About the compiler: John Hunt was born in Windsor and Graduated from University College London, in German language and literature. He has worked in personnel administration, record retailing and bibliographic research for a government agency and is on the lecture panel of the National Federation of Music Societies. In his capacity as Chairman of the Furtwangler Society UK, John Hunt has attended conventions in Rome, Paris and Zurich and has contributed to important reference works about Furtwangler by John Ardoin and Joachim Matzner. He has also translated from the German Jurgen Kesting's important monograph on Maria Callas. John Hunt has published discographies of over 80 performing artists, several of which have run into two or more editions.

This edition includes the Concert Register. About the compiler: John Hunt was born in Windsor and Graduated from University College London, in German language and literature. He has worked in personnel administration, record retailing and bibliographic research for a government agency and is on the lecture panel of the National Federation of Music Societies. In his capacity as Chairman of the Furtwangler Society UK, John Hunt has attended conventions in Rome, Paris and Zurich and has contributed to important reference works about Furtwangler by John Ardoin and Joachim Matzner. He has also translated from the German Jurgen Kesting's important monograph on Maria Callas. John Hunt has published discographies of over 80 performing artists, several of which have run into two or more editions.

During the nineteenth century, nearly one hundred symphonies were written by over fifty composers living in the United States. With few exceptions, this repertoire is virtually forgotten today. In the award-winning Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise, author Douglas W. Shadle explores the stunning stylistic diversity of this substantial repertoire and uncovers why it failed to enter the musical mainstream. Throughout the century, Americans longed for a distinct national musical identity. As the most prestigious of all instrumental genres, the symphony proved to be a potent vehicle in this project as composers found inspiration for their works in a dazzling array of subjects, including Niagara Falls, Hiawatha, and Western pioneers. With a wealth of musical sources at his disposal, including never-before-examined manuscripts, Shadle reveals how each component of the symphonic enterprise-from its composition, to its performance, to its immediate and continued reception by listeners and critics-contributed to competing visions of American identity. Employing an innovative transnational historical framework, Shadle's narrative covers three continents and shows how the music of major European figures such as Beethoven, Schumann, Wagner, Liszt, Brahms, and Dvorak exerted significant influence over dialogues about the future of American musical culture. Shadle demonstrates that the perceived authority of these figures allowed snobby conductors, capricious critics, and even orchestral musicians themselves to thwart the efforts of American symphonists despite widespread public support of their music. Consequently, these works never entered the performing canons of American orchestras. An engagingly written account of a largely unknown repertoire, Orchestrating the Nation shows how artistic and ideological debates from the nineteenth century continue to shape the culture of American orchestral music today.

..". a joy to read." -- Choice

..".spiritedly written... " -- Music and Letters

Although theRussian piano concerto had inauspicious beginnings, its development during the19thcentury laid superb artistic foundations for the monumental concerti of the 20thcentury. Insights gained here will help performers and teachers to understand laterdevelopments in concerto writing.

Before his death in 1994, Norman Del Mar was acknowledged as one of the world's foremost authorities on the orchestra. "Anatomy of the Orchestra" is written not only for fellow conductors, players, students, and professional musicians, but also for everyone interested in the performance of orchestral music.

Music example and charts illustrate the analyses, and each essay is fully annotated by the editor. In some cases, the results of 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.

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.

Ralph Vaughan Williams originally wrote three Norfolk Rhapsodies with the intention of turning them into a three-movement Norfolk Symphony. This, the second rhapsody, is a telescoped slow movement and scherzo, which has been completed and edited by Stephen Hogger. The first has long been in the repertoire, but numbers two and three have not been performed since 1914. The third rhapsody unfortunately did not survive.

The William Walton edition is a collected edition of the works of one of England's finest and best-loved composers. Each work is newly edited and engraved, and checked against the composer's manuscript, previously published editions, and all other relevant material. The result is a definitive and fully practical edition, based on the form in which the composer ultimately wished it to be performed.

Anatoly Efros (1925-1987), one of the most admired and original directors of post-war Russia, directed at the Central Children's Theatre, Malaya Bronnaya Theatre, Lenkom Theatre, Moscow Art Theatre, and Taganka Theatre, and elsewhere including the Guthrie Theatre in Minneapolis and the Toen Theatre in Tokyo. He taught directing at the State Institute for Theatre Training and wrote several influential books. His productions received numerous awards for creative excellence. In

