The Concerto for Bass Tuba and Orchestra was composed in 1953-4 to mark the 50th anniversary of the formation of the LSO and was written for the orchestra's principal tuba player, Philip Catelinet. It was the first major concerto to be written for the instrument, and remains today the outstanding work of its kind. This new edition is based on all extant sources and contains full textual notes and a discussion of the editorial method. Notable additions are the inclusion of two sets of phrasing for the Romanza-one from the first publication, largely influenced by Catelinet, and the other from Vaughan Williams's manuscript-and the original cadenza to the first movement. The arrangement for tuba and piano has been updated in light of the research carried out by David Matthews, and all orchestral parts have been revised.

The Concerto for Bass Tuba and Orchestra was composed in 1953-4 to mark the 50th anniversary of the formation of the LSO and was written for the orchestra's principal tuba player, Philip Catelinet. It was the first major concerto to be written for the instrument, and remains today the outstanding work of its kind. This new edition is based on all extant sources and contains full textual notes and a discussion of the editorial method. Notable additions are the inclusion of two sets of phrasing for the Romanza-one from the first publication, largely influenced by Catelinet, and the other from Vaughan Williams's manuscript-and the original cadenza to the first movement. The arrangement for tuba and piano has been updated in light of the research carried out by David Matthews, and all orchestral parts have been revised.

A critical edition of this major work from 1959-1960. The score has been entirely re-set, and new orchestral parts on hire produced to match the new edition. A full score is also available on sale.

for mixed chorus, baritone solo, and orchestra This new study-score edition of Walton's seminal cantata has been off-printed from the William Walton Edition, Vol. 4, edited by Steuart Bedford. It combines the scholarship of the Edition with the practical benefits of the smaller format. Orchestral material is available on hire/rental.

An expert's guide to the skills of the greatest conductors While Weber, Spohr, Mendelssohn, and Berlioz were all conductors of repute, it was the thoughts and practices of Richard Wagner that laid the foundation for the modern virtuoso conductor. Though he was more celebrated for his dramatic operas, Wagner's experience as a conductor brought a set of practices and principles that affected the interpretations of future generations, and conductors continue to pursue his example today. This book examines Wagner's conducting career and the principles of his musical performance. It then tracks the central European style through some of the greatest figures of modern music-Nikisch, Mahler, Richard Strauss, Weingartner, Furtwangler, Toscanini, Walter, Klemperer, Beecham, Boult, and others through to von Karajan, Bernstein, and George Szell. In each case Holden, himself a professional classical conductor, traces the rise from apprenticeship to international acclaim, comparing rehearsal technique, the baton, eye contact, repertoire, tempo, recordings, vision, style, and performance practice. The result is a deeply informative, intriguing, and highly readable portrait of the finest exponents of the conducting tradition.

One of the seminal works of the 20th century, The Rite of Spring famously caused a riot at it's first performance in Paris in 1913. Since then, this revolutionary masterpiece has found its place as one of the most performed and admired scores of the 20th century.

With extracts from the composer's letters, writings, interviews and broadcasts, and supported by evidence from his sketchbooks and manuscripts, The Orchestral Music of Michael Tippett explores Tippett's intentions and argues that the experiences that triggered his creative impulses are integral to understanding his music. In his discussion of Tippett's creative process, Thomas Schuttenhelm attempts to recapture the circumstances under which Tippett's orchestral works were created, to document how his visionary aspirations were developed and sustained throughout the creative cycle, and to chart how conception was transmuted from idea through to performance. Analysing Tippett's orchestral works throughout his long career, from the Symphonic Movement of 1931 to his final masterpiece The Rose Lake in 1991-3, Schuttenhelm explores each work in detail to provide a comprehensive commentary on one of the most influential British composers of the twentieth century.

The Venezuelan youth orchestra program known as "El Sistema" has attracted much attention internationally, partly via its flagship orchestra, The Simonn Bolivar Youth Orchestra, headed by Gustavo Dudamel, and partly through its claims to use classical music education to rescue vulnerable children. Having been met overwhelmingly with praise, The System has become an inspiration for music educators around the globe. Yet, despite its fame, influence, and size - it is projected to number a million students in Venezuela and has spread to dozens of countries - it has been the subject of surprisingly little scrutiny and genuine debate. In this first full-length critical study of the program, Geoffrey Baker explores the career of its founder, Jose Antonio Abreu, and the ideology and organizational dynamics of his institution. Drawing on a year of fieldwork in Venezuela and interviews with Venezuelan musicians and cultural figures, Baker examines El Sistema's program of "social action through music," reassessing widespread beliefs about the system as a force for positive social change. Abreu, a Nobel Peace Prize nominee, emerges as a complex and controversial figure, whose project is shaped by his religious education, economics training, and political apprenticeship. Claims for the symphony orchestra as a progressive pedagogical tool and motor of social justice are questioned, and assertions that the program prioritizes social over musical goals and promotes civic values such as democracy, meritocracy, and teamwork are also challenged. Placing El Sistema in historical and comparative perspective, Baker reveals that it is far from the revolutionary social program of contemporary imagination, representing less the future of classical music than a step backwards into its past. A controversial and eye-opening account sure to stir debate, El Sistema is an essential read for anyone curious about this phenomenon in the worlds of classical music, education, and social development.

