A uniquely illuminating memoir of the making of a musician, in which renowned pianist Jeremy Denk explores what he learned from his teachers about classical music: its forms, its power, its meaning - and what it can teach us about ourselves.

In this searching and funny memoir, based on his popular New Yorker article, renowned pianist Jeremy Denk traces an implausible journey. Life is difficult enough as a precocious, temperamental, and insufferable six-year-old piano prodigy in New Jersey. But then a family meltdown forces a move to New Mexico, far from classical music’s nerve centers, and he has to please a new taskmaster while navigating cacti, and the perils of junior high school. Escaping from New Mexico at last, he meets a bewildering cast of college music teachers, ranging from boring to profound, and experiences a series of humiliations and triumphs, to find his way as one of the world’s greatest living pianists, a MacArthur 'Genius,' and a frequent performer at Carnegie Hall.

There are few writers working today who are willing to eloquently explore both the joys and miseries of artistic practice. Hours of daily repetition, mystifying early advice, pressure from parents and teachers who drove him on – an ongoing battle of talent against two enemies: boredom and insecurity. As we meet various teachers, with cruel and kind streaks, Denk composes a fraught love letter to the act of teaching. He brings you behind the scenes, to look at what motivates both student and teacher, locked in a complicated and psychologically perilous relationship.

In Every Good Boy Does Fine, Denk explores how classical music is relevant to 'real life,' despite its distance in time. He dives into pieces and composers that have shaped him – Bach, Mozart, Schubert, and Brahms, among others – and gives unusual lessons on melody, harmony, and rhythm. Why and how do these fundamental elements have such a visceral effect on us? He tries to sum up many of the lessons he has received, to repay the debt of all his amazing teachers; to remind us that music is our creation, and that we need to keep asking questions about its purpose.

The first (1981) edition of Anatomy of the Orchestra, Norman Del Mar's renowned treatise and study of orchestral practice, sold out within a year of its publication. Del Mar (1919-1994), a distinguished conductor and musicologist, was recognised as one of the greatest authorities on the orchestra in his lifetime. Written not only for fellow conductors, players, students, and professional musicians, Anatomy of the Orchestra is also for everyone interested in the performance of orchestral music. 'It's tremendous fun just reading from cover to cover... The chapter on horns doesn't fail to embrace water-emptying, or the perils of seating them in front of percussion - vibrations shoot up backward-turned bells and shiver the players' lips; and who needs be any longer at a loss for a term for any type of snare drum in any of four languages?' Tempo

Peter Beaven's tale leads us through the pitfalls and triumphs of a career in choir directing and church music, orchestral conducting, and professional singing in choirs and stage works. His teaching experiences are just as hair-raising as his performing life. Being there at the inception of the GCSE music exam, as a teacher, he felt it wasn't an improvement on the previous exam and became disenchanted with education, in general, and music education in particular. The author maintains that he failed every exam he ever sat, adding much weight to his argument, but also admits to a modicum of success along the way. Despite earlier difficulties with a genetic neuropathy, he conquered the disabilities to regain an organ technique at the age of fifteen, which has served him well for over fifty years. His adventures with the military have been a twenty-year expedition through extraordinary happenings, personalities, and experiences. All worthwhile but in marked contrast to many other facets of his career.

Schubert's Workshop offers a fresh study of the composer's compositional technique and its development, rooted in the author's experience of realising performing versions of Franz Schubert's unfinished works. Through close examination of Schubert's use of technical and structural devices, Brian Newbould demonstrates that Schubert was much more technically innovative than has been supposed, and argues that the composer's technical discoveries constitute a rich legacy of specific influences on later composers. Providing rich new insights into the creative practice of one of the major figures of classical music, this two-volume study reframes our understanding of Schubert as an innovator who constantly pushed at the frontiers of style and expression.

