This revised edition of the standard catalogue of the music and writings of Ralph Vaughan Williams includes all known published and unpublished works, with full details of instrumentation, revisions, and first performances. There is much new information on the location of manuscripts and sketches, and there are many corrections to the information and dates given in the existing text. The volume includes a bibliography of the literary works of Vaughan Williams compiled by Peter Starbuck, and an appendix of folk songs collected by the composer. The indexes have been completely updated.

Covers the life and works of classical music composer, Peter Schickele, who is probably best known for his humorous alter ego, P.D.Q. Bach. Schickele has walked the line between a professional composer and musical satirist for over 35 years, and his compositions have reached into virtually every genre of music from jazz to rock to folk to movie music and to classical. The major influences in his career include his love of the theater, Spike Jones, and a philosophy that no genre of music is inherently inferior. Schickele was consulted during the compilation of this volume, therefore, much of the date and premier information comes from his own resources. This volume contains a brief biography of Peter Schickele and a detailed list of his Works and Performances, a discography, a bibliography, an alphabetical index, a chronology, and a name index. Scholars who study humor in music and 21st century American composers will now have a comprehensive sourcebook on Peter Schickele and his works.

From the Jim Crow world of 1920s Greenville, South Carolina, to Greenwich Village's Café Society in the '40s, to their 1974 Grammy-winning collaboration on "Loves Me Like a Rock," the Dixie Hummingbirds have been one of gospel's most durable and inspiring groups. Now, Jerry Zolten tells the Hummingbirds' fascinating story and with it the story of a changing music industry and a changing nation. When James Davis and his high-school friends starting singing together in a rural South Carolina church they could not have foreseen the road that was about to unfold before them. They began a ten-year jaunt of "wildcatting," traveling from town to town, working local radio stations, schools, and churches, struggling to make a name for themselves. By 1939 the a cappella singers were recording their four-part harmony spirituals on the prestigious Decca label. By 1942 they had moved north to Philadelphia and then New York where, backed by Lester Young's band, they regularly brought the house down at the city's first integrated nightclub, Café Society. From there the group rode a wave of popularity that would propel them to nation-wide tours, major record contracts, collaborations with Stevie Wonder and Paul Simon, and a career still vibrant today as they approach their seventy-fifth anniversary. Drawing generously on interviews with Hank Ballard, Otis Williams, and other artists who worked with the Hummingbirds, as well as with members James Davis, Ira Tucker, Howard Carroll, and many others, The Dixie Hummingbirds brings vividly to life the growth of a gospel group and of gospel music itself.

Liszt's Dante Symphony is a thrilling tale of murder and covert spy rings amid the turbulent rise of Bismarck's Prussia, thus leading to Hitler's brutal Third Reich. Following the lives of a student of Liszt's, Angelo Di Purezza, and his son, the reader is taken on a journey of suspense that cascades over two generations. During those years Europe would experience numerous revolutions and witness two World Wars that would feature ghastly chemical weapons, atomic bombs, and deadly poison gas called Zyklon-B. Franz Liszt is joined by a huge cast of historical characters, including Napoleon III, Pope Pius IX, Rossini, Saint-Saens, Gustave Dore, Victor Hugo, Albert Einstein, Adolf Hitler and many others. The tale is an exciting amalgamation of history, politics, religion, music, the fine arts, secret codes, murder, suspense, sacrifices, and yes, even romance.

This is a facsimile of the first edition, printed for the Author, in Edinburgh in 1721.

American director Robert Altman (1925-2006) first came to national attention with the surprise blockbuster M*A*S*H (1970), and he directed more than thirty feature films in the subsequent decades. Critics and scholars have noted that music is central to Altman's films, and in addition to his feature films, Altman worked in theater, opera, and the emerging field of cable television. His treatment of sound is a hallmark of his films, alongside overlapping dialogue, improvisation, and large ensemble casts. Several of his best-known films integrate musical performances into the central plot, including Nashville (1975), Popeye (1980), Short Cuts (1993), Kansas City (1996), The Company (2003) and A Prairie Home Companion (2006), his final film. Even such non-musicals as McCabe and Mrs. Miller (1971) have been described as, in fellow director and protege Paul Thomas Anderson's evocative phrase, as "musicals without people singing." Robert Altman's Soundtracks considers Altman's celebrated, innovative uses of music and sound in several of his most acclaimed and lesser-known works. In so doing, these case studies serve as a window not only into Altman's considerable and varied output, but also the changing film industry over nearly four decades, from the heyday of the New Hollywood in the late 1960s through the "Indiewood" boom of the 1990s and its bust in the early 2000s. As its frame, the book will consider the continuing attractions of auteurism inside and outside of scholarly discourse, by considering Altman's career in terms of the director's own self-promotion as a visionary and artist; the film industry's promotion of Altman the auteur; the emphasis on Altman's individual style, including his use of music, by the director, critics, scholars, and within the industry; and the processes, tensions, and boundaries of collaboration.

