The International Who's Who in Classical Music 2014 is a vast source of biographical and contact information for singers, instrumentalists, composers, conductors, managers and more. Each entrant has been given the opportunity to update his or her information for the new improved 2014 edition. 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. Entries include individuals involved in all aspects of the world of classical music: composers, instrumentalists, singers, arrangers, writers, musicologists, conductors, directors and managers. Key Features: over 8,000 detailed biographical entries covers the classical and light classical fields includes both up-and-coming musicians and well-established names. This book will prove valuable for anyone in need of reliable, up-to-date information on the individuals and organizations involved in classical music.

George Gershwin is perhaps the most popular American composer of the twentieth century, and his short and dramatic life has been the subject of much attention. His music, however, has never been scrutinized as closely as his life, and the composer known for his show tunes has had difficulty finding a niche in the world of "serious" music. This book is the first in-depth analysis of Gershwin's entire compositional oeuvre, including his concert music. Weaving biographical material with musical analysis, Steven Gilbert presents a chronological study of the highlights of Gershwin's career. He discusses the well-known Rhapsody in Blue, Concerto in F, An American in Paris, and Porgy and Bess, as well as such popular songs as "Swanee." "S'Wonderful," "I Got Rhythm," "Love Walked In," and "Love Is Here to Stay." But he also examines relatively neglected works that are no less deserving, such as Second Rhapsody, Cuban Overture, and Pardon My English, the last of which, says Gilbert, was a failure on Broadway but was one of George and Ira Gershwin's finest collaborations. Written in a fluid, conversational style and illustrated with numerous musical examples, some of which have never before been published, this book will be enjoyed by general readers and appreciated by professional musicians and musical scholars alike.

This is a startlingly fresh account of the life of one of the greatest 20th-century Americans, composer and songwriter George Gershwin. Joan Peyser examines Gershwin's character, his complex relationship with brother and collaborator Ira, and his several romantic affairs. This 2007 edition includes newly discovered information in a new author's introduction.

In 1853 Robert Schumann identified fully-formed compositional mastery in the young Brahms, who nevertheless in the years following embarked on a period of intensive further study, producing, among other works, the neo-baroque Sarabande and Gavotte. These dances have not been properly recognized as constituting a distinct Brahms work before now, but manuscript evidence and their performance history indicate that Brahms and his friends thought of them as such in the mid-1850s, when they became the first music of his performed publicly in Gdansk, Vienna, Budapest and London. He later suppressed the dances, using them instead as a thematic quarry for three chamber music masterpieces, from different stages in his life and in distinctly different ways: the Second String Sextet, the First String Quintet and the Clarinet Quintet. This book gives an account of the compositional and performance history, stylistic features and re-uses of the dances, setting these in the wider context of Brahms's developing creative concerns and trajectory. It constitutes therefore a study of a 'lost' work, of how a fully-formed master opens himself to 'the in-flowing from afar' (in Martin Heidegger's terms), and of the transformative reach and concomitant expressive richness of Brahms's creative thought.

A musical phrase, or, for that matter, a musical unit of any size or shape, becomes an image whenever we imagine it to be invested with a content whose origins lie outside music. Such a content, according to the theory developed here, constitutes the image's conventional significance; it accounts for whatever strikes us about the image as having a common and familiar ring. That being so, the origins in question must be coincident with the fundamental ideas--the archetypes--that have been traditionally represented as underlying and unifying Western culture. As the theoretical constructs they are, arehctypes are never encountered directly. It is in the form of their local variants that we make contact with the archetypes, and it is at this local level that the present book sets its sights: style, the typical or shared element in the musical imagery of a time and place, is studies as a function of Zeitgeist, the complex of beliefs, values, and ideals of a community. The approach is both thematic and historical, in keeping with a key objective of archetypal criticism. Far from repudiating the popular notion that music expresses the human emotions, this study attempts to recast emotion theory by examining musical images for kinds of behavior from which we may infer not only emotion (pathos, effectus) but also personality (ethos). Ethical and affective distinctions are very sharply drawn, in an effort to clarify and widen the vocabulary of musical commentary, as well as to provide cultural and historical backing for contents long considered the cliches of musical expression.