(Amadeus). Arturo Toscanini: The NBC Years details Toscanini's magnificent and heroic 17 years (1937-1954) conducting the NBC Symphony Orchestra. The archival broadcast recordings documented and reassessed in this lively account comprise the most complete recorded legacy of Toscanini's orchestral conducting career. The broadcast recordings include his readings of many scores for which he left no approved recording, and his NBC career included performances of works he never conducted before coming to the network. The concerts and the broadcasts were immensely popular, and for generations Toscanini's name became synonymous with conducting. His legendary art and fiery personality also engendered controversy that has yet to subside, but this account takes on the challengers, accepting neither hero worship nor criticism that ignores the evidence.

for SATB and orchestra Setting a well-loved medieval text, this effective piece paints the story of Jesus through lyrical melodies and beautiful harmonic surprises. The vocal lines offer both powerful intensity and skilful dialogue, and are supported by a pulsing orchestral accompaniment.

Music-Dance explores the identity of choreomusical work, its complex authorship and its modes of reception as well as the cognitive processes involved in the reception of dance performance. Scholars of dance and music analyse the ways in which a musical score changes its prescriptive status when it becomes part of a choreographic project, the encounter between sound and motion on stage, and the intersection of listening and seeing. As well as being of interest to musicologists and choreologists considering issues such as notation, multimedia and the analysis of performance, this volume will appeal to scholars interested in applied research in the fields of cognition and neuroscience. The line-up of authors comprises representative figures of today's choreomusicology, dance historians, scholars of twentieth-century composition and specialists in cognitive science and performance studies. Among the topics covered are multimedia and the analysis of performance; the notational practice of choreographers and the parallel attempts of composers to find a graphic representation for musical gestures; and the experience of dance as a paradigm for a multimodal perception, which is investigated in terms of how the association of sound and movement triggers emotions and specific forms of cognition.

The symphonic orchestra is intriguingly considered in essays by 23 leading music authors and thinkers. The topics include historical beginnings, the role of the conductor, the orchestral audience, the nature of the repertoire, and how recordings have affected the modern orchestra. It comes with a new editor's introduction for this 2006 edition and a glossary of terms.

This book starts at the very beginning and ends with some remarkably profound insights on conductorial subtleties. An experienced conductor is one in whom detection, diagnosis, and remedy take place simultaneously; as he hears the error, he realizes where the fault lies and what to do about it. This book gives valuable hints about these three basic conductorial functions from the viewpoint of chorus and orchestra alike. McElheran leads the student toward mastery of the problems at hand, with firmness and gentle humour.

Maestros in America: Conductors in the 21st Century provides short biographical and critical essays of over 100 American conductors-and conductors in America-in the twenty-first century. Roderick L. Sharpe and Jeanne Koekkoek Stierman made their selections based on three categories of persons: American-born; naturalized US citizens; and foreign conductors holding a permanent appointment in the US. In addition, all individuals included had to have been active as conductors at the start of the new millennium. These criteria allowed the authors to incorporate up-and-comers as well as those more established, offering an extensive cross-section of the upper echelons of the conducting profession focused on the present, recent past, and future. Each entry is a biographical essay containing essential facts of the conductor's life and work, as well as assessment and commentary gleaned from articles, interviews, reviews, and, in some cases, personal observation. The entries conclude with the conductor's website, a list of further reading, and selected recordings. These sketches of currently or recently practicing conductors provide insight into the state of orchestral music-making in the US as it is, has been, and may become, highlighting the efforts these conductors made to ensure its survival. Complete with two appendixes and an index, this important reference will be beneficial to music students and faculty, reference librarians, orchestral administrators, and music lovers alike.

Igor Stravinsky left behind a complex heritage of music and ideas. There are many examples of discrepancies between his literate statements about music and musicians and his musical compositions and activity. Per Dahl presents a model of communication that unveils a clear and logical understanding of Stravinsky's heritage, based on the extant material available. From this, Dahl argues the case for Stravinsky's music and his ideas as separate entities, representing different modes of communication. As well as describing a triangular model of communication, based on a tilted and extended version of Ogden's triangle, Dahl presents an empirical investigation of Stravinsky's vocabulary of signs and expressions in his published scores - his communicative mode towards musicians. In addition to simple statistics, Dahl compares the notation practice in the composer's different stylistic epochs as well as his writing for different sizes of ensembles. Dahl also considers Stravinsky's performances and recordings as modes of communication to investigate whether the multi-layered model can soften the discrepancies between Stravinsky the literary and Stravinsky the musician.

