This reference work catalogs music for organ and harpsichord written by more than 700 women composers from 40 countries. Compiler Adel Heinrich has expanded the organ and harpsichord repertoire to include choir and instruments accompanying organ and harpsichord. She provides more detailed information about each work than can be found in any other reference book on women composers. In addition to biographies for each woman, Heinrich supplies listings of individual compositions, and includes descriptions and sources whenever possible. Each composition is listed in both the Instrumentation Index and the Title Index. Publishers, library sources, and recording companies with their addresses are also provided. There is also a chronological listing of composers by country. Two appendices list a large number of women who have either written music for organ and harpsichord with no specific titles known, or have performed on one or both instruments. This reference book is a valuable resource for organists, harpsichordists, teachers, choral and instrumental conductors, and planners of festivals and recitals.

In this book, Ronald Ebrecht has meticulously studied each of Durufle's works and put together the first book to discuss in detail all of Durufle's music. With encouragement from Durufle's editor and the foundation established in his name, Ebrecht has compiled copious examples from manuscript sources to be published for the first time along with the little-known contextualizing works of Messiaen and Barraine. Most widely known for his masterpiece Requiem, the composer's orchestral gems are analyzed alongside his delightful miniature: the orchestration of the Sicilienne. The organ works which set the standard for virtuosity at conservatories around the world are given new insightful and thorough evaluation by Ebrecht, whose long association with late 19th and early 20th century France and French music affords illuminating connections between Durufle and his predecessors and successors with sweeping insight and minute detail.

The solos in Romantic Sketches, Book 2, will delight pianists who favor the Romantic style. Playing with musical expression is an important skill used in making music and is much more than just playing the notes on the printed page. Music written in the Romantic style is the perfect choice for developing this skill. These short, musical sketches will encourage students to play with nuance and sensitivity. Titles: Elegant Waltz * Elizabeth's Ballad * An Evening in Paris * Graceful Ballet * Interlude * The Magic Garden * Song of Peace * Young at Heart * Prelude in D Major * Romance

Growing up in Huntsville, Alabama, during the first quarter of the 20th century, Alabama-born organist and composer Lee Orville Erwin, like many of the 20th century s great American composers, spent time studying in Paris. From 1930 until 1931 Erwin studied in France with organist Andre Marchal and the harmony teachers Jean Verd and Nadia Boulanger. This formative experience greatly shaped his compositional style and aesthetic. Upon returning to the United States, Erwin began his lengthy career in radio and television working with Arthur Godfrey. In 1967, Erwin was commissioned by the American Theater Organ Society to compose organ music for the Gloria Swanson film Queen Kelly. It was this film that led his career back into the consoles of the great American theater organs. He toured extensively, playing thousands of concerts of organ music during silent film showings. He thus ushered in the silent film revival, continuing the genre of live music performance accompanying film. Erwin, believing that cue sheets originally compiled for these films during the silent film era were full of the musical cliche s of the 1920s, composed new scores to over 100 silent films. An American Organist in Paris presents Lee Orville Erwin's letters from France to his family in 1930-1931. In these letters, Erwin recounts his daily experiences and encounters with some of the 20th century's greatest musicians and teachers. He writes of his lessons with Marchal, Verd, and Boulanger and dinner parties with Olivier Messiaen. Erwin's letters not only provide the singular experiences of a young musician but also reflect the common experiences shared by the multitude of American composers who studied in France during this time. These letters are extensively footnoted to provide clarity and background information of the locations and personalities discussed. A biographical chapter on Erwin, which outlines his extensive musical career and impact on the silent film music revival in the 20th century, is also included. This book will serve as a unique glimpse into the life of one of America's most prolific composers for the theater organ.

The 60 exercises by C. L. Hanon, The Virtuoso Pianist, are a classic textbook of technical training widely used by piano students, teachers and professionals.

However, in the hundred years or so that have elapsed since these exercises first appeared, the technical demands made on students and pianists have enormously changed and developed.

Therefore, the famous two-piano team of Gold and Fizdale has attempted to bring Hanon's exercises up-to-date. It is hoped that Hanon Revisited will serve students and pianists as a preparation for the increasingly complicated technical requirements of present-day piano performance and study.

