This newly engraved vocal score for Mozart's popular youthful Mass has been carefully edited, complete with measure numbers, using Trexler's classic keyboard arrangement as a starting point. It is compatible with the orchestral material issued by both Kalmus and Breitkopf and with that of the Neue Mozart Ausgabe. The large A4 format is especially helpful for choruses, vocalists and accompanists.

La celebration du bicentenaire de la naissance de Cesar FRANCK (1822-1890), ne a Liege, fixe a Paris et naturalise francais, se veut d'etre a la hauteur de ce compositeur de premier plan. La restitution de sa place exacte dans le contexte historique et artistique de son epoque se revele passionnant: nous y decouvrirons nombre de paradoxes, images d'Epinal entourant la personnalite, l'oeuvre et la comprehension de Cesar Franck. Cet ouvrage s'attache a en eclairer plusieurs aspects contradictoires ou fausses en nous appuyant sur des temoignages, parfois inedits, de ses contemporains, de sa famille et de ses disciples. Attachant, presque mysterieux, Franck a de quoi seduire par une sensibilite romantique contredite par une vie discrete, presque effacee. Isole et mal compris de Saint-Saens, Gounod, Massenet, mais porte par ses disciples enthousiastes, il se revelera tardivement comme une figure marquante du renouveau de la musique francaise. La fulgurante serie de chefs-d'oeuvre de la fin de sa vie continue de fasciner, preuve du rayonnement d'une musique sincere, passionnee et hautement accomplie.

Choral Conducting: Philosophy and Practice, Second Edition is an updated resource for conductors and singers alike, a college-level text for students of choral conducting that considers conducting and singing from a holistic perspective. This singer-friendly and voice-healthy approach examines the rehearsal environment alongside its musical performance counterpart. The author explores what is involved in leading a choral group, examining theories of learning and human behavior to understand the impact choral conductors have on the act of singing. Divided into two main parts-Philosophy and Practice-the text begins with an historical look at conducting, exploring questions of why people sing and why they sing together, and ultimately presents the application of this philosophy, showing how a conductor's gestures and patterns can influence vocal outcomes. In addressing how singers learn and respond to choral music, as well as how conductors communicate with singers in rehearsal and performance, Choral Conducting turns an eye to learning how we learn and the role successful choral conductors play in motivating singers, developing healthy singing habits, and improving individual and ensemble vocal quality-all with the aims of enhancing musical understanding. New to this edition: Updated diagrams, photos, and musical examples Revised sample choral programs Increased consideration of the orchestral conductor A renewed focus on the intersections of learning, health and well-being, and the social perspective, supported by new and recent research

Engaging, clear and informative, this is the story of western music - of its great composers and also of its performers and listeners, of changing ideas of what music is and what it is for. Paul Griffiths shows how music has evolved through the centuries, and suggests how its evolution has mirrored developments in the human notion of time, from the eternity of heaven to the computer's microsecond. The book provides an enticing introduction for students and beginners, using the minimum of technical terms, all straightforwardly defined in the glossary. Its perspective and its insights will also make it illuminating for teachers, musicians and music lovers. Suggestions for further reading and recommended recordings are given for each of the 24 short chapters.

This is a new, digitally-enhanved reprint of the classic edition of Roger-Ducasse's vocal score of Faure's final version, first issued in 1900 by Huegel.

This is a new, digitally enhanced reprint of the vocal score originally issued by Breitkopf & Hrtel, Leipzig ca. 1910 to compliment the Bach Gesellschaft edition of the complete works. Composed in 1731 during Bach's tenure as kantor of the Thomaskirche in Leipzig, this longtime favorite of the cantatas had its premiere on November 25th of that year.

Hans Keller (1919-1985) was one of the most brilliant and stimulating writers on music of his day, and this is the first large selection of his essays. His work draws on his rich and diverse experience as a string-player, composer, teacher, analyst and critic, and also reflects a deep interest in psychoanalysis. The first part of the book addresses psychological issues relating to critics, listeners, players and composers; the second analyses music by a wide range of composers from Haydn to the present day; and the third propounds his new theory of music, with essays on unity and contrast, motifs, themes, keys, timbre and rhythm. There is also a 'wordless functional analysis' of a Mozart piano sonata published here for the first time. The volume concludes with a magisterial account of what Keller deemed to be 'the principles of composition'.

(LKM Music). Part of the Richard Stoltzman 21st Century Series for Clarinet, this edition includes a CD of the entire performance and an additional track of the Fugue with the 2nd and bass clarinet parts only for solo performances.

