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.

(Boosey & Hawkes Scores/Books). New edition and engraving with detailed notes on the music. Includes ossias from the 1948 manuscript.

On March 10, 1948, world-renowned composer and pianist Ernst von Dohnanyi (1877 1960) embarked for the United States, leaving Europe for good. Only a few years earlier, the seventy-year-old Hungarian had been a triumphant, internationally admired musician and leading figure in Hungarian musical life. Fleeing a political smear campaign that sought to implicate him in intellectual collaboration with fascism, he reached American shores without a job or a home. A Wayfaring Stranger presents the final period in Dohnanyi's exceptional career and uses a range of previously unavailable material to reexamine commonly held beliefs about the musician and his unique oeuvre. Offering insights into his life as a teacher, pianist, and composer, the book also considers the difficulties of emigre life, the political charges made against him, and the compositional and aesthetic dilemmas faced by a conservative artist. To this rich biographical account, Veronika Kusz adds an in-depth examination of Dohnanyi's late works-in most cases the first analyses to appear in musicological literature. This corrective history provides never-before-seen photographs of the musician's life in the United States and skillfully illustrates Dohnanyi's impact on European and American music and the culture of the time.

Gabriel Faure's melodies offer an inexhaustible variety of style and expression that have made them the foundation of the French art song repertoire. During the second half of his long career, Faure composed all but a handful of his songs within six carefully integrated cycles. Faure moved systematically through his poetic contemporaries, exhausting Baudelaire's Les fleurs du mal before immersing himself in the Parnassian poets. He would set nine poems by Armand Silvestre in swift succession (1878-84), seventeen by Paul Verlaine (1887-94), and eighteen by Charles Van Lerberghe (1906-14). As an artist deeply engaged with some of the most important cultural issues of the period, Faure reimagined his musical idiom with each new poet and school, and his song cycles show the same sensitivity to the poetic material. Far more than Debussy, Ravel, or Poulenc, he crafted his song cycles as integrated works, reordering poems freely and using narratives, key schemes, and even leitmotifs to unify the individual songs. The Faure Song Cycles explores the peculiar vision behind each synthesis of music and verse, revealing the astonishing imagination and insight of Faure's musical readings. This book offers not only close readings of Faure's musical works but an interdisciplinary study of how he responded to the changing schools and aesthetic currents of French poetry.

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."

Essays by prominent scholars and organists examine the music of Franck and other nineteenth-century French organist-composers through stylistic analysis, study of compositional process, and exploration of how ideas about organ technique and performance-practice traditions developed and became codified. Nineteenth-century French organ music attracts an ever-increasing number of performers and devotees. The music of Cesar Franck and other distinguished composers-Boely, Guilmant, Widor-and the impact upon this repertoire of the organ-building achievements of Aristide Cavaille-Coll, are here explored through stylistic analysis, the study of the compositional process, and the exploration of how ideas about organ technique and performance practice traditions developed and became codified. New consideration is also given to the political and cultural contexts within which Franck and other French organist-composers worked. Contributors: Kimberley Marshall, William J. Peterson,Benjamin van Wye, Craig Cramer, Jesse E. Eschbach, Karen Hastings-Deans, Marie-Louise Jaquet-Langlasi, Daniel Roth, Edward Zimmerman, Lawrence Archbold, Rollin Smith

Richard Taruskin's sweeping collection of essays distills a half century of professional experience, demonstrating an unparalleled insider awareness of relevant debates in all areas of music studies, including historiography and criticism, representation and aesthetics, musical and professional politics, and the sociology of taste. Cursed Questions, invoking a famous catchphrase from Russian intellectual history, grapples with questions that are never finally answered but never go away. The writings gathered here form an intellectual biography that showcases the characteristic wit, provocation, and erudition that readers have come to expect from Taruskin, making it an essential volume for anyone interested in music, politics, and the arts.

Today's most famous cellists as well as up-and-coming talents are subjects of this extraordinary photographic reportage book. For years, Uta Ssse-Krause took pictures at festivals, workshops, competitions, rehearsals and concerts of performing cellists, newly discovered and established leading musicians. Her photographs capture the individuality of each cellist; all the photographs were taken live without any posing. This collection was taken from her own photo archives, and these were selected for their absolute authenticity ? portraying faces as the mirror of musical sentiment. As different as each cellist's state of mind may be, they all have one thing in common: unconditional dedication to their play.

(Vocal Collection). This all-in-one package includes the original Arias for Soprano book from the G. Schirmer Opera Anthology along with two accompaniment CDs AND the corresponding Diction Coach book/two CD set. Diction Coach includes recorded diction lessons, IPA, and word for word translations. In addition to piano accompaniments playable on both your CD player and computer, the enhanced accompaniment CDs also include tempo adjustment software for CD-ROM computer use.

Richard Taruskin's sweeping collection of essays distills a half century of professional experience, demonstrating an unparalleled insider awareness of relevant debates in all areas of music studies, including historiography and criticism, representation and aesthetics, musical and professional politics, and the sociology of taste. Cursed Questions, invoking a famous catchphrase from Russian intellectual history, grapples with questions that are never finally answered but never go away. The writings gathered here form an intellectual biography that showcases the characteristic wit, provocation, and erudition that readers have come to expect from Taruskin, making it an essential volume for anyone interested in music, politics, and the arts.

