Inspired by Canto V of the "Inferno" of Dante's "Divine Comedy," Tchaikovsky initially planned to create an opera on the subject but abandoned the idea in favor the present 24-minute fantasia for orchestra in 1876. Bearing all the hallmarks of the composer's late romantic style, "Francesca da Rimini" takes full advantage of the powerful orchestral forces employed. The first performance was given on March 9, 1877 in Moscow, with the RMS Orchestra conducted by Nikolay Rubinstein. This is a new, digitally enhanced reissue of the score originally published around 1900 in Leipzig by Ernst Eulenburg.

Unabridged reprint of the score issued in 1896 by Arthur P. Schmidt.

The fundamental characteristics of Chopin's style--the loose-textured, wide-meshed chords and arpeggios, the serpentine movements, the bold leaps--are exaggerated in the works of this group, and in their exaggeration become grotesque, and not unfrequently ineffective. These works show us, indeed, the composer's style in a state of fermentation; it has still to pass through a clearing process, in which some of its elements will be secreted and others undergo a greater or less change.

He was so entirely filled with the sentiments whose most perfect types he believed he had known in his own youth, with the ideas which it alone pleased him to confide to art; he contemplated art so invariably from the same point of view, that his artistic preferences could not fail to be influenced by his early impressions. In the great models and CHEFS-D'OEUVRE, he only sought that which was in correspondence with his own soul. That which stood in relation to it pleased him; that which resembled it not, scarcely obtained justice from him.

Arguments about musical aesthetics often degenerate into "shouting matches" that end in stalemate. In Breaking the Sound Barrier, John Winsor clears the air by presenting evidence that some works are, in fact, objectively better than others. This is a particularly timely issue because a great deal of bad music is being performed in American concert halls right now and a great deal of good music isn't. If you believe that qualitative judgment in the arts is purely subjective, this book should persuade you to rethink your position. If, on the other hand, you think there is a genuine qualitative difference between one musical work and another, this book will provide you with relevant ammunition. Winsor defines music, presents some empirical evidence from the field of music psychology, relates that evidence to events in Western music history, and explains what works and what doesn't - and why. He demonstrates that from the advent of notation to the present, music has, in fact, progressed and not merely changed. He then exposes some major errors in modernist and postmodernist writing that have disrupted music's progress and recommends remedial action for restoring the mainstream literary tradition.

Study Score. Reprint of the 1888 score issued in Boston by Arthur P. Schmidt. The first American symphony published in full score on a non-subscription basis, the Symphony No. 2 bears all of the hallmarks of Chadwick's uniquely American style.

This is a new, digitally enhanced reprint of the score originally published in 1911 by Durand et Cie., Paris. Originally composed in 1910 for piano solo, "Children's Corner" was scored for small orchestra the next year by Debussy's student and good friend Andre Caplet. This is the orchestral version most widely performed and recorded today. It is a brilliant example of early 20th century orchestral writing.

Among the world's instruments, the piano stands out as the most versatile, powerful, and misunderstood -- even by those who have spent much of their lives learning to play. In "Piano Notes, " a finalist for a 2003 National Book Critics Circle Award, Charles Rosen, one of the world's most talented pianists, distills a lifetime of wisdom and lore into an unforgettable tour of the hidden world of piano playing.

You'll read about how a note is produced, why a chord can move us, why the piano -- "hero and villain" of tonality -- has shaped the course of Western music, and why it is growing obsolete. Rosen explains what it means that Beethoven composed in his head whereas Mozart would never dream of doing so, why there are no "fortissimos" in the works of Ravel, and why a piano player's acrobatics have an important dramatic effect but nothing more. Ending on a contemplative note, "Piano Notes" offers an elegant argument that piano music "is not just sound or even significant sound" but a mechanical, physical, and fetishistic experience that faces new challenges in an era of recorded music. Rosen ponders whether piano playing will ever again be the same, and his insights astonish.

Someone has finally hit the entertainment jackpot in Las Vegas! This riveting and explosive tell-all book dives into the uncharted territory of Las Vegas entertainment politics.

The ultimate guide to classical composers and their music-for both the novice and the experienced listener

Music, according to Aaron Copland, can thrive only if there are "gifted listeners." But today's listeners must choose between classical and rock, opera and rap, and the choices can seem overwhelming at times. In The Essential Canon of Classical Music, David Dubal comes to the aid of the struggling listener and provides a cultural-literacy handbook for classical music. Dubal identifies the 240 composers whose works are most important to an understanding of classical music and offers a comprehensive, chronological guide to their lives and works. He has searched beyond the traditional canon to introduce readers to little-known works by some of the most revered names in classical music-Bach, Haydn, Mozart, Schubert-as well as to the major works of lesser-known composers. In a spirited and opinionated voice, Dubal seeks to rid us of the notion of "masterpieces" and instead to foster a new generation of master listeners. The result is an uncommon collection of the wonders classical music has to offer.