(Ensemble Collection). A wonderful compilation of duets from Rubank, the two volumes presented here supplement musical development and provide a rich experience for growing musicians. Duet playing is often a student's first form of ensemble experience - technique, tone quality, intonation and balance are introduced as students do one of the things they enjoy most - making music with a friend. And duet playing leads easily and naturally to competent performance in larger ensembles. (Vol. I Easy to Medium, Vol. 2 Advanced)

(Piano Collection). Contents: Kuhlau: Sonatinas Op. 20 (No. 1 in C, No. 2 in G, No. 3 in F), Sonatinas Op. 55 (No. 1 in C, No. 2 in G, No. 3 in C) * Clementi: Sonatinas Op. 36 (No. 1 in C, No. 2 in G, No. 3 in C, No. 4 in F, No. 5 in G, No. 6 in D) * Haydn: Sonatina in C * Mozart: Rondo in D, Sonata I in C * Beethoven: Rondo, Op. 51, No. 1 in C, Andante from Symphony No. 1, Sonatinas Op. 49 (No. 1 in G minor, No. 2 in G) * Dussek: Sonatina Op. 20, No. 1 in G * J.S. Bach: Prelude No. 1 in C * Haydn: Adagio in E, Andante grazioso in Bo, Allegro in F, Andante in C * Schubert: from Impromptu Op. 142, No. 3; Scherzo in Bo, Op. posth.; from Sonata in A, Op. 120 * Weber: Variation on "Vien qua Dorina bella" Op. 7 * Mendelssohn: Fantasia in A minor, Op. 16, No. 1.

Three important orchestral works, including very popular Till Eulenspiegel's Merry Pranks, reproduced in full score from original editions. This volume and its companion volume make available for the first time in convenient, inexpensive editions all the important Strauss tone poems. Study score.

A New York Times Notable Book

"This brilliant and magisterial book is a very good bet to...become the definitive study of Johannes Brahms."--The Plain Dealer

Judicious, compassionate, and full of insight into Brahms's human complexity as well as his music, Johannes Brahms is an indispensable biography.

Proclaimed the new messiah of Romanticism by Robert Schumann when he was only twenty, Johannes Brahms dedicated himself to a long and extraordinarily productive career.  In this book, Jan Swafford sets out to reveal the little-known Brahms, the boy who grew up in mercantile Hamburg and played piano in beer halls among prostitutes and drunken sailors, the fiercely self-protective man who thwarted future biographers by burning papers, scores and notebooks late in his life.  Making unprecedented use of the remaining archival material, Swafford offers richly expanded perspectives on Brahms's youth, on his difficult romantic life--particularly his longstanding relationship with Clara Schumann--and on his professional rivalry with Lizst and Wagner.  

"[Johannes Brahms] will no doubt stand as the definitive work on Brahms, one of the monumental biographies in the entire musical library."--London Weekly Standard

"It is a measure of the accomplishment of Jan Swafford's biography that Brahms's sadness becomes palpable.... [Swafford] manages to construct a full-bodied human being."--The New York Times Book Review

Early Keyboard Instruments discusses a variety of issues involved in the performance of keyboard music from the seventeenth to the nineteenth centuries. It brings together a range of topics that have come to the fore in recent decades and forms a useful introduction to historical performance issues for the student performer or amateur, whether playing on period instruments or on the modern piano.

This volume offers an up-to-date overview of historical performance, surveying the various current issues (such as the influence of recording) and suggesting possible future developments. Its core comprises discussion of the period performer's myriad primary source materials and their interpretation, the various aspects of style and general technique that combine to make up a well-grounded, period interpretation, and a survey of performance conditions and practices, focusing on the period c. 1700-c. 1900. Many of the principles outlined are illustrated in case studies of works by Bach, Mozart, Berlioz and Brahms.

An "Economist "Best Book of the Year
A" Christian Science Monitor" Best Book of the Year
A "Financial Times" Best Book of the Year
Johann Sebastian Bach is one of the most unfathomable composers in the history of music. How can such sublime work have been produced by a man who (when we can discern his personality at all) seems so ordinary, so opaque--and occasionally so intemperate?
John Eliot Gardiner grew up passing one of the only two authentic portraits of Bach every morning and evening on the stairs of his parents' house, where it hung for safety during World War II. He has been studying and performing Bach ever since, and is now regarded as one of the composer's greatest living interpreters. The fruits of this lifetime's immersion are distilled in this remarkable book, grounded in the most recent Bach scholarship but moving far beyond it, and explaining in wonderful detail the ideas on which Bach drew, how he worked, how his music is constructed, how it achieves its effects--and what it can tell us about Bach the man.
Gardiner's background as a historian has encouraged him to search for ways in which scholarship and performance can cooperate and fruitfully coalesce. This has entailed piecing together the few biographical shards, scrutinizing the music, and watching for those instances when Bach's personality seems to penetrate the fabric of his notation. Gardiner's aim is "to give the reader a sense of inhabiting the same experiences and sensations that Bach might have had in the act of music-making. This, I try to show, can help us arrive at a more human likeness discernible in the closely related processes of composing and performing his music."
It is very rare that such an accomplished performer of music should also be a considerable writer and thinker about it. John Eliot Gardiner takes us as deeply into Bach's works and mind as perhaps words can. The result is a unique book about one of the greatest of all creative artists.