The BBC Proms Guides provide all the background and information you need about some of the most exciting works in the repertory. As one of the world's leading music festivals, the BBC Proms has over the years published unrivalled, highly praised programme notes by today's leading writers on music. This volume provides an accessible guide to the some of the most familiar and best-loved concertos in the repertory. From Vivaldi's 'Four Seasons', through Mozart's glorious piano concertos and the great virtuoso display-pieces of the nineteenth century by Brahms, Tchaikovsky and many others, this volume brings us musically right up to date with the modern masterpieces of Prokofiev and Britten, Lutoslawski, Ligeti and John Tavener. The thrilling duel between soloist and orchestra which is at the heart of concerto form has remained constant through centuries of change and many different musical languages. If you want to know more about how the great concertos were written and what to listen out for as you encounter these remarkable pieces, this is the place to start.

The theoretical and musical background to the relationship between the piano and orchestra in Mozart's concertos. The interactive relationship between the piano and the orchestra in Mozart's concertos is an issue central to the appreciation of these great works, but one that has not yet received serious attention, a gap which this new study seeks to remedy by exploring the historical implications and hermeneutic potential of dramatic dialogue. The author shows that invocations of dramatic dialogue are deeply ingrained in late-eighteenth-century writings on instrumental music, and he develops this theme into an original and highly positive view of solo/orchestra relations in Mozart's concertos. He analyses behavioural patterns in the concertos and links them to theoretical discussion oflate-eighteenth-century drama and to analogous relational development in Mozart's operas Idomeneo, Die Entfuhrung aus dem Serail, Le nozze di Figaro and Don Giovanni. Mozart's piano concertos emerge afresh from this new approach as an extraordinary medium of Enlightenment, as significant in their way as the greatest late-eighteenth-century operatic and theatrical works. SIMON P. KEEFE is James Rossiter Hoyle Chair of Music, University of Sheffield.

An original study of the history of the symphony in Vienna during Beethoven's lifetime, this 2006 book explores the context in which the composer worked. Based on an extensive study of the wider symphonic repertoire of the period and of the characteristics of musical life that shaped the changing fortunes of the genre, from manuscript and printed dissemination to concert life, David Wyn Jones provides a multi-faceted account of the development of the symphony in one of the most crucial periods in its history. The volume offers a wide perspective on musical development in the period, and will be of interest to musicologists and cultural historians. As well as dealing with unfamiliar works by Czerny, Eberl, Krommer, Reicha, Anton Wranitzky, Paul Wranitzky and others, it charts the changing reception of the symphonies of Haydn and Mozart, and offers insights into the symphonic careers of Beethoven and Schubert.

Described by Walton as the 'greatest symphony since Beethoven', Vaughan Williams's fourth symphony was composed in 1935 and is noted for its abrasively dissonant harmonic language, unlike much of the composer's other work. This new, scholarly edition, edited by David Matthews, will replace the existing OUP edition from 1935 and the Eulenburg edition from 1983. The preliminary text will include a preface, sources and editorial method, and detailed textual notes.

(String). This edition collects in one volume all four concertos that make up "The Four Seasons." The combined retail value of the component publications that make up this collection (50263030 Spring, 50263040 Summer, 50262990 Fall, 50263000 Winter), at $7.95 each, totals $31.80. This "Complete" edition is an extraordinary value.

Few works in the nineteenth-century repertoire have aroused such extremes of hostility and admiration, or have generated so many scholarly problems, as Anton Bruckner's symphonies. In this 2004 book, Julian Horton seeks fresh ways of understanding the symphonies and the problems they have accrued by treating them as the focus for a variety of inter-disciplinary debates and methodological controversies. He isolates problematic areas in the works' analysis and reception, and approaches them from a range of analytical, historical, philosophical, literary, critical and psychoanalytical viewpoints. The symphonies are thus explored in the context of a number of crucial and sometimes provocative themes, including the political circumstances of the works' production, Bruckner and post-war musical analysis, issues of musical influence, the problem of editions, Bruckner and psychobiography, and the composer's controversial relationship to the Nazis.

