This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ The Messiah: Oratorio; G. Schirmer's Editions Of Oratorios And Cantatas George Frideric Handel Thomas Tertius Noble null null Charles Jennens G. Schirmer, 1912 Music; Genres & Styles; Classical; Music / Genres & Styles / Classical; Oratorios

Sergei Rachmaninoff was the solo pianist for the world premiere of his third concerto, renowned as one of the most challenging in the entire piano repertoire, in New York on November 28, 1909 with the New York Symphony conducted by Walter Damrosch. The score reproduced here is an authoritative Soviet edition produced sometime after the composer's death. 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.

Much music was written for the two most important dances of the 18th and 19th centuries, the minuet and the waltz. In Decorum of the Minuet, Delirium of the Waltz, Eric McKee argues that to better understand the musical structures and expressive meanings of this dance music, one must be aware of the social contexts and bodily rhythms of the social dances upon which it is based. McKee approaches dance music as a component of a multimedia art form that involves the interaction of physical motion, music, architecture, and dress. Moreover, the activity of attending a ball involves a dynamic network of modalities sight, sound, bodily awareness, touch, and smell, which can be experienced from the perspectives of a dancer, a spectator, or a musician. McKee considers dance music within a larger system of signifiers and points-of-view that opens new avenues of interpretation."

Dedicated to James Causley Windram, Holst's second suite inspired by English folk music was composed in 1911. The folk tunes quoted include "Glorishears," "Swansea Town," "Claudy Banks," "I'll Love My Love," "The Dargason" and "Greensleeves." Based upon the composer's manuscript and the first edition of 1922, this new edition by Richard Sargeant - beautifully engraved at an affordable price in a convenient size - will be much appreciated by bands and wind ensembles, students, and admirers of Holst's unique music worldwide.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Norma: A Grand Lyrical Tragedy In Two Acts As Performed By The Italian Opera Company At The Howard Athenaeum, Boston, May, 1847 Vincenzo Bellini, Felice Romani Herald Book & Job Office, 1847 Music; Genres & Styles; Opera; Music / Genres & Styles / Opera; Operas

Song cycles for voice and piano by composers Murray Boren, Daniel Bradshaw, Harriet Petherick Bushman, Charis Bean Duke, Lansing McLoskey, and David H. Sargent to poetry by Glen Nelson, Lance Larsen, Susan Howe, Will Reger, Javen Tanner, and Elaine E. Craig. Published by Mormon Artists Group.

Intended for the music student, the professional musician, and the music lover, "Chamber Music: An Essential History" covers repertoire from the Renaissance to the present, crossing genres to include string quartets, piano trios, clarinet quintets, and other groupings. Mark A. Radice gives a thorough overview and history of this long-established and beloved genre, typically performed by groups of a size to fit into spaces such as homes or churches and tending originally toward the string and wind instruments rather than percussion. Radice begins with chamber music's earliest expressions in the seventeenth century, discusses its most common elements in terms of instruments and compositional style, and then investigates how those elements play out across several centuries of composers- among them Mozart, Bach, Haydn, and Brahms- and national interpretations of chamber music. While "Chamber Music: An Essential History" is intended largely as a textbook, it will also find an audience as a companion volume for musicologists and fans of classical music, who may be interested in the background to a familiar and important genre.

This is a facsimile of volume 1 of the first edition in 1773. ISBN 978-1-84955-065-9. . Volume 2 is available as a matching pair, 978-1-84955-067-3. . Both volumes have also been reprinted as one book which makes it slightly cheaper, 978-1-904331-58-2. .

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

Composed in 1914, Ravel's sole work for the classical ensemble of piano, violin and cello was first heard in Paris at the Salle Gaveau on January 28, 1915, with Alfredo Casella on the piano, Gabriel Willaume on violin and Louis Feuillard on cello. The work was quickly recognized as a worthy addition to an already wealthy repertoire and remains popular today. The score reproduced here was first issued in 1915 by Durand. 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.

Antony Hopkins was most instrumental in opening up classical music to a wider audience. To celebrate his 90th birthday in 2011 (21st March, same date as Bach but different year) we are republishing some of his works.