Music history is nearly as old as human civilization itself, and while it has permeated the arts and popular culture for centuries, it still has a mystifying aura surrounding it. But fear not--it's not as complicated as it seems, and anyone can learn the origins and history of Western classical music.

In addition to learning how better to understand (and enjoy ) classical music, "The History of Classical Music For Beginners" will help you learn some of the more interesting and sometimes comical stories behind the music and composers. For example: Did you know that Jean-Baptiste Lully actually died from conducting one of his own compositions? You may have heard of Gregorian chant, but did you know there are many forms of chant, including Ambrosian and Byzantine chant? And did you also know that only a small portion of "classical music" is even technically Classical?

These interesting, insightful facts and more are yours to discover in "The History of Classical Music For Beginners."

(BH Piano). Convenient, value-priced complete package includes Authentic Editions of all four piano concertos as well as the famous Rhapsody on a Theme of Paganini.

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.

A tale of passion and obsession from a philosophy professor who teaches himself to play Bach on the piano. Dan Moller grew up listening to heavy metal in the Boston suburbs. But something changed when he dug out his mother's record of The Art of the Fugue, inexplicably wedged between 16 ABBA Hits and Kenny Rogers. Moller became fixated on Bach and his music, but only learned to play it for himself as an adult. In The Way of Bach, Moller draws us into the strange and surprisingly funny world of the composer and his scene. Did you know The Goldberg Variations contain a song about having to eat too much cabbage? Or that Handel nearly died in a duel he fought while conducting an opera? Along the way, Moller takes up such questions as, just what is so special about Bach's music? What can Americans-steeped in pop culture-learn from European craftsmanship? And why do some people see a connection between Bach's music and God? By turns witty and thought-provoking, Moller infuses The Way of Bach with insights into music, culture, and philosophy alike.

Music at German Courts serves to illustrate the extraordinary diversity of eighteenth-century German court music establishments without losing sight of what these Kapellen had in common. What was musical life at German courts really like during the eighteenth century? Were musical ensembles as diverse as the Holy Roman Empire's kaleidoscopic political landscape? Through a series of individual case studies contributed by leading scholars from Germany, Poland, the United States, Canada, and Australia, this book investigates the realities of musical life at fifteen German courts of varied size (ranging from kingdoms to principalities), religious denomination, and geographical location. Significant shifts that occurred in the artistic priorities of each court are presented through a series of "snapshots"- in effect "core sample" years - which highlight both individualand shared patterns of development and decline. What emerges from the wealth of primary source material examined in this volume is an in-depth picture of music-making within the daily life of individual courts, featuring a cast ofmusic directors, instrumentalists, and vocalists, together with numerous support staff drawn from across Europe. Music at German Courts serves to illustrate the extraordinary diversity of eighteenth-century German court music establishments without losing sight of what these Kapellen had in common. SAMANTHA OWENS is Associate Professor in Musicology at the University of Queensland, Brisbane, Australia. BARBARA M. REUL is Associate Professor of Musicology at Luther College, University of Regina, Canada. JANICE B. STOCKIGT is a Principal Fellow of the University of Melbourne, Australia. Contributors: DIETER KIRSCH, URSULA KRAMER, MICHAEL MAUL, MARYOLESKIEWICZ, SAMANTHA OWENS, RASHID-S. PEGAH, BAERBEL PELKER, BARBARA M. REUL, WOLFGANG RUF, BERT SIEGMUND, JANICE B. STOCKIGT, MICHAEL TALBOT, RUEDIGER THOMSEN-FUERST, ALINA ZORAWSKA-WITKOWSKA, STEVEN ZOHN

Nicholas Kenyon explores the enduring appeal of the classical canon at a moment when we can access all music-across time and cultures "Nicholas Kenyon is an amiable and enthusiastic guide to a thousand years of classical music."-Neil Fisher, The Times "A wonderfully engaging survey. . . . It is what every music lover needs close by. . . . We are left in no doubt about music's extraordinary power."-Ian Thomson, Financial Times Immersed in music for much of his life as writer, broadcaster, and concert presenter, former director of the BBC Proms Nicholas Kenyon has long championed an astonishingly wide range of composers and performers. Now, as we think about culture in fresh ways, Kenyon revisits the stories that make up the classical tradition and foregrounds those that are too often overlooked. This inclusive, knowledgeable, and enthusiastic guide highlights the achievements of the women and men, amateurs and professionals, who bring music to life. Taking us from pianist Myra Hess's performance in London during the Blitz, to John Adams's composition of a piece for mourners after New York's 9/11 attacks, to Italian opera singers singing from their balconies amidst the 2020 pandemic, Kenyon shows that no matter how great the crisis, music has the power to bring us together. His personal, celebratory account transforms our understanding of how classical music is made-and shows us why it is more relevant than ever.