressed in a single-volume survey - opens up new and significant perspectives.