THIS 18 PAGE ARTICLE WAS EXTRACTED FROM THE BOOK: Stories Behind the World's Great Music, by Sigmund Spaeth. To purchase the entire book, please order ISBN 1419113313.

A hilarious collection of musical definitions by David W. Barber, the internationally bestselling author of Bach, Beethoven and the Boys. With illustrations by Dave Donald. An offbeat and irreverent compendium, from Aida to Zzzz. With a preface by Yehudi Menuhin.

New, digitally-enhanced reprint of the full score issued by Bossey & Co., London in 1901, the same year Elgar conducted the world premiere of this sparkling concert overture. Subtitled "In London Town," Cockaigne has been an audience favorite ever since. An outstanding value for students, conductors, librarians and Elgar aficionados everywhere.

John Foulds was born in Manchester in 1880. The son of a bassoonist in the Halle Orchestra, he composed copiously from childhood. Initially an orchestral 'cellist, he soon left the Halle to concentrate on composition. His first successes were in light orchestral music, but he later turned to more serious idioms, finding great acclaim with his A World Requiem (1919-21), composed in memory of the war dead of all nations. In 1935 he travelled to India, where he developed an interest in its music and was also appointed Director of European Music at All-India Radio, Delhi. He died suddenly from cholera in 1939. His study of contemporary music and its sources of inspiration, Music To-day, published in 1934, declared his intellectual openness to the whole gamut of modern techniques, which he absorbed and employed as the context required. His most admired contemporaries included Busoni, Scriabin and Bartok; among English-speaking composers his output has affinities with Grainger and Holst. The book begins with a conversation between a Musician of Former Times and a Musician of Today, who discuss three fragments of music that are printed at the head of the chapter (all from Foulds' own compositions). The Musician of Former Times, scratching his head over examples of polytonality, atonality and the use of microtones concludes "Well, although interesting, it is all rather confusing.... and I still wish that composers would say what they have to say in terms which I can understand." In response the Musician of Today quotes Berlioz "Music nowadays, in her vigorous youth, is free, is emancipated and can do what she pleases ... new needs of the mind, of the heart and of the sense of hearing, make necessary new endeavours." Thereafter the book veers dizzyingly from modality to Eastern mysticism by way of abstruse theorizing about the "ensouling of music" and an art of the future that would be perceived by all senses at once. Foulds concludes by quoting the Swiss philosopher Henri Frederic Amiel: "Music is harmony, harmony is perfection, perfection is our dream, and our dream is heaven."

Undertaken To Collect Materials For A General History Of Music. Due to the very old age and scarcity of this book, many of the pages may be hard to read due to the blurring of the original text.

Undertaken To Collect Materials For A General History Of Music. Due to the very old age and scarcity of this book, many of the pages may be hard to read due to the blurring of the original text.

Undertaken To Collect Materials For A General History Of Music. Due to the very old age and scarcity of this book, many of the pages may be hard to read due to the blurring of the original text.

Florence May studied under Brahms, which made her well positioned to write his biography. The second edition, revised by the author with additional matter and illustrations, was written in the 1910s but was not published till 1948, many years after the author's death.

Antony Hopkins was most instrumental in opening up classical music to a wider audience. To celebrate his 90th birthday in 2011 (21st March, same date as Bach but different year) we are republishing some of his works.

David W. Barber has delighted readers around the world with Accidentals on Purpose, When the Fat Lady Sings and other internationally bestselling books of musical humor. His bestselling Bach, Beethoven and the Boys chronicles the lives of the great (and not-so-great) composers as you've never read them before - exploring their sex lives, exposing their foibles and expanding on our understanding of these all-too-human creatures. Filled with information, interesting facts and trivia, this hilarious history covers music from Gregorian chant to the mess we're in now. From Bach's laundry lists to Beethoven's bowel problems, from Gesualdo's kinky fetishes to Cage's mushroom madness, Barber tells tales out of school that ought to be put back there. (Think how much more fun it would be if they taught this stuff.) As always, Dave Donald had provided witty and clever cartoon illustrations to accompany the text.