(Boosey & Hawkes Scores/Books). Composed for string quartet plus two pre-recorded quartets, Triple Quartet can also be played live by three string quartets with no pre-recording.

(E.B. Marks). William Bolcom composed both words and music for these "urban madrigals," written for The Western Wind a cappella group in 1970. Each madrigal depicts a slice of New York City life in the early 1970s, by turns comic, theatrical, bittersweet, haunting, and satirical. Movements: The Movie Queue, The Maternity Ward, Late, Late Show, The Funeral-Marriage, The Secret of the Universe, The University, and The Subway Beggar. For SSATBar or SSACtBar a cappella. Advanced Level.

Dangerous Melodies vividly evokes a time when classical music stood at the center of twentieth-century American life, occupying a prominent place in the nation's culture and politics. The work of renowned conductors, instrumentalists, and singers-and the activities of orchestras and opera companies-were intertwined with momentous international events, especially the two world wars and the long Cold War. Jonathan Rosenberg exposes the politics behind classical music, showing how German musicians were dismissed or imprisoned during World War I, while numerous German compositions were swept from American auditoriums. He writes of the accompanying impassioned protests, some of which verged on riots, by soldiers and ordinary citizens. Yet, during World War II, those same compositions were no longer part of the political discussion, while Russian music, especially Shostakovich's, was used as a tool to strengthen the US-Soviet alliance. During the Cold War, accusations of communism were leveled against members of the American music community, while the State Department sent symphony orchestras to play around the world, even performing behind the Iron Curtain. Rich with a stunning array of composers and musicians, including Karl Muck, Arturo Toscanini, Wilhelm Furtwangler, Kirsten Flagstad, Aaron Copland, Van Cliburn, and Leonard Bernstein, Dangerous Melodies delves into the volatile intersection of classical music and world politics to reveal a tumultuous history of twentieth-century America.

(String). Commissioned by Charles Siegel for his wife Helga on the occasion of her 70th birthday.

Evgeny Kissin's musicality, the depth and poetic quality of his interpretations, and his extraordinary virtuosity have earned him the veneration and admiration deserved only by one of the most gifted classical pianists of his generation. He is internationally renowned and hugely admired for his interpretations of the works of the classical and Romantic repertoire of Beethoven, Schubert, Chopin, Liszt, Schumann, Brahms, Rachmaninov and Prokofiev. He is in demand the world over, and has appeared with many of the world's great conductors, as well as all the great orchestras of the world. In Memoirs and Reflections, the intensity of Kissin's thinking and of his very being shines through, which displays his astonishing memory, fondness for his family and teachers, and an exalted sense of self that is essentially Russian.

The Castrato is a nuanced exploration of why innumerable boys were castrated for singing between the mid-sixteenth and late-nineteenth centuries. It shows that the entire foundation of Western classical singing, culminating in bel canto, was birthed from an unlikely and historically unique set of desires, public and private, aesthetic, economic, and political. In Italy, castration for singing was understood through the lens of Catholic blood sacrifice as expressed in idioms of offering and renunciation and, paradoxically, in satire, verbal abuse, and even the symbolism of the castrato's comic cousin Pulcinella. Sacrifice in turn was inseparable from the system of patriarchy - involving teachers, patrons, colleagues, and relatives - whereby castrated males were produced not as nonmen, as often thought nowadays, but as idealized males. Yet what captivated audiences and composers - from Cavalli and Pergolesi to Handel, Mozart, and Rossini - were the extraordinary capacities of castrato voices, a phenomenon ultimately unsettled by Enlightenment morality. Although the castrati failed to survive, their musicality and vocality have persisted long past their literal demise.

(Boosey & Hawkes Voice). Five songs from the Pulitzer Prize-winning composer of From the Diary of Virginia Woolf, Six Elizabethan Songs, Songs about Spring, and more. For female voice and singing male accompanist. Words and music by the composer.

(Boosey & Hawkes Chamber Music). Based on a poem by Garcia Lorca's beloved Rosalia de Castro, Lua Descolorida was inspired by Dawn Upshaw's "rainbow of a voice."

(Transient Glory). Based on a text by Tennessee Reed, the 11 year-old daughter of author Ishmael Reed. Three Heavens and Hells may be performed by a children's or adult chorus of treble voices. 22 minutes.

"Rarely does one encounter in a single volume such a masterful and graceful display of intellectual virtuosity. Kerman's skill in illuminating musical texts, interpreting meaning, and fashioning historical insights vindicates his reputation as one of the few genuinely significant figures of our time in the study of music. The authoritative range, clarity, and elegance of the essays in this book make it both indispensable and delightful."--Leon Botstein, Director, American Symphony Orchestra

"Reading through the book is a bit like being invited to dinner with a good number of old friends, some acquaintances good to get to know a bit better, and a few strangers definitely worth meeting for the first time. Above all there is the host, willing to be expansive on what many of the people in the room have meant to him in the course of his varied life. It is invidious to deliver judgment: one simply feels honored to be there."--John Deathridge, co-author of "The New Grove Wagner

"Joseph Kerman has in recent years become a kind of bellwether for musicological writing, one who has offered the discipline various kinds of programmatic challenges and then shown us how to meet them. He presents--in essay after essay--exactly the kind of music criticism he has been urging us all to write. There are so many examples of graceful, insightful, humane, even funny ways to get 'out of analysis' and into understanding musical meaning."--Ruth Solie, editor of "Musicology and Difference

(Boosey & Hawkes Chamber Music). A one movement work where ideas are hinted at before they are stated outright. The title also refers to the inward, personal nature of the work as a whole. The sections are: Whispered, Fragmentary - Whirling, at Times Frenzied - Remote. 12 minutes.