for SATB and piano/small orchestra Christmas Lullaby was commissioned in 1989 by the Bach Choir in celebration of the seventieth birthday of its conductor, Sir David Willcocks. The haunting melody of the verses and the reflective refrain of 'Ave Maria' have made this an immensely popular carol.

for SATB wordless chorus, viola solo, and orchestra A suite for solo viola, wordless chorus (SATB), and small orchestra, Flos Campi is one of Vaughan Williams's most enigmatic pieces. Although the six movements all borrow their titles from the Old Testament's Song of Solomon, the chorus never articulates a single word. Instead, it serves as a section of the orchestra, creating an elegant vocal texture and backdrop to the viola's haunting solo lines. The work was premiered in October 1925 by the violist Lionel Tertis, singers from the RCM, and the Queen's Hall Orchestra, directed by Sir Henry Wood.

What is the role of classical music in the 21st Century? How will classical musicians maintain their relevance and purpose? This book follows the working activities of professional orchestral musicians and opera singers as they move off stage into schools, community centres, prisons, libraries and corporations, engaging with their communities in new, rich ways through education and community engagement programmes. Key examples of collaborative partnership between orchestras, opera companies, schools and music services in the delivery of music education are investigated, with a focus on the UK's Music Hub system. The impact of these partnerships is examined, both in terms of how they inspire and foster the next generation of musicians as well as the extent to which they broaden access to quality music education. Detailed case studies are provided on the impact of classical music education programmes on social cohesion, health and wellbeing and education outcomes for students from low socio-economic communities. The implications for the future training of classical musicians are analysed, as are the new career paths for orchestral musicians and composers straddling performance and education. Opening Doors: Orchestras, Opera Companies and Community Engagement investigates the ways in which the classical music industry is reinventing its sense of purpose, never a more important or urgent pursuit than in the present decade.

Despite having been composed in the years 1938-43 when Europe was ravaged by war, this work radiates peace and serenity. It marks the peak of the lyrical modalism of works such as the Fantasia on a Theme by Thomas Tallis (1910), Flos Campi (1925), and Job (1931). Although it is not a programme symphony, it draws heavily on John Bunyan's The Pilgrim's Progress for inspiration, featuring several themes that were sketched for (and eventually used in) Vaughan Williamsas 1951 opera. In addition, Bunyan's words 'He hath given me rest by his sorrow and life by his death' were originally inscribed over the third movement. This idea of strength drawn from religion must have been especially potent when Vaughan Williams conducted the premiere of the work at the Proms in 1943, during the dark days of the Second World War. The ending in particular has a sense of rising above all worldly concerns into a higher spiritual plane. This edition contains a preface on the history of the work by Michael Kennedy. Orchestral parts are available on hire.

While interpretation of musical scores is amongst the most frequent of musical activities, it is also, strangely, one of the least researched. This collection of essays seeks to remedy this deficit by illuminating ways in which today's curious musician - interested in probing beyond the dictates of a faintly understood score - can engage more deeply and thoughtfully with the act of interpretation. Skilful musical interpretation draws on a vast range of knowledges. The chapters of this collection accordingly address a similarly broad set of issues, including notation, rhetoric, theory, historiography, performers past and present, instrument builders, concert presenters, reception history, and more. Written by leading experts from a variety of musical subdisciplines, these essays are designed to be accessible and practically relevant for musical performance. Many of the chapters utilize case studies and, as such, will be useful for university and conservatory level students as well as music scholars. The chapters in this book were originally published as a special issue of the Journal of Musicological Research.

Schubert's Workshop offers a fresh study of the composer's compositional technique and its development, rooted in the author's experience of realising performing versions of Franz Schubert's unfinished works. Through close examination of Schubert's use of technical and structural devices, Brian Newbould demonstrates that Schubert was much more technically innovative than has been supposed, and argues that the composer's technical discoveries constitute a rich legacy of specific influences on later composers. Providing rich new insights into the creative practice of one of the major figures of classical music, this two-volume study reframes our understanding of Schubert as an innovator who constantly pushed at the frontiers of style and expression.

