Musical score to Pyat Pesen (for Solo Voice, unaccompanied), by avant-garde composer Dawn K. Williams. This set of five songs, settings of works by the 19th-century Russian poet Mikhail Lermontov, may be sung by any voice type and in any order. Features Morskaya Tsarevna (The Sea Princess), a personal favorite of the composer. Includes program note, text translations, and performer instructions. Difficulty level: Virtuosic. Duration: 20-25 minutes. - COMPOSER AUTHORIZED SCORE - www.dawnkwilliams.com

Accomplished pianist and dedicated teacher Fred Kronacher, takes readers on an illuminating tour; from his early experiences at the piano on through a life as music student, Greenwich Village street busker, ballet accompanist, concert pianist, piano teacher, and general music lover. These colorful, affecting stories explore the universal themes of growing up, friendship, romance, tragedy, comedy, and above all, a life-affirming quest for harmony and understanding. It is a book that brings together music, beauty, discipline, humor, loss, and loving service. This charming memoir, comprising twenty-two true stories, leads the reader into the fascinating world of classical music. These tales are by turns amusing, poignant, reflective, dramatic, funny, and profound. Reaching beyond the millions of people who study music, parents with children learning to play, and anyone who has ever had an interest in the piano, Piano Variations is a great read for those among us who simply love music.

Musical scores to two drumming works by avant-garde composer Dawn K. Williams. Nunya (for two African drums) is based on African drumming rhythms, and the performers shout the words of an Akan proverb. Kamu Balni (for singer and any type of ethnic drum) features traditional West African rhythms and extended vocal techniques. Includes program notes, text translations, and performer instructions. Difficulty level for both pieces: Hard (professional). Nunya duration: 7 minutes; Kamu Balni duration: 10 minutes. - COMPOSER AUTHORIZED SCORES - www.dawnkwilliams.com

Musical score to Huwuld Nyui, for Mezzo-Soprano or Baritone and Two Percussionists, by avant-garde composer Dawn K. Williams. The work is a setting of a Pima poem by Ha-ata, a song to the wind. Includes program note, text translation, and performer instructions. Difficulty level: Hard (professional). Duration: 12 minutes. - COMPOSER AUTHORIZED SCORE - www.dawnkwilliams.com

Long admired for his interpretation of Bach's six Sonatas and Partitas for unaccompanied violin, Jaap Schroeder, a leading international soloist, here provides a detailed but informal guide to their performance. Bach's sublime solo violin works have long been central to the baroque music repertoire. No serious violinist can avoid studying them, and few concert artists can resist the temptation of performing them. This is a book for advanced students and performers. Using it is an experience akin to a master class conducted by a uniquely accomplished practitioner. The text is devoted almost entirely to practical matters-bowing, phrasing, ornamentation, tempi, and so on. Schroeder strongly recommends the use of a baroque violin and, especially, baroque bow, but his interpretive insights and suggestions are equally applicable to modern violinists.

Dvorak had long refused the repeated requests for a cello concerto from his friend, the renowned cellist Hanus Wihan (1855-1920) until he attended the premiere of Victor Herbert's second concerto in New York in the fall of 1894 during his tenure as director of the National Conservatory. The second movement of Herbert's concerto was in B minor, which might have been a factor in Dvorak's choice of the same key for his own concerto, which was started in New York on November 8, 1894 and completed on February 8 of the following year. Despite the dedication to Wihan, the first performance was given by the English cellist Leo Stern in London's Queen's Hall on March 19, 1896 with the composer conducting the London Philharmonic. This new study score is a reprint of the critical edition prepared by Fratisek Bartos for the Collected Works issued by the Czech State Publisher in 1955. Unlike so many of the on-demand scores now available, this one comes with all the pages and the images have been thoroughly checked to make sure it is readable. As with all PLP scores a percentage of each sale is donated to the amazing online archive of free music scores and recordings, IMSLP - Petrucci Music Library.