Music theory is often seen as independent from - even antithetical to - performance. While music theory is an intellectual enterprise, performance requires an intuitive response to the music. But this binary opposition is a false one, which serves neither the theorist nor the performer. In Interpreting Chopin Alison Hood brings her experience as a performer to bear on contemporary analytical models. She combines significant aspects of current analytical approaches and applies that unique synthetic method to selected works by Chopin, casting new light on the composer's preludes, nocturnes and barcarolle. An extension of Schenkerian analysis, the specific combination of five aspects distinguishes Hood's method from previous analytical approaches. These five methods are: attention to the rhythms created by pitch events on all structural levels; a detailed accounting of the musical surface; 'strict use' of analytical notation, following guidelines offered by Steve Larson; a continual concern with what have been called 'strategies' or 'premises'; and an exploration of how recorded performances might be viewed in terms of analytical decisions, or might even shape those decisions. Building on the work of such authors as William Rothstein, Carl Schachter and John Rink, Hood's approach to Chopin's oeuvre raises interpretive questions of central interest to performers.

The piano works of Dmitri Shostakovich (1906-1975) are among the most treasured musical compositions of the twentieth century. In this volume, pianist and Russian music scholar Sofia Moshevich provides detailed interpretive analyses of the ten major piano solo works by Shostakovich, carefully noting important stylistic details and specific ways to overcome the numerous musical and technical challenges presented by the music. Each piece is introduced with a brief historic and structural description, followed by an examination of such interpretive aspects as tempo, phrasing, dynamics, voice balance, pedaling, and fingering. This book will be an invaluable resource for students, pedagogues, and performers of Shostakovich's piano solos.

Isolde Ahlgrimm (1914-1995) was an important pioneer in the revival of Baroque and Classical keyboard instruments in her native city, Vienna, and later, throughout Europe and the United States. She trained as a pianist at the Musikakademie in Vienna under the instruction of Viktor Ebenstein, Emil von Sauer and Franz Schmidt. In 1934 she met the musical instrument collector, Dr Erich Fiala, whom she married in 1938. His activities opened up the world of early instruments to her. Using a 1790 fortepiano by Michael Rosenberger, Isolde Ahlgrimm began her career as a specialist on early keyboard instruments with the first in her notable series of Concerte fA1/4r Kenner und Liebhaber, given in Vienna's Palais Palffy in February 1937. Ahlgrimm's career as a harpsichordist also began in 1937, when a new instrument was commissioned from the Ammer brothers in Eisenberg, Germany. In 1943 Ahlgrimm performed her first all-harpsichord programme, which consisted of the Goldberg Variations by J.S. Bach. From 1949 to 1956, she devoted herself to performing and recording nearly all of Bach's harpsichord music for the newly-founded Dutch label, Philips, presenting her new approach to the harpsichord to a wider audience. Ahlgrimm's performances of Baroque music represented a radical departure from the distinctly twentieth-century interpretations by the much more famous Wanda Landowska and her followers. Most obviously, Ahlgrimm's harpsichord performances eliminated frequent registration changes (her instrument had hand stops rather than pedals to change registers), and largely eschewed the massive ritardandi and other anachronistic performance practices that were hallmarks of Landowska's essentially Romantic style. Ahlgrimm researched and emphasized rhetorical traditions on which the music was based. This became more pronounced throughout the course of her later performing, writing and teaching career, and it was the beginning of an approach to the performance of eighteenth-century music which was later further developed by Gustav Leonhardt, Nikolaus Harnoncourt and their students. Peter Watchorn provides an engaging study of this pioneer, and argues that Isolde Ahlgrimm's contribution to the harpsichord and fortepiano revival was pivotal, and that her use of period instruments and the inspiration she instilled in younger musicians, including Nikolaus Harnoncourt and Gustav Leonhardt, has been almost entirely overlooked by the wider musical world.

The authors' new approach to learning two playing techniques offers a systematic method for mastering the modern, legato technique needed for organ music composed after 1750, as well as an articulated technique for earlier works. The authors also present useful information on accompanying anthems and solos and on adapting piano and orchestral accompaniments to the organ.