This volume of essays draws together recent work on historical music theory of the Renaissance. The collection spans the major themes addressed by Renaissance writers on music and highlights the differing approaches to this body of work by modern scholars, including: historical and theoretical perspectives; consideration of the broader cultural context for writing about music in the Renaissance; and the dissemination of such work. Selected from a variety of sources ranging from journals, monographs and specialist edited volumes, to critical editions, translations and facsimiles, these previously published articles reflect a broad chronological and geographical span, and consider Renaissance sources that range from the overtly pedagogical to the highly speculative. Taken together, this collection enables consideration of key essays side by side aided by the editor's introductory essay which highlights ongoing debates and offers a general framework for interpreting past and future directions in the study of historical music theory from the Renaissance.

At the height of the Enlightenment, four conservatories in Naples stood at the center of European composition. Maestros taught their students to compose with unprecedented swiftness and elegance using the partimento, an instructional tool derived from the basso continuo that encouraged improvisation as the path to musical fluency. Although the practice vanished in the early nineteenth century, its legacy lived on in the music of the next generation. In The Art of Partimento, performer and music-historian Giorgio Sanguinetti chronicles the history of this long-forgotten Neapolitan art. Sanguinetti has painstakingly reconstructed the oral tradition that accompanied these partimento manuscripts, now scattered throughout Europe. Beginning with the origins of the partimento in the circles of Corelli, Pasquini, and Alessandro Scarlatti in Rome and tracing it through the peak of the tradition in Naples, The Art of Partimento gives a glimpse into the daily life and work of an eighteenth century composer.
The Art of the Partimento is also a complete practical handbook to reviving the tradition today. Step by step, Sanguinetti guides the aspiring composer through elementary realization to more advanced exercises in diminution, imitation, and motivic coherence. Based on the teachings of the original masters, Sanguinetti challenges the reader to become a part of history, providing a variety of original partimenti in a range of genres, forms, styles, and difficulty levels along the way and allowing the student to learn the art of the partimento for themselves at their own pace.
As both history and practical guide, The Art of Partimento presents a new and innovative way of thinking about music theory. Sanguinetti's unique approach unites musicology and music theory with performance, which allows for a richer and deeper understanding than any one method alone, and offers students and scholars of composition and music theory the opportunity not only to understand the life of this fascinating tradition, but to participate in it as well.

Secular music of the fifteenth and sixteenth centuries encompasses an extraordinarily wide range of works and practices: courtly love songs, music for civic festivities, instrumental music, entertainments provided by minstrels, the unwritten traditions of solo singing, and much else. This collection of essays addresses many of these practices, with a focus on polyphonic settings of vernacular texts, examining their historical and stylistic contexts, their transmission in written and printed sources, questions of performance, and composers' approaches to text setting. Essays have been selected to reflect the wide range of topics that have occupied scholars in recent decades, and taken together, they point to the more general significance of secular music within a broad complex of cultural practices and institutions.

This is the fifth volume of Carl Nielsen Studies which is an annual publication issuing from the Royal Library of Denmark, also home to the Carl Nielsen edition. Carl Nielsen's status as one of the twentieth-century's foremost composers is now well-established. These volumes provide a forum for the spectrum of historical, analytical and aesthetic approaches to the study of Nielsen's music from an international line-up of contributors. In addition, each volume features reviews and reports on current Nielsen projects and an updated Nielsen bibliography, making Carl Nielsen Studies the most important source for up-to-the minute research on the composer and his work. Carl Nielsen Studies is distributed outside Scandinavia by Ashgate; distribution within Scandinavia is handled by The Royal Library, Copenhagen, PB 2149, DK 1016 K, Denmark.

