for SATB chorus and orchestra This arrangement for choir and orchestra of a traditional American spiritual conjures a deep fervency, belying its simple appearance. The opening instruction is 'With hushed awe', and that encapsulates perfectly the gentle radiance of the tender lyrics and the music's highly singable lines.

A must-have for any conductor, conducting student and orchestral librarian. How does a conductor know whether the score they use is what the composer wrote? How do orchestral players know that their parts are reliable and reflect the latest scholarship? As Jonathan Del Mar reminds us in this ground-breaking book, editions of the orchestral repertoire are beset by textual problems: simple misprints, mistakes in the score or player's part, or hopelessly outdated scores at odds with current scholarship. Driven by a fundamental respect for what the composer actually wrote, Jonathan Del Mar addresses these problems through textual reports on over 100 orchestral masterpieces of classical music. Each report is introduced with essential guidance and succinct commentary on the first performance and publication of the work. Critical editions are compared with commonly used editions, and in those cases where no Urtext Edition exists, this much-needed reference work functions as a replacement for an Urtext Edition. Orchestral Masterpieces under the Microscope will be an indispensable reference tool for all who care about performances honouring the correct text that composers have left us. It serves as an essential survival guide for conductors and musicians to make informed choices, and it offers much-needed clarity on the latest scholarship for musicologists and music librarians alike

This edition of Walton's Cello Concerto has been off-printed from the Wiliam Walton Edition full score, and combines the scholarship of the Edition (including an introduction by the editor) with the practical benefits of a study score format. Dating from 1956, the work was commissioned by Gregor Piatigorsky and premiered by him the following year. Walton regarded this work as the best of his three solo concertos. Orchestral material is available on hire/rental.

This edition of Walton's Violin Concerto has been off-printed from the William Walton Edition full score, and combines the scholarship of the Edition (including an introduction by the editor) with the practical benefits of a study score format. Commissioned by Jascha Heifetz, the work was completed in 1939 and premiered by Heifetz later that year. Walton revised the concerto in 1943 and it is this version which is presented in the current edition. Orchestral material is available on hire/rental.

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 SATB and orchestra Magnificat is a joyous celebration of the Virgin Mary, inspired by feast-day festivities in countries such as Spain, Mexico, and Puerto Rico. Following the example set by Bach, the Magnificat text is extended, incorporating the fifteenth-century English poem 'Of a Rose', the prayers 'Sancta Maria', and the 'Sanctus' (set to the Gregorian chant of the Missa cum jubilo). The full scores, for orchestra or chamber ensemble, are now available on sale for the first time in handsome, cloth-bound editions, and the newly set orchestral parts are available on hire.

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.

Broadway's top orchestrators - Robert Russell Bennett, Don Walker, Philip J. Lang, Jonathan Tunick - are names well known to musical theatre fans, but few people understand precisely what the orchestrator does. The Sound of Broadway Music is the first book ever written about these unsung stars of the Broadway musical whose work is so vital to each show's success. The book examines the careers of Broadway's major orchestrators and follows the song as it travels from the composer's piano to the orchestra pit. Steven Suskin has meticulously tracked down thousands of original orchestral scores, piecing together enigmatic notes and notations with long-forgotten documents and current interviews with dozens of composers, producers, conductors and arrangers. The information is separated into three main parts: a biographical section which gives a sense of the life and world of twelve major theatre orchestrators, as well as incorporating briefer sections on another thirty arrangers and conductors; a lively discussion of the art of orchestration, written for musical theatre enthusiasts (including those who do not read music); a biographical section which gives a sense of the life and world of twelve major theatre orchestrators, as well as incorporating briefer sections on another thirty arrangers and conductors; and an impressive show-by-show listing of more than seven hundred musicals, in many cases including a song-by-song listing of precisely who orchestrated what along with relevant comments from people involved with the productions. Stocked with intriguing facts and juicy anecdotes, many of which have never before appeared in print, The Sound of Broadway Music brings fascinating and often surprising new insight into the world of musical theatre.

Contemporary Orchestration: A Practical Guide to Instruments, Ensembles, and Musicians teaches students how to orchestrate for a wide variety of instruments, ensembles, and genres, while preparing them for various real-world professional settings ranging from the concert hall to the recording studio. Unlike most orchestration texts, it includes coverage of contemporary instruments and ensembles alongside traditional orchestra and chamber ensembles.

Features

• Practical considerations: Practical suggestions for choosing a work to orchestrate, and what to avoid when writing for each instrument.
• Pedagogical features
• • In the Profession: Professional courtesies, considerations and expectations.
  • Building the Score: Step-by-step construction of an orchestration.
  • Scoring Examples: Multiple scoring examples for each instrument.
  • Exercises: Analyzing, problem solving, and creating orchestration solutions.
• Critical Thinking: Alternate approaches and solutions.

This is the story of the orchestra, from 16th-century string bands to the "classical" orchestra of Haydn, Mozart, and Beethoven. Spitzer and Zaslaw document orchestral organization, instrumentation, social roles, repertories, and performance practices in Europe and the American colonies, concluding around 1800 with the widespread awareness of the orchestra as a central institution in European life.

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.

Described by music critic Alex Ross as "the most original musical thinker of our time" and having received innumerable accolades in a career spanning over fifty years, composer Steve Reich is considered by many to be America's greatest contemporary composer. His music, however, remains largely underresearched. Rethinking Reich redresses this imbalance, providing a space for prominent and emerging scholars to reassess the composer's contribution to music in the twentieth century. Featuring fourteen tightly focused and multifarious essays on various aspects of Reich's work-ranging from analytical, aesthetic, and archival studies to sociocultural, philosophical, and ethnomusicological reflections-this edited volume reveals new insights, including those enabled by access to the growing Steve Reich Collection at the Paul Sacher Foundation archive, the premier institution for primary research on twentieth-century and contemporary classical music. This volume takes on the timely task of challenging the hegemony of Reich's own articulate and convincing discourses on his music, as found in his Writings on Music (OUP, 2002), and breaks new ground in the broader field of minimalism studies.

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 popular "Unfinished" Symphony and Schubert's final symphonic creation are time-honored standards of the orchestral repertoire. This portable and inexpensive miniature version of both of these beloved works features the full scores in a high-quality edition that's perfect for classroom or concert hall use.

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.

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.

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.

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.

As Africa's oldest orchestra, and certainly its most versatile, the Cape Town Philharmonic Orchestra is a proud part of the fabric of the Mother City. Founded in 1914 as a municipally funded ensemble, the orchestra was privatised in 1986 and later merged with the former Capab orchestra, achieving independence in 2000.

A Century Of Symphony tells the story of Cape Town’s orchestras over the past 100 years. Bringing together reminiscences, anecdotes and heartfelt stories by players, conductors and audience members, images of the orchestra both past and present, and information gathered from city, newspaper and university archives, A Century Of Symphony offers a timeless perspective on the place of orchestral music in the life of the city.

The challenges of running an orchestra in the 21st century are formidable, but the orchestra’s mission to deliver first-class music played by first-class musicians in a sustainable way has never been more apparent. Outreach and education efforts in disadvantaged communities point the way to the future. This is a story not only worth telling, but also worth preserving, for Cape Town’s orchestras have been the cultural jewel of the city for 100 years.

(Includes a shrinkwrapped CD of music played by the Cape Town Philharmonic Orchestra)

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.

A companion to his The Symphony: A Listener's Guide , Steinberg's new book covers the orchestral concerto repertoire from Bach to the present and featuring all instruments.

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.

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.