These studies, a series of short etudes designed to improve technique and musicianship, are intended to supplement or follow any elementary method.

This new edition of The Oxford Companion to Music is a comprehensive and authoritative reference work, which, like its famous predecessors, will be invaluable to both professional and amateur musicians, and general music lovers. A distinguished and international team of contributors covers a broad sweep of musical subjects, ranging from composers and performers to instruments and genres.

Community music projects always spread harmony... don't they? When players in Stockwell Park Orchestra fear they may be getting out of touch with the community, they invite children from two nearby schools to join them for a season. Supercilious, rich Oakdean College pupils have never mixed with the rough Sunbridge Academy kids, and when things go missing and rumours spread, the situation threatens to turn ugly. DCI Noel Osmar has to tread carefully: after all, he's off duty. Step forward, Carl the trombonist. Can music heal social rifts? Who has been stealing and why? And will the orchestra's newly-composed fanfare turn out to be fantastic... or farcical? Praise for The Stockwell Park Orchestra Series: "I was charmed... a very enjoyable read." Marian Keyes "Friendly insults between musicians, sacrosanct coffee-and-biscuit breaks, tedious committee meetings: welcome to the world of the amateur orchestra." BBC Music Magazine "...a witty and irreverent musical romp, full of characters I'd love to go for a pint with. I thoroughly enjoyed getting to know the Stockwell Park Orchestra and can't wait for the next book in the series." Claire King, author of The Night Rainbow "Sharp, witty and richly entertaining." Lev Parikian, author of Why Do Birds Suddenly Disappear? "With its retro humour bordering on farce, this novel offers an escape into the turbulent (and bonkers) world of the orchestra." Isabel Costello, author of Paris Mon Amour "...a very funny tale of musical shenanigans set in the febrile atmosphere of the Stockwell Park Orchestra" Ian Critchley

"What can be done about the state of classical music?" Lawrence Kramer asks in this elegant, sharply observed, and beautifully written extended essay. Classical music, whose demise has been predicted for at least a decade, has always had its staunch advocates, but in today's media-saturated world there are real concerns about its viability. "Why Classical Music Still Matters" takes a forthright approach by engaging both skeptics and music lovers alike.
In seven highly original chapters, "Why Classical Music Still Matters" affirms the value of classical music--defined as a body of nontheatrical music produced since the eighteenth century with the single aim of being listened to--by revealing what its values are: the specific beliefs, attitudes, and meanings that the music has supported in the past and which, Kramer believes, it can support in the future.
"Why Classical Music Still Matters" also clears the air of old prejudices. Unlike other apologists, whose defense of the music often depends on arguments about the corrupting influence of popular culture, Kramer admits that classical music needs a broader, more up-to-date rationale. He succeeds in engaging the reader by putting into words music's complex relationship with individual human drives and larger social needs. In prose that is fresh, stimulating, and conversational, he explores the nature of subjectivity, the conquest of time and mortality, the harmonization of humanity and technology, the cultivation of attention, and the liberation of human energy.

The next step for students who have completed the advanced level method for their instrument. The full-page etudes in this series, key-centered and supported by scale and arpeggio exercises, take the student to that next level of performance wherein their accumulated skills allow them to play full-length performance pieces with a high level of musicianship and competence. As such, many states include these pieces in their all-state audition lists.

WE SANG BETTER consists of two volumes of very clear advice about singing from great singers of the past. Volume 1 (ISBN 978-84-940477-8-7) is entitled How we sang and contains 250 tips on how to sing from singers 1800 to 1960. This volume is 490 pages long, and contains 130 illustrations. Tamagno never scooped his notes - so said star soprano Amelita Galli-Curci of the famous tenor. In the two volumes of We Sang Better, 200 of the greatest singers explain their art in over 70,000 of their own words. In Volume 1 the singers show you their approach, their ideals, and how they learnt to sing. Anderson arranges their evidence coherently, in easily followed tips. Their advice was uniform - work patiently on developing your own natural voice, with no forcing. The singers then provide the details by which you grow your voice and acquire a firm but flexible technique. Finally you will have a singing voice that is: personal beautiful easy accurate true on the note, and carries well in a large hall with clear diction & the ability to move your audience. As Verdi said, any art worthy of the name must be natural, spontaneous and simple. These singers explain how they kept to this ideal, staying clear of scientific 'discoveries', over-muscularity, and teachers with set 'methods'. These singers worked with Rossini, Donizetti, Bellini, Auber, Meyerbeer, Weber, Schubert, Mendelssohn, Liszt, Verdi, Wagner, Brahms, Gounod, Massenet, Debussy, Puccini, Strauss, Elgar, etc & kept to nearly all the recommendations that came from the castrati in the previous two centuries. 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 second volume (ISBN 978-84-940477-9-4) is entitled Why it was better and contains further evidence & reasoning from singers 1800 to 1960. Volume 2 is 260 pages long and has 20 illustrations.