Where would classical music be without the orchestra? Whether they are of the symphony or chamber variety, every orchestra is made up of a group of musicians playing together as one body to bring the music of the great composers to life. This handy reference guide from Classic FM takes you on a whistle-stop tour of the greatest orchestras at home and abroad, stopping off to explore the world of orchestral instruments, as well as making plenty of musical recommendations along the way. The orchestra is one of the cornerstones of classical music, beloved of music lovers around the world. Packed full of essential information, this pocket-sized handbook explores the make-up and functions of the different sections, from strings to percussion, as well as some of the greatest orchestras around the world and the incredible music that they perform. 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.

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.

Contents: 1. Magnificat Anima Mea (Coro) 2. Et Exultavit (Aria) 3. Quia Respexit (Aria) 4. Omnes Generationes (Coro) 5. Quia Fecit Mihi Magna (Aria) 6. Et Misericordia (Duetto) 7. Fecit Potentiam (Coro) 8. Deposuit (Aria) 9. Esurientes (Aria) 10. Suscepit Israel (Terzetto) 11. Sicut Locutus (Coro) 12. Gloria Patri (Coro) Unabridged digitally enhanced reprint of the vocal score prepared by musicologist Karl Straube and published by C.F. Peters, Leipzig in the late 19th century. Bach composed the initial version in E flat in 1723 for the Christmas Vespers in Leipzig which contained several Christmas texts. Over the years he removed the Christmas-specific texts to make it suitable for year-round performance, transposing it into D major to provide better sonority for the trumpets. The work is divided into twelve parts which can be grouped into three movements, each beginning with an aria and completed by the choir. This large-format, easy-to-read vocal score, a welcome addition to the libraries of choruses and orchestras everywhere, is completely compatible with the widely available orchestra material reprinted by E. F. Kalmus.

This is the ultimate source for these beloved piano preludes by Debussy, in a newly engraved and researched critical edition from Durand, the original publisher of this music. This is the paperback edition based on the hardbound Complete Works of Claude Debussy. Includes a foreword in French and English. Printed on quality, ivory-colored stock, the book has a sewn binding for life-long use.

The film 'Scott of the Antarctic' was produced by Ealing Studios and released in 1948. It recounts Robert Falcon Scott's ill-fated second expedition to the Antarctic in 1910-1913. The film is well-known for its score, composed by Vaughan Williams, which was later reworked to create his Sinfonia Antartica. Vaughan Williams's original score for the film was heavily edited in the studio and halved in length in order to create the final edit. It is now presented in its full, unedited form, assembled by the conductor Martin Yates, allowing listeners to hear the full grandeur of the composer's original for the first time. A recording of the work is available on the Dutton Epoch record label.

Redefining Music Studies in an Age of Change: Creativity, Diversity, Integration takes prevailing discourse about change in music studies to new vistas, as higher education institutions are at a critical moment of determining just what professional musicians and teachers need to survive and thrive in public life. The authors examine how music studies might be redefined through the lenses of creativity, diversity, and integration. which are the three pillars of the recent report of The College Music Society taskforce calling for reform. Focus is on new conceptions for existent areas-such as studio lessons and ensembles, academic history and theory, theory and culture courses, and music education coursework-but also on an exploration of music and human learning, and an understanding of how organizational change happens. Examination of progressive programs will celebrate strides in the direction of the task force vision, as well as extend a critical eye distinguishing between premature proclamations of "mission accomplished" and genuine transformation. The overarching theme is that a foundational, systemic overhaul has the capacity to entirely revitalize the European classical tradition. Practical steps applicable to wide-ranging institutions are considered-from small liberal arts colleges, to conservatory programs, large research universities, and regional state universities.

Domenico Cimarosa's Three Sonatas (No.12, No.23 and No.29) have been arranged here for solo guitar by Julian Bream. Originally written for harpsichord, they feature expressive melodies characteristic of the Neapolitan style.

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 I provides a comprehensive exploration of the period's rich and varied repertoire. Volume I covers the basics of choosing a violin, techniques to produce an ideal sound, and sonatas by Vivaldi and Corelli. 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 I: A Fifty-Lesson Course will enhance performances of professional and amateur musicians alike.

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.

Exercises for the left hand and bow. Trills, Scales, Arpeggios, Double stopping etc. * 1st Part: Exercises in the neck positions * 2nd Part: Exercises in the whole compass of the cello * 3rd Part: Exercises in the thumb positions * 4th Part: Double stopping * 5th Part: Bowing Exercises * Examples from each of the five parts should be studied daily. The exercises should be practised slowly at first gradually increasing the speed. Care should be taken that they are played very evenly.

Using an approach to music informed by T. W. Adorno, this book examines the real-world, political significance of seemingly abstracted things like musical and literary forms. Re-assessing music in James Joyce, Ezra Pound and Sylvia Townsend Warner, this book re-shapes temporal, aesthetic and political understandings of modernism, by arguing that music plays a crucial role in ongoing attempts to investigate language, rational thought and ideology using aesthetic forms.

for SATB and organ or brass quartet and timpani Eleanor Daley sets this Wesley text in an antiphonal style between the SATB choir and organ (or brass quartet, parts available separately). The sound is majestic and declamatory, just as one would expect from an Easter fanfare, with a hint of modal harmony, resulting in a strong and accessible Eastertide anthem.