An original study of the history of the symphony in Vienna during Beethoven's lifetime, this 2006 book explores the context in which the composer worked. Based on an extensive study of the wider symphonic repertoire of the period and of the characteristics of musical life that shaped the changing fortunes of the genre, from manuscript and printed dissemination to concert life, David Wyn Jones provides a multi-faceted account of the development of the symphony in one of the most crucial periods in its history. The volume offers a wide perspective on musical development in the period, and will be of interest to musicologists and cultural historians. As well as dealing with unfamiliar works by Czerny, Eberl, Krommer, Reicha, Anton Wranitzky, Paul Wranitzky and others, it charts the changing reception of the symphonies of Haydn and Mozart, and offers insights into the symphonic careers of Beethoven and Schubert.

This guide to the orchestra and orchestral life combines orchestral repertory history with critical thought. It includes topics such as the art of orchestration, scorereading, conducting, international orchestras, recording, and becoming an orchestral musician, educator or informed listener.

Since its premiere Mahler's Das Lied von der Erde (The Song of the Earth) has been widely regarded as his finest masterpiece. It was written in the wake of personal events that shook the foundations of his life in 1907 and, like all his earlier works, it is deeply influenced by the composer's individual and philosophical worldview. Stephen Hefling provides a background to this symphony for voice and orchestra, describes its genesis, summarizes reviews of the premiere, and gives a careful account of all six movements.

Anton Bruckner's Eighth Symphony (1890), one of the last of the great Romantic symphonies, is a grandly complex masterpiece. This book explores this many-faceted work from several angles. It documents the complicated and often misunderstood history of the symphony's composition and revision and provides an accessible guide to its musical design. It demonstrates, by means of a study of well-known recordings, how performance styles have evolved in this century. It also revisits the conventional wisdom about the various versions and editions of the symphony and comes to some provocative new conclusions.

Although Dvorák's cello concerto is enormously popular, no extended study of it has been undertaken hitherto. This book is a comprehensive study intended for concertgoers and students of this well-loved work. It considers aspects of historical background, form, virtuosity, performance and the concerto's rich personal content. This guide sees the work as a crucial means of exploring the composer's emotional life and links it intimately to the woman who was probably his first love.

Bartók's Concerto for Orchestra has proven to be one of the most popularly successful concert works of the twentieth century. It is seen by its champions as an example of Bartók's seamless blend of Eastern European folk music and Western art music, and by its detractors as indicative of the composer's artistic compromise. This book contains a discussion of the historical and musical contexts of the piece, its early performance history and critical reception. It also includes the first complete movement-by-movement synopsis of the Concerto, as well as detailed technical information about the work.

Vivaldi's celebrated Four Seasons are among the most popular works of all time and these, with the rest of the concertos in Op. 8, represent the composer's remarkable innovation in the field of the Baroque concerto. This detailed guide examines the work's origin and construction in a way that enables the reader to distinguish what is extraordinary about the Seasons, at the same time providing an ideal introduction to Vivaldi's music in general.

Vivaldi's celebrated Four Seasons are among the most popular works of all time and these, with the rest of the concertos in Op. 8, represent the composer's remarkable innovation in the field of the Baroque concerto. This detailed guide examines the work's origin and construction in a way that enables the reader to distinguish what is extraordinary about the Seasons, at the same time providing an ideal introduction to Vivaldi's music in general.

The Brandenburg Concertos represent a pinnacle in the history of the Baroque concerto, as well as being among the most universally admired of all Bach's works. This fascinating new guide places the concertos in their historical context, investigates their sources, traces their origins and discusses the changing traditions of performance that have affected the way listeners have understood them since Bach's time. The work's rich instrumentarium is carefully described, and a substantial chapter considers each concerto individually, revealing those aspects of their style and structure that make this group of works a unique and towering landmark in the history of the genre.

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.

Music examples and charts illustrate the analyses, and each essay is fully annotated by the editor. in some cases, the results of the original research by the editor or by others working in the field are published here for the first time. Much of the material has never before appeared in English. A score embodying the best available musical text. Historical background what is known of the circumstances surrounding the origin of the work, including (where relevant) original source material. A detailed analysis of the music, by the editor of the volume or another well-known scholar. Other significant analytic essays and critical comments, exposing the student to a variety of opinions about the music."