A biography of the conductor Mitropoulos. He was an advocate of difficult modern music and an early champion of Mahler; his performances brought the Minneapolis Symphony Orchestra into the first rank of American orchestras.

This is a facsimile reprint of the 1773 edition. Originally in two volumes but now bound as one. There is a small bibliography provided by the publisher.

Facsimile reprint of "The Seventh edition, Corrected and Elarged. Printed by W. Godbid, for J. Playford at his Shop in the Temple near the Church. 1674."

Combining the International Who's Who in Classical Music and the International Who's Who in Popular Music, this two-volume set provides a complete view of the whole of the music world. Within the International Who's Who in Classical Music, each biographical entry comprises personal information, principal career details, repertoire, recordings and compositions, and full contact details where available. Appendices provide contact details for national orchestras, opera companies, music festivals, music organizations and major competitions and awards. The International Who's Who in Popular Music boasts detailed entries, including full biographical information, such as principal career details, recordings and compositions, honours and contact information.

The musical dramas of Richard Wagner have, for the last 150 years, thrilled and amazed listeners everywhere. In "Wagner Moments", author J.K. Holman has assembled 100 such moments, from the living and dead, famous and not so famous, from Charles Baudelaire to Placido Domingo, musicians and non-musicians. Mr. Holman edits these stories and asides, placing them in their biographical and historical context to the certain enjoyment of Wagner aficionados everywhere.

This book explores the mythology, story, music, characters and language of Wagner's monumental work. At its heart is a concordance of the keywords in the four librettos, a powerful reference tool. The volume also includes a brief synopsis of each of the four operas, a presentation of the 145 principal musical motives in order of appearance, and a discussion of the characters and their relationships, listing their appearances and the musical motives associated with them.

Funeral Games in Honor of Arthur Vincent Lourie explores the varied aesthetic impulses and ever-evolving personal motivations of Russian composer Arthur Lourie. A St. Petersburg native allied with the Futurist movement and profoundly sympathetic to Silver Age decadence, Lourie was swept away by the Revolution; he surfaced as a Communist commissar of music before landing in Europe and America, where his career foundered. Making his way by serving others, he became Stravinsky's right-hand man, Serge Koussevitsky's ghostwriter, and philosopher Jacques Maritain's muse. Lourie left his mark on the poems of Anna Akhmatova, on the neoclassical aesthetics of Stravinsky, on Eurasianism, and on Maritain's NeoThomist musings about music. Lourie serves as a flawless lens through which aspects of Silver Age Russia, early Bolshevik rule, and the cultural space of exile come into sharper focus. But this interdisciplinary collection of essays, edited by musicologists Klara Moricz and Simon Morrison, also looks at Lourie himself as an artist and intellectual in his own right. Much of the aesthetic and technical discussion concerns his grandly eulogistic opera The Blackamoor of Peter the Great, understood as both a belated Symbolist work and as a NeoThomist exercise. Despite the importance Lourie attached to the opera as his masterwork, Blackamoor has never been performed, its fate thus serving as an emblem of Lourie's own. Yet even if Lourie seems to have been destined to be but a footnote in the pages of music history, he looms large in studies of emigration and cultural memory. Here Lourie's life, like his last opera, is presented as a meditation on the circumstances and psychology of exile. Ultimately, these essays recover a lost realm of musical and aesthetic possibilities-a Russia that Lourie, and the world, saw disappear.

Internationally renowned scholars and performers present a wide range of new analytical, historical and critical perspectives on some of Mozart's most popular chamber music: his sonatas with violin, keyboard trios and quartets and the quintet with wind instruments. The chapters trace a broad chronology, from the childhood works, to the Mannheim and Paris sonatas with keyboard and violin, and the mature compositions from his Vienna years. Drawing upon the most recent research, this study serves the reader, be they a performer, listener or scholar, with a collection of writings that demonstrate the composer's innovative developments to generic archetypes and which explore and assess Mozart's creative response to the opportunities afforded by new and diverse instrumental combinations. Manners of performance of this music far removed from our own are revealed, with concluding chapters considering historically informed practice and the challenges for modern performers and audiences.