The first of four late tone poems inspired by "Bouquet," a collection of ballads by Karel Jaromir Erben based upon Czech folklore, the Water Goblin was composed from January 6 to February 11 of 1896. The folk legend concerns a horrific tale about a water goblin who pulls a girl beneath a lake when she ventures too close, fathers a child with her and ultimately murders the child when the girl attempts to escape his watery lair. The four tone poems, with their connections to Czech folklore, were awarded first prize by the Czech Academy of Sciences and Arts in 1899. This new study score is a digitally enhanced reissue of the full score first published in 1958 by the Czech State Publishers as part of the Dvorak collected works, edited by Antonin Cubr. Unlike so many of the on-demand scores now available, this one comes with all the pages and the images have been thoroughly checked to make sure it is readable. As with all PLP scores a percentage of each sale is donated to the amazing online archive of free music scores and recordings, IMSLP - Petrucci Music Library.

The third of the four late tone poems inspired by "Bouquet," a collection of ballads by Karel Jaromir Erben based upon Czech folklore, the Noon Witch was composed from January 11 to February 27 of 1896 and formally premiered in London on November 21 of that year under the baton of HHenry Wood. This new study score is a digitally enhanced reissue of the full score first published in 1958 by the Czech State Publishers as part of the Dvorak collected works, edited by Jarmil Burghauser. Unlike so many of the on-demand scores now available, this one comes with all the pages and the images have been thoroughly checked to make sure it is readable. As with all PLP scores a percentage of each sale is donated to the amazing online archive of free music scores and recordings, IMSLP - Petrucci Music Library.

The composer worked on this symphonic poem from January to April of 1896. The title refers to a Czech folk ballad in which a king falls in love with Domicka while riding and requests his step-mother to bring the young woman back to his castle. The evil step-mother and her daughter kill the hapless girl, with the daughter disguises herself as Domicka, marrying the king just before his departure to war. A magician finds Domicka's remains in the forest and tricks the false bride to give up the missing part of Domicka's remains in return for a Golden Spinning Wheel. The work was premiered in London on October 26, 1896 with Hans Richter conducting the London Symphony. This new study score is a digitally enhanced reissue of the full score first published in 1958 by the Czech State Publishers as part of the Dvorak collected works, edited by Jarmil Burghauser. Unlike so many of the on-demand scores now available, this one comes with all the pages and the images have been thoroughly checked to make sure it is readable. As with all PLP scores a percentage of each sale is donated to the amazing online archive of free music scores and recordings, IMSLP - Petrucci Music Library.

Composed for the Norfolk and Norwich Festival, Sea Pictures was heard for the first time on October 5, 1899 with also Clara Butt accompanied by the Festival Orchestra under the composer's direction. Elgar chose a five poems from five authors, including his wife (who provided the words for the second song). This new vocal score is a digitally enhanced reissue of the one first published in late 1899 by Boosey & Co., London. Unlike so many of the on-demand scores now available, this one comes with all the pages and the images have been thoroughly checked to make sure it is readable. As with all PLP scores a percentage of each sale is donated to the amazing online archive of free music scores and recordings, IMSLP - Petrucci Music Library.

In these three librettos, Philippe Quinault turns from classical opera to medieval legends--Renaud and Armida, Amadis and Oriana, and Angelica and Roland--exploring the tensions between love and glory. As usual, the dramatist relates his stories deftly with classic simplicity. In these adaptions of traditional medieval stories of romance, enchantment, monsters, and magic, either the heroine (Armida or Angelica) loves the hero she should hate, or the hero falls for an enemy enchantress, and has to be rescued from her clutches. The love "cure" is usually effected by means of magic or through the intervention of a fairy. Great entertainment from early French literature

Eric Coates, Haydn Wood, Albert Ketelbey, Alfred Reynolds, Hubert Bath, Billy Mayerl, Richard Addinsell and many more. British light music, immensely tuneful and always well crafted, was enormously popular in the early to mid-twentieth century. It has been largely ignored by music dictionaries and serious critics, yet for so long it played an important part in the lives of millions. Not only have changing fashions pushed it into the background, but many of the institutions which nourished it - theatre orchestras, resort orchestras, salon orchestras of all kinds, ballad concerts and of course the BBC - have largely disappeared, changed out of all recognition, or lost interest. Some of its sub-genres, especially brass and symphonic band music and film and television music, still hold up well and there are other signs that interest in light music generally is steadily reviving. This completely reset edition of a major work on the subject, by a life-long enthusiast for the genre, containing short essays on many of the field's most celebrated composers, will help to lead the way. Ernest Tomlinson, doyen of living light music composers, contributes a thoughtful and challenging Foreword.