Each of the six movements of this fine suite is an exquisite character sketch based on a Psalm text. The movements are easily diverse enough to make the entire suite a very satisfying, and indeed virtuosic, recital piece. The highly original language is replete with piquant harmonies and bracing rhythms, and the composer explores a wide variety of organ texture with great deftness.

Paul Harris's brilliant Improve your scales! Piano Grade 4 workbook contains the complete scales and arpeggios for the current ABRSM, Trinity, LCM and MTB Grade 4. It also uses finger fitness exercises, key pieces, sight-reading and simple improvisations to help you play scales and arpeggios with real confidence. An invaluable resource for students, the Improve your scales! Piano series covers all the keys and ranges required for each syllabus, helping you pick up valuable extra marks in exams. New edition, revised to support all major exam syllabuses from 2020.

This lavishly illustrated book treats the history of the piano from its invention in 1700 to the present in terms of its technology. Looking at the technologies of design, materials, and manufacture, and focusing its description on specific existing pianos, it describes the changes in pianos from the earliest days to contemporary instruments. This revised edition incorporates the results of recent research that increases knowledge of the work of Bartolomeo Cristofori, the inventor of the piano; changes perceptions of how eighteenth-century pianos were made and used; adds to the available information about the important contributions of the Steinway Company; and describes the most recent changes to the piano. The first edition of this book received the Otto Kinkeldey Award of the American Musicological Society as the best musicological book in English published in 1982-83. Reviews of the First Edition "If you have ever looked under the lid of a piano and wondered about the technical how and why of it all, this is the book to sate your curiosity. . . . Good's vigorous prose breathes life into the technology . . . and brings forward the people involved, with humor and sensitivity." -Los Angeles Times "This is a fine book. Accurate technical description, an abundance of photographs and drawings, and a very readable text complement a provocative thesis." -Technology and Culture "Intriguing reading. It turns out that the story of the piano and its evolution . . . is rife with human interest, at least when Good relates the details." -Keyboard

First published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.

At fifteen, Sanford Brunson Campbell (1884-1952) became enchanted with the new sounds of ragtime and ran away from his rural Kansas home, hopping a train to Sedalia, Missouri, determined to take piano lessons from a black musician he had never met. Scott Joplin nicknamed his white protege ""The Ragtime Kid."" A composer and entertainer at the dawn of the ragtime era, ""Brun"" was a prime mover in the ragtime revival of the 1940s and helped establish Joplin's prominence as an American virtuoso. Campbell's own legacy was tarnished by his inability to tell a straight story and he was often dismissed as a liar and a clown. Based on his memoirs, musical compositions and correspondence with music industry notables, this first comprehensive biography of Campbell reveals an engaging storyteller and a devotee wholly dedicated to a musical genre that had been given up as dead. His firsthand account of life as an itinerant pianist in the Midwest provides a unique picture of life a century ago.

This guide to the piano literature for the one-handed pianist surveys over 2,100 individual piano pieces which include not only concert literature but pedagogical pieces as well. Following the introduction are four chapters cataloguing original works for the right hand alone, original works for the left hand alone, music arranged or transcribed for one hand alone, and concerted works for one hand in concert with other pianists, instruments, or voices. Each entry assesses the individual composition, its quality, its difficulty, its particular appeal, and its uses with the composer's name, dates, and nationality, where possible. Also included is a selected discography of commercially produced phonodiscs, compact discs, and cassettes.

Instructors and pianists alike will appreciate this exhaustive guide to one-handed piano music. To aid further research, a bibliography of books, articles, and theses about the literature is provided along with a chapter that lists the contents of thirty-six anthologies devoted to one-handed piano music. This unique reference also includes an index.

Keyboard Music Before 1700 begins with an overview of the development of keyboard music in Europe. Then, individual chapters by noted authorities in the field cover the key composers and repertory before 1700 in England, France, Germany and the Netherlands, Italy, and Spain and Portugal. The book concludes with a chapter on performance practice, which addresses current issues in the interpretation and revival of this music.