Charles Ives, perhaps the quintessential American composer of the twentieth century, drew on his childhood experiences in a small New England town in his music. Through his close relationship with his father, George, a Civil War bandmaster, Ives developed a powerful feeling for nineteenth-century rural America. This book--the first full-scale psychoanalytic biography of a major composer--examines the lives of the two men and shows how a knowledge of their relationship as father and son, teacher and pupil, is central to an understanding of Ives's work. Stuart Feder, a psychoanalyst with training in musicology, demonstrates that George exerted so pervasive an influence on Charles's creative life that Ives's music may be seen as the result of an unconscious fantasy of posthumous collaboration between father and son. The music bears George's mark, not only in its incorporation of hymn tunes, parlor ballads, Civil War marches, and other homely sources that derived from his youth, but also in its use of technical musical devices attributed to George. Moreover, the span of Ives's creative life reveals another connection to his father: Charles's musical productivity began to wane in his forties, as he approached the age at which his father died. Dr. Feder examines the influence of George's teaching and storytelling on Charles's years as a composer. Ives's later decline is traced psychologically and medically. Using Ives's music as an essential part of his data, Dr. Feder demonstrates how music can illuminate and be expressive of the inner life of its creator.

The BBC Proms is the world's biggest and longest-running classical music festival and one of the jewels in the crown for the BBC. Held every summer at the Royal Albert Hall in London, it is one of the strongest brand names in the music world and attracts a glittering array of artists and orchestras. Whether you're a first-time visitor or an experienced Prommer, watching at home or listening on radio or online, the BBC Proms Guide will be an excellent companion to a remarkable summer of music, which you can treasure and return to in years to come. Filled with the latest programme details and illuminating articles by leading experts, journalists and writers, the BBC Proms Guide gives a wide-ranging insight into the performers and repertoire, as well as thought-provoking opinion pieces about audiences, music and music-making. The contents for 2021 include a specially commissioned short story by award-winning author Chibundu Onuzo; an exploration of music and silence by author, commentator and broadcaster Will Self; a celebration of the history and influence of the iconic Royal Albert Hall 150 years after its opening by historian, author, curator and television presenter Lucy Worsley; a tribute to anniversary composer Igor Stravinsky; and an article spotlighting the remarkable Kanneh-Mason siblings (spearheaded by royal-wedding cellist Sheku).

Elinor Remick Warren's distinguished career as a composer, concert pianist, and accompanist for renowned singers spanned seventy-five years of American musical history. She began writing music in 1904 at age four. Her first published composition, a song, was accepted by G. Schirmer in 1916. Thereafter, her compositions appeared regularly through 1990. Her full oeuvre is cataloged here along with performance information, discography, and review and critical commentary, all of which is carefully documented, cross-referenced, and indexed. A biographical sketch is supplemented by a long interview conducted by the author with Warren four years before the composer's death in 1991. Among the useful appendixes are textual sources for Warren's many vocal compositions.

This is the second volume in a two-part set on the writings of Thomas Salmon. Salmon (1647-1706) is remembered today for the fury with which Matthew Locke greeted his first foray into musical writing, the Essay to the Advancement of Musick (1672), and the near-farcical level to which the subsequent pamphlet dispute quickly descended. Salmon proposed a radical reform of musical notation, involving a new set of clefs which he claimed, and Locke denied, would make learning and performing music much easier (these writings are the subject of Volume I). Later in his life Salmon devoted his attention to an exploration of the possible reform of musical pitch. He made or renewed contact with instrument-makers and performers in London, with the mathematician John Wallis, with Isaac Newton and with the Royal Society of London through its Secretary Hans Sloane. A series of manuscript treatises and a published Proposal to Perform Musick, in Perfect and Mathematical Proportions (1688) paved the way for an appearance by Salmon at the Royal Society in 1705, when he provided a demonstration performance by professional musicians using instruments specially modified to his designs. This created an explicit overlap between the spaces of musical performance and of experimental performance, as well as raising questions about the meaning and the source of musical knowledge similar to those raised in his work on notation. Benjamin Wardhaugh presents the first published scholarly edition of Salmon's writings on pitch, previously only available mostly in manuscript.

The extraordinary story of African American composer Edmond Dede, raised in antebellum New Orleans, and his remarkable career in France In 1855, Edmond Dede, a free black composer from New Orleans, emigrated to Paris. There he trained with France's best classical musicians and went on to spend thirty-six years in Bordeaux leading the city's most popular orchestras. How did this African American, raised in the biggest slave market in the United States, come to compose ballets for one of the best theaters outside of Paris and gain recognition as one of Bordeaux's most popular orchestra leaders? Beginning with his birth in antebellum New Orleans in 1827 and ending with his death in Paris in 1901, Sally McKee vividly recounts the life of this extraordinary man. From the Crescent City to the City of Light and on to the raucous music halls of Bordeaux, this intimate narrative history brings to life the lost world of exiles and travelers in a rapidly modernizing world that threatened to leave the most vulnerable behind.