Every orchestra in the world oscillates between crisis and survival. This perpetual movement makes innovation, both in organizational form and in artistic product, vital to the sustainability of the symphony orchestra. Based on case study research in Flanders, Amsterdam and London, this book reflects on the sustainability crisis of the orchestra by framing it as a legitimacy crisis that affects both the orchestra's artistic and organizational identity. The aim of this book is to explore the dynamics between various and often conflicting factors in the orchestra's quest for survival, and to show how these organizational dynamics relate to the orchestra's repertoire. By highlighting the importance of every organization's specific environment to which it needs to adapt, this book illustrates that the orchestra field is not a field that relies on best practices. The book reflects on conventional as well as innovative orchestra models, making the comparative point of view relevant for academic or practice-based researchers, orchestra managers, policymakers and subsidizing bodies interested in sustainable and future-oriented orchestra management.

A giant of postwar music and the most powerful figure in the contemporary French music scene, Pierre Boulez is widely known to American and English audiences as both an important composer and as star conductor of the New York Philharmonic, the Cleveland Orchestra, the BBC Symphony Orchestra, and the Chicago Symphony Orchestra. These candid interviews give us vintage Boulez - his bold views, enigmatic wit, practical wisdom, and uncompromising beliefs. Here the eminent composer, who has been called both "a wild man of the avant-garde" and "the last true maestro" (New York Times), talks about being one of the world's most controversial conductors and daring programmers of musical taste. Boulez sometimes locks horns with French author Jean Vermeil, who confronts him with his past and prods him to discuss the future of music and orchestras. Boulez tells how and why he chose his battles and lays out his vision of the conductor's mission. He tells what he learned - and didn't learn - from other conductors, and how he feels about the composers who compromise his repertoire, including Webern, Berg, Schoenberg, Stravinsky, Messiaen (with whom he studied), and, of course, Boulez himself.

- Emphasizes the creative process, not only individual techniques, allowing students to better grasp the full process of composing a piece of music - Includes examples of perspectives on the creative process from wide variety of composers, helping students understand how composers think about their work - Flexible chapter structure allows instructors to adapt the text to their preferred order of teaching topics

- Emphasizes the creative process, not only individual techniques, allowing students to better grasp the full process of composing a piece of music - Includes examples of perspectives on the creative process from wide variety of composers, helping students understand how composers think about their work - Flexible chapter structure allows instructors to adapt the text to their preferred order of teaching topics

Opera in Performance elucidates the performative dimension of contemporary opera productions. What are the most striking and decisive moments in a performance? Why do we respond so strongly to stagings that transform familiar scenes, to performers' bodily presence, and to virtuosic voices as well as ill-disposed ones? Drawing on phenomenology and performance theory, Clemens Risi explains how these moments arise out of a dialogue between performers and the audience, representation and presence, the familiar and the new. He then applies these insights in critical descriptions of his own experiences of various singers, stagings, and performances at opera houses and festivals from across the German-speaking world over the last twenty years. As the first book to focus on what happens in performance as such, this study shifts our attention to moments that have eluded articulation and provides tools for describing our own experiences when we go to the opera. This book will particularly interest scholars and students in theater and performance studies, musicology, and the humanities, and may also appeal to operagoers and theater professionals.

The cross-genre approach of this volume attempts to build a dialogue and synergies between communities of artists. The proposed monograph would appeal to academic readerships and postgraduate students in music and/or sound studies in a broad sense, with particular appeal to specialists in contemporary art music and or as music technology.

* Describes the creative energy of two highly respected 20th century artists, Iannis Xenakis both as engineer and composer, and Roger Reynolds, Pulitzer prize winning musician in 1989 * Will appeal to the professional sector of musicians and architects, and students in both of these disciplines * Connects the creative path of architecture and music, i.e., Xenakis' treatment of "light" in an architectural context parallels his use of varying textural density in his music. * Analyzes chamber works Achorripsis, Thallein, and his string quartet, Tetras, which pertain to the interactive house design