With the Harry Potter film series now complete, Alfred Music Publishing and Warner Bros. Entertainment are proud to present big note piano arrangements from the eight epic films together in one collectible volume. For the first time ever, 36 sheet music selections by John Williams, Patrick Doyle, Nicholas Hooper, and Alexandre Desplat are collected along with eight pages of color stills from The Sorcerer's Stone to The Deathly Hallows, Part 2. By popular request, "Leaving Hogwarts" from The Sorcerer's Stone appears in print in this collection for the first time. It's a perfect gift for pianists of all ages who love the music of Harry Potter. Titles: Diagon Alley * Family Portrait * Harry's Wondrous World * Hedwig's Theme * Leaving Hogwarts * Nimbus 2000 * Voldemort * The Chamber of Secrets * Fawkes the Phoenix * Buckbeak's Flight * Double Trouble * Hagrid the Professor * Harry in Winter * Hogwarts March * Potter Waltz * This Is the Night * Dumbledore's Army * Fireworks * Loved Ones and Leaving * Professor Umbridge * Dumbledore's Farewell * Harry and Hermione * In Noctem * When Ginny Kissed Harry * Farewell to Dobby * Godric's Hollow Graveyard * Harry and Ginny * Obliviate * Ron Leaves * Snape to Malfoy Manor * Courtyard Apocalypse * Harry's Sacrifice * Lily's Lullaby * Lily's Theme * Severus and Lily * Statues.

Entries are organized into six sections by topic: the first section lists works containing general information, including but not limited to, books and articles covering a wide range of topics, introductory materials, and serial titles. The second section covers the history on piano and is arranged by country. The section on builders and manufacturers is arranged by name of builder or manufacturer. The sections on construction and maintenance are arranged by parts of the piano. The section on miscellaneous subjects includes catalogs for collections of instruments, works about pedal pianos, pianos associated with composers, selection and purchase, works intended for younger readers, and works about other miscellaneous topics not included above. Readers are referred to the subject index for further cross-referencing. Referencing literature on every aspect of the piano, this annotated bibliography will cut down on research time for scholars and students, directing them to the most relevant and useful sources. No music library should be without it.

(Berklee Guide). Learn the essentials of accompanying soloists and playing in jazz ensembles. Comping is the practice of using chords to accompany a melody. Whether supporting a soloist, playing in an ensemble, or performing solo, this book will help you to use chords effectively and appropriately to create a rich jazz feel and enhance the sound of your whole ensemble. It begins with triads and voice leading, and progresses through altered seventh-chord spread voicings for two hands, covering many different techniques for using harmony and rhythm. The accompanying CD lets you practice with a small jazz combo. Suitable for all major jazz styles.

The book examines the perception of the organist as the most influential musical figure in Victorian society through the writings of Thomas Hardy and Robert Browning. This will be the first book in the burgeoning area of research into the relationship of music and literature that examines the societal perceptions of a figure central to civic life in Victorian England. This book is deliberately interdisciplinary and will be of special interest to literature scholars and students of Victorian studies, culture, society, religion, gender studies, and music. However, the nature of the text does not require specialist knowledge of music.

This is the first book-length survey of 20th -century British music for solo organ. Beginning with a discussion of British organ music in the last decades of the Victorian era, the book focuses on the pieces that the composers wrote, their musical style, possible influences on the composition of specific works, and the details of their composition. Arranged in chronological order according to date of birth are detailed studies on important composers that made especially significant contributions to organ music including Parry, Stanford, Healey Willan, Herbert Howells, Percy Whitlock, Francis Jackson, Peter Racine Fricker, Arthur Wills, and Kenneth Leighton. Composers' biographies, the role of organs and organ building developments, influential political and sociological events, and aesthetic aspects of British musical life are also discussed in detail. In the concluding chapter, the author discusses the major phases and achievements of the century and gauges what may lie ahead in the new millennium. A comprehensive Catalog of Works provides titles of works, dates of composition, details of publishers, and the dates of publication. More than 60 music examples, 12 black and white photos, and an up-to-date bibliography are included.