In a music business amply buffered against surprise, Danny Gatton swam stubbornly, from country, to gospel, rockabilly, soul, and standards. "Redneck Jazz" became Gatton's calling card for playing whatever and whenever he wanted. Hailed as the best unknown guitar player by both Rolling Stone and Guitar player magazines, he was a players' player who never received the popular acclaim he deserved. The struggle to reach a wider audience while staying true to his own muse proved to much for him to bear, and in 1994 he took his own life. Gatton's legend has only grown since his untimely death, along with appreciation for his blinding speed, effortless genre-hopping, flawless technique, and never-ending appetitie for tinkering and problem-solving. Unfinished Business places Gatton's musical contributions into context, as well as his influence on those peers who admired him most, including Albert Lee, Vince Gill, Arlen Roth, and Lou Reed.

El dialogo musical entre cada una de las voces de la orquesta, asi como el dialogo imaginario entre la musica y el oyente, conforman el punto central de las consideraciones de Nikolaus Harnoncourt sobre la cuestion musical desde que identifico este dialogo -que abrio nuevos horizontes a sus propios criterios interpretativos- como medio esencial de expresion para los compositores entre finales del siglo XVI y del XIX. En un extenso analisis de las grandes obras de Monteverdi y Bach, nos muestra como ese dialogo musical puede volver a expresarse hoy en la ejecucion musical. Harnoncourt rinde cuentas de como en sus audiciones intenta conseguir, mediante la musica, la transformacion intelectual del oyente pretendida por el compositor. En la parte correspondiente a Mozart, el musico y estudioso demuestra con importantes ejemplos que la musica de este, en esencia siempre dramatica y caracterizada por fuertes contrastes animicos, adolece de una interpretacion erronea a causa de versiones carentes de contrastes sonoros y dominadas por un sentido erroneo del equilibrio.

It was for stage bands, for dancing, and for a jiving mood of letting go. Throughout the nation swing re-sounded with the spirit of good times.

But this pop genre, for a decade America's favorite, arose during the worst of times, the Great Depression.

From its peak in the 1930s until bebop, r & b, and country swamped it after World War II, swing defined an American generation and measured America's musical heartbeat. In its heyday swing reached a mass audience of very disparate individuals and united them. They perceived in the tempers and tempos of swing the very definition of modernity.

A survey of the thirties reveals that the time was indeed the Swing Era, America's segue into modernity. What social structures encouraged swing's creation, acceptance, and popularity? "Swing, That Modern Sound" examines the cultural and historical significance of swing and tells how and why it achieved its audience, unified its fans, defined its generation, and, after World War II, fell into decline.

What fed the music? And, in turn, what did the music feed? This book shows that swing manifested the kind of up-to-date allure that the populace craved. Swing sounded modern, happy, optimistic. It flouted the hardship signals of the Great Depression. The key to its rise and appeal, this book argues, was its all-out appropriation of modernity--consumer advertising, the language and symbols of consumption, and the public's all-too-evident wish for goods during a period of scarcity.

As it examines the role of race, class, and gender in the creation of this modern music, "Swing, That Modern Sound" tells how a music genre came to symbolize the cultural revolution taking place in America.

A century of recording has fundamentally changed our experience of music-the way we listen to it and the way it is performed. This highly engaging book is the first thorough exploration of the impact of recording technology upon the art of music. Timothy Day chronicles the developments in recording technology since its inception and describes the powerful effects it has had on artistic performance, audience participation, and listening habits. He compares the characteristics of musical life one hundred years ago-before the phonograph-to those of today and offers a fascinating analysis of how performing practices, images of performers, the work of composers, and performance choices in concert halls and opera houses have changed. The book investigates the work of such great recording engineer-impresarios as Fred Gaisberg and Walter Legge; the recording history of conductors, orchestras, and soloists throughout the century; and the development of the great classical recording labels. Day also addresses a variety of questions raised by the study of recordings: What have people expected of a recorded performance? Do recordings constitute an art form in their own right? What is historical authenticity? What is moral authenticity? Are recordings that endow incompetent artists with flawless techniques somehow fraudulent? Why do artists re-record repertoire? This book will inform and engage a wide range of readers, from those who love music and recordings to performers and scholars and all readers with an interest in the social and artistic history of the twentieth century.

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.