Beethoven's Opus 59, Number 2 is the first of three quartets written for a commission by Prince Andreas Razumovsky, who was Russian Ambassador to Vienna at the time. The work comes just six years after the last of Beethoven's early quartets, yet shows a significant difference in style - and in length, with performance times of over 40 minutes common for the quartet. This edition is a Pocket Score, designed for ease of use in rehearsals or in studying the work. Its compact size allows for easy transport in your case.

"Pure gold." thus the New York Times described the playing of Leonard Rose, the most successful American-born cellist of his generation. Rose's knowledge of the instrument was unsurpassed. Every phrase of every piece he recorded-his legacy-continues to sparkle with meaning. His Beethoven and Brahms were noble in style, favoring huge dynamic contrasts and rhythmic freedom. His Schumann and Schubert each had a semblance of epic beauty. His Bach could be transcendently romantic and powerful. His signature concerti had a consistency, accuracy, and no-nonsense approach. And, notably, he performed works by living American composers, a tendency many of his peers shunned. This book examines the multifaceted American cellist and the classical music context that dominated Rose's twentieth century. Professionally, the era during which he achieved greatness and the direction he chose to pursue could not have been musically richer. While Leonard Rose is a more than worthy solo biographical subject, he felt that the story of his inordinate contact and collaboration with his era's most renowned musicians was especially valuable for posterity. So my aim in this volume was to showcase Rose among the countless musical figures he affected and those who affected him.

Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

This is the second, revised edition. . NB. This is Vol. 2 onyly 978-1-84955-105-2. . Vol.1 is 978-1-84955-103-8. . Your customer may prefer to buy the two volumes as one book 978-1-84955-035-2. .

This is a facsimile of the CUP 1921 edition of Part iii - The Hymns and Hymn Melodies of the Organ works.

This is a facsimile of the the CUP 1917 edition of Part ii of Bach's Chorals - The Hymns and Hymn Melodies of the Cantatas and Motetts. Walter Emery said that his biography of Bach was "the only one that is both detailed and readable."

This is a facsimile reprint of the CUP edition of 1915.

Over the past quarter century, music studies in the academy have their postmodern credentials by insisting that our scholarly engagements start and end by placing music firmly within its various historical and social contexts. In Music and the Politics of Negation, James R. Currie sets out to disturb the validity of this now quite orthodox claim. Alternating dialectically between analytic and historical investigations into the late 18th century and the present, he poses a set of uncomfortable questions regarding the limits and complicities of the values that the academy keeps in circulation by means of its musical encounters. His overriding thesis is that the forces that have formed us are not our fate.

Beethoven's String Quartet No. 5 (Opus 18, No. 5), is part of the set of 6 quartets that Beethoven wrote between 1798 and 1800. This is the Performer's Edition of the quartet, with clean print and easy to read markings designed for the performer. This version is a pocket score, sized at approximately half a standard sheet of paper for easy transport and use for performing musicians and students.

WE SANG BETTER consists of two volumes of very clear advice about singing from great singers of the past. Volume 2 (ISBN 978-84-940477-9-4) is entitled Why it was better and contains further evidence and reasoning from singers 1800 to 1960. This volume is 260 pages long, and contains 20 illustrations. One very important thing right from the start, said Puccini s star soprano Maria Jeritza, - not to scream and not to force. As Volume 1 made clear, the best singers of this period approached their art and their training gently. They built slowly upon the individual voice granted by nature. Volume 2 gives further proof that many of these singers knew exactly what they were doing and why. They were highly aware that singing can go wrong. But they said if you wanted superlative singing you had to keep approaching it their way. You would never master supreme singing: if you put your trust in scientific discoveries or fixes; if you rushed your training or forced; or if you tried to copy some academic style . The original Italian model for singers was uncomplicated: the aim was to be natural, spontaneous and simple. And, as Puccini added, We Italians love beauty of sound. This volume takes evidence from the singers on dozens of topics such as: pressure, exercises, forward, dans le masque, covering, from the chest, voix sombr e, portamento, attack, vowel modifications, support, golden ages, keeping up with instrumentalists, listening to others, performances of early music, etc - and also on the question of whether singing is a science, an art, or even something more - something spiritual. 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 first volume (ISBN 978-84-940477-8-7) is entitled How we sang and contains 250 tips on how to sing from singers 1800 to 1960; the first volume is 490 pages long, and contains 130 illustrations.