A seminal figure in the development of distinctively American concert music, Roy Harris created a large body of compositions in virtually all media in a career spanning more than fifty years, from the 1920s to the 1970s. His fortunes fluctuated widely with the public and critical community. Eclipsed during the 1960s, when his conservative idiom with its strong nationalistic stance was out of vogue, he and his work have gained increased scholarly, performance, and recording interest in recent decades, which have brought to the fore an entire generation of neglected American composers. Documenting and organizing Harris's complex oeuvre is the essential concern of the present book, and the catalogue of works and performances provides information on instrumentation, premieres, publication, and special aspects of each composition. Like the catalog, the discography is the most thorough ever assembled for Harris, and it also includes commentary on features of the recordings. The extensive annotated bibliography includes reference sources, scholarly works, general works, text sources, folksong sources, writings by Harris, and critical reviews. Works, recordings, and bibliography are carefully enumerated, cross-referenced, and indexed. An opening study of Harris's life, works, and style incorporates gleanings from an oral history collection recently made available. This research tool is an essential companion to any critical study of Harris and will provide a firm base on which future such studies can be developed.

During the century of British rule of the Indian subcontinent known as the British Raj, the rulers felt the significant influence of their exotic subjects. Resonances of the Raj examines the ramifications of the intertwined and overlapping histories of Britain and India on English music in the last fifty years of the colonial encounter, and traces the effects of the Raj on the English musical imagination. Conventional narratives depict a one-way influence of Britain on India, with the 'discovery' of Indian classical music occurring only in the post-colonial era. Drawing on new archival sources and approaches in cultural studies, author Nalini Ghuman shows that on the contrary, England was both deeply aware of and heavily influenced by India musically during the Indian-British colonial encounter. Case studies of representative figures, including composers Edward Elgar and Gustav Holst, and Maud MacCarthy, an ethnomusicologist and performer of the era, integrate music directly into the cultural history of the British Raj. Ghuman thus reveals unexpected minglings of peoples, musics and ideas that raise questions about 'Englishness', the nature of Empire, and the fixedness of identity. Richly illustrated with analytical music examples and archival photographs and documents, many of which appear here in print for the first time, Resonances of the Raj brings fresh hearings to both familiar and little-known musics of the time, and reveals a rich and complex history of cross-cultural musical imaginings which leads to a reappraisal of the accepted historiographies of both British musical culture and of Indo-Western fusion.

Typically regarded as reflecting on a culture in social, political, or psychological crisis, the arts in fin-de-siecle Vienna had another side: they were means by which creative individuals imagined better futures and perfected worlds dawning with the turn of the twentieth century. As author Kevin C. Karnes reveals, much of this utopian discourse drew inspiration from the work of Richard Wagner, whose writings and music stood for both a deluded past and an ideal future yet to come. Illuminating this neglected dimension of Vienna's creative culture, this book ranges widely across music, philosophy, and the visual arts. Uncovering artworks long forgotten and providing new perspectives on some of the most celebrated achievements in the Western canon, Karnes considers music by Mahler, Schoenberg, and Alexander Zemlinsky, paintings, sculptures, and graphic art by Klimt, Max Klinger, and members of the Vienna Secession, and philosophical writings by Nietzsche, Schopenhauer, and Maurice Maeterlinck. Through analyses of artworks and the cultural dynamics that surrounded their creation and reception, this study reveals a powerful current of millennial optimism running counter and parallel to the cultural pessimism widely associated with the period. It discloses a utopian discourse that is at once beautiful, moving, and deeply disturbing, as visions of perfection gave rise to ecstatic artworks and dystopian social and political realities.

Product information not available.

With over 100 compositions in his catalog, Ross Lee Finney is a highly regarded composer whose career spans more than 50 years. This work offers contemporary music scholars, students, and enthusiasts an in-depth survey of the life, works, and writings of this important composer, theorist, and teacher. Finney is one of the first significant composers to come out of the American Midwest. He is known for blazing new trails by writing tonal music in the serialist style, developing a unique method of composition by applying physics' theory of complementarity to music, and using symmetrical hexachords to achieve an overall tonal effect. An important addition to any music library. Of special interest are excerpts from the author's interview with Finney in 1992, which provide the reader with a unique insight into the life and work of this individual and innovative composer. The book is divided into four major sections: a biography, a list of works including detailed information regarding premieres and other significant performances, a complete discography of all commercial recordings, and a comprehensive bibliography of writings by and about Finney. Two appendices provide alphabetical and chronological lists of compositions, and a comprehensive index includes all important names, institutions, places, and events mentioned throughout the text.