A look at the contemporary blues scene of greater Boston, including dozens of interviews with musicians, blues radio DJs and photographers; regional festival listings; radio stations, and a brief history of the blues in Boston. (Music)

From electronic beeps to orchestral scores, video game music has truly arrived. Rapidly growing in popularity around the world, it looks set to play an important role in the future of classical music. This handy reference guide from Classic FM steers you through the evolution of video game music, from the arcade to mobile and interactive gaming, highlighting some of the best-loved composers and tracks, and exploring the hugely successful industry of bestselling recordings and sell-out concerts along the way. High quality soundtracks composed for video games have only been around for a few decades, but their popularity is fast becoming a global phenomenon. Packed full of essential information, this pocket-sized handbook explores the way the music has developed in step with gaming technology, as the once-niche genre increasingly enters the mainstream. Classic FM's Handy Guides are a fun and informative set of introductions to standout subjects within classical music, each of which can be read and digested in one sitting: a perfect collectible series whether you're new to the world of classical music or an aficionado.

Elvis Presley was never accused of a crime, but for years the FBI kept a file on Presley because of the crimes that went on in the background of his world: death threats made against him; a major extortion attempt while he was in the Army in Germany; complaints about his public performances, a mention of a paternity suit; the theft by larceny of an executive jet which he owned and the alleged fraud surrounding a 1955 Corvette which he owned. These formerly Top Secret Files show dramatically how the FBI and other law enforcement agencies had to react to crimes in Presley's world.

(Amadeus). The subjects of this third volume range from survivors of the so-called Golden Age of the 1890s, such as the formidable Lotte Lehman, to those whom the 20th century has bequeathed to the 21st, such as Cecilia Bartoli and Ian Bostridge. This is a personal selection that includes many of the great names, including Melchior, heldentenor of the century, and Gigli, the most popular Italian singer of his generation. The entire series (for this is the final volume) ends with a chapter on Caruso, still widely regarded as the greatest of all.Steane's critical essays seek out the special qualities of each singer and relate them to wider concerns in music and in life. His eloquent descriptions of the nuances of the vocal art are wonderful examples of the best kind of music appreciation. HARDCOVER.

Theory for Today's Musician, Third Edition, recasts the scope of the traditional music theory course to meet the demands of the professional music world, in a style that speaks directly and engagingly to today's music student. It uses classical, folk, popular, and jazz repertoires with clear explanations that link music theory to musical applications. The authors help prepare students by not only exploring how music theory works in art music, but how it functions within modern music, and why this knowledge will help them become better composers, music teachers, performers, and recording engineers. This broadly comprehensive text merges traditional topics such as part writing and harmony (diatonic, chromatic, neo-tonal and atonal), with less traditional topics such as counterpoint and musical process, and includes the non-traditional topics of popular music songwriting, jazz harmony and the blues. The accompanying companion website provides interactive exercises that allow students to practice foundational theory skills. Written by experienced authors, both active classroom teachers for many years, Theory for Today's Musician is the complete and ideal theory text to enable today's student to accomplish their musical goals tomorrow. Updated and corrected throughout, the Third Edition includes: Expanded coverage of atonality and serialism, now separated into two chapters. Broadened treatment of cadences, including examples from popular music. Substantially rewritten chapter on songwriting. Interactive features of the text simplified to two types, "Concept Checks" and "Review and Reinforcement," for greater ease of use. New and updated musical examples added throughout. Charts, illustrations, and musical examples revised for increased clarity. Audio of musical examples now provided through the companion website. The accompanying Workbook offers exercises and assignments to accompany each chapter in the book. A companion website houses online tutorials with drills of basic concepts, as well as audio. The paperback WORKBOOK is also paired with the corresponding hardback TEXTBOOK in a discounted PACKAGE (9780815371731).

Over the years, many examination pieces have captured the imagination of teachers and students, but the stars of past syllabuses are often forgotten. The Best of Grade 4 Violin brings together best-loved pieces from current and past syllabuses, including Hindu Song (Rimsky-Korsakov), Sometime Maybe (Wedgwood) and Fly me to the Moon (Howard). Containing fresh editions of folk and classical masterpieces alongside contemporary favourites, all pieces have been rigorously researched by violin expert Jessica O'Leary. Online audio of performance and accompaniment tracks are available, as are useful practice tips. This book includes pieces from current and past Trinity and ABRSM syllabuses. Jessica O'Leary has a successful career as a teacher, professional violinist, ABRSM examiner and seminar presenter. She has toured and recorded extensively as a member of the Academy of St Martin in the Fields, and has performed with Madonna, Led Zeppelin, the London Symphony Orchestra and the Royal Opera House. She teaches violin and viola and directs string ensembles at St Paul's Girls' School, Eltham College and Junior Guildhall London.