Opera, for its inherent multimedia nature (text, music, scenography, ballet, representation), lends itself to interdisciplinary, including those that touch upon legal topics. The stories told in the great masterpieces of European opera are, frequently, based on facts relevant for criminal law. Murders, abductions, extortions, kidnappings, massacres, and other types of crimes have filled the stories of opera since its origin. In much of musical theatre, including the masterpieces by Verdi, Donizetti, Bellini, Wagner, and many others,there are, also issues addressed that touch upon the less obvious areas of private law: librettos often talk about contracts, donations, wills, weddings, family relationships, debts and money issues in general. In Gaetano Donizetti's L'elisir d'amore, Nemorino - in love with the beautiful but indifferent Adina - is the victim of a real contract scam perpetrated by Dulcamara. In La sonnambula by Vincenzo Bellini, Elvino snatches the engagement ring given to Amina thinking she was unfaithful: he revokes a donation made in view of marriage, and maybe breaks a rule of law. In Richard Wagner's Das Rheingold, one witnesses a sensational case of breach of contract, to be read in the light of the emergence, in the nineteenth century, of a new sensibility for market economy and the increasingly central value of contracts in social relations. In Le nozze di Figaro by Mozart, there is a strange marriage vow, executed in order to guarantee the repayment of a debt.

How are conductors' silent gestures magicked into sound by a group of more than a hundred brilliant but belligerent musicians? The mute choreography of great conductors has fascinated and frustrated musicians and music-lovers for centuries. Orchestras can be inspired to the heights of musical and expressive possibility by their maestros, or flabbergasted that someone who doesn't even make a sound should be elevated to demigod-like status by the public. This is the first book to go inside the rehearsal rooms of some of the most inspirational orchestral partnerships in the world - how Simon Rattle works at the Berlin Philharmonic, how Mariss Jansons deals with the Concertgebouw Orchestra in Amsterdam, and how Claudio Abbado creates the world's most luxurious pick-up band every year with the Lucerne Festival Orchestra. From London to Budapest, Bamberg to Vienna, great orchestral concerts are recreated as a collection of countless human and musical stories.

Marking the first publication of an early work for chamber orchestra, this study score presents Vaughan Williams's The Solent, composed in 1903. The main theme from this work will be recognisable to many listeners, as it later found its way into both the Sea Symphony and the Ninth Symphony, albeit in a somewhat altered form. This duplication has intrigued many Vaughan Williams' scholars, as has the Philip Marston quotation that prefaces the scores: 'Passion and sorrow in the deep sea's voice, A mighty mystery saddening all the wind?'. The score has been edited by James Francis Brown and includes an introduction by the editor. Orchestral material is available on hire/rental form the hire library or appropriate agent.

In this Very Short Introduction, D. Kern Holoman considers the structure, roots, and day-to-day functioning of the modern philharmonic society. He explores topics ranging from the life of a musician in a modern orchestra, the recent wave of new hall construction from Berlin to Birmingham, threats of bankruptcies and strikes, and the eyebrow-raising salaries of conductors and general managers. At the heart of the book lies a troubling pair of questions: Can such a seemingly anachronistic organization long survive? Does the symphony matter in contemporary culture? Holoman responds to both with a resounding yes. He shows that the orchestra remains a potent political and social force, a cultural diplomat par excellence. It has adapted well to the digital revolution, and it continues to be seen as an essential element of civic pride. In a time of upheaval in how classical music is created, heard, distributed, and evaluated, the orchestra has managed to retain its historic role as a meeting place of intellectual currents, an ongoing forum for public enlightenment. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

Bringing together young musicians from Palestine, Israel and other countries of the Middle East, the West-Eastern Divan Orchestra is both one of the most acclaimed youth orchestras in the world and a rare note of hope in a war-torn region. Founded by Daniel Barenboim and Edward Said in 1999, it aims to promote Arab-Israeli understanding through music. In An Orchestra Beyond Borders, Elena Cheah, a professional musician and assistant to Daniel Barenboim, explores the orchestra's journey through the remarkable stories of the musicians that comprise it. These youthful testimonies are a window into the life of the region. Together, they communicate the musicians' ambitions and hopes, their varied and conflicting views on life and politics, and above all the orchestra's transformative ability to create an atmosphere of musical cooperation away from the implications and hardships of a world full of division and conflict.

World-wide in scope and focusing on the second half of the 20th century, this work provides biographies and discographies of 500 composers and conductors of light and popular orchestral music, including film, show, theatre and mood music. The book is arranged in two sequences: the first, "Biographies and select discographies", both arranged alphabetically, of the well-known and better-known conductors and composers. These entries include a list of suggested reading for those wishing to further their studies; and secondly "Select discographies" of conductors about whom little or no biographical information is available. The select bibliography at the end of the book covers discographical sources, popular music and film music.

Before his death in 1994, Norman Del Mar was acknowledged as one of the world's foremost authorities on the orchestra. "Anatomy of the Orchestra" is written not only for fellow conductors, players, students, and professional musicians, but also for everyone interested in the performance of orchestral music.