This four-act comic opera celebrating Shakespeares Sir John Falstaff was given its first professional performance in 1946. The libretto, written by the composer, is based on The Merry Wives of Windsor, and interpolates texts by contemporaries of Shakespeare such as Christopher Marlowe, Ben Jonson, and Thomas Campion. The work contains English folksong material and fine examples of the composer's orchestral lyricism and dramatic flair. Music from the opera was later adapted to form the cantata In Windsor Forest and the Fantasia on Greensleeves. For this comprehensive new edition, the editor (and conductor) David Lloyd-Jones has drawn on all available sources, providing an authoritative Study Score with critical commentary. The performance materials are newly-engraved. The orchestral score, vocal score, choral scores, and the optional Episode & Interlude are also available on hire. Please note that this score comes as two separate volumes.

Commentary on Skryabin has struggled to situate an understanding of the composer's music within his idiosyncratic philosophical world views. Early commentators' efforts to do so failed to establish a thorough or systematic approach. And later twentieth-century studies turned away from the composer's ideology, focusing instead on 'the music itself' with an analytic approach that scrutinized Skryabin's harmonic language in isolation from his philosophy. This groundbreaking study revisits the questions surrounding the composer's music within his own philosophy, but draws on new methodological tools, casting Skryabin's music in the light not only of his own philosophy of desire, but of more refined semiotic-psychoanalytical theory and modern techniques of music analysis. An interdisciplinary methodology corrects the narrow focus of Skryabin scholarship of the last century, offering insights from New Musicology and recent music theory that lead to hermeneutical, critically informed readings of selected works.

for solo organ Celebration is an exciting work for solo organ. Exuberant rhythms prevail in the outer sections (including a playful reference to Walton's Crown Imperial), framing more pensive music at the centre of the piece.

for SSAA and piano Our Roots is an upbeat setting of evocative words by Delphine Chalmers on the themes of unity and commonality. An effective syncopated, single-note motif in the piano underpins the piece, rooting the tonality and providing a firm ostinato around which the music blossoms. Chilcott's word-painting - in places such as the drawing together of the four-part choral texture into unison on the words 'yours and mine the same' and the use of the piano's upper and lower registers as the text looks to roots and sky - creates a great sense of unity between music and lyrics. Powerful key changes and a strong rhythmic drive create an affirmatory setting that is sure to uplift both singer and listener.

This comprehensive research guide surveys the most significant published materials relating to Giuseppe Verdi. This new edition includes research since the publication of the first edition in 1998.

This book presents one author's view of the range and depth of recent scholarly study of sacred and liturgical music of the fifteenth and sixteenth centuries, as represented in a range of nineteen articles published in the last twenty or so years. It reprints, and contextualises, groups of articles on music of the French and Flemish Low Countries, Italy, Germany, England and Spain. Spanning a broad range of scholarly approaches, the anthology aims to inform aspiring scholars in the field, and to stimulate future studies in these and related areas.

Wagner's Ring, an important phenomenon of the German drama tradition, is situated and examined alongside other major works of the canon. Wagner defines tragedy as a mythological drama. The theoretical foundation of the Ring is a complex dialectic of history and myth. By contrasting the Ring with the dramas of Schiller, Hebbel, Hofmannsthal, and Brecht different facets of Wagner's work are uniquely highlighted beyond theoretical generalizations or broad overviews. This series of comparisons offers fresh insight into the interrelationships of the Ring with the previous German drama tradition, and also investigates its influence on twentieth-century drama and opera. Scholars of German literature and culture will appreciate this innovative interpretation and study of the Ring. New ideas proposed include the suggestions that Schiller's Wallenstein trilogy might have served as a covert source for the Ring and that Ariadne auf Naxos and Mahagonny represent parodies of the Ring. The theory underlying the Ring will attract musicologists and interdisciplinary literary scholars interested in the interrelationship between words and music and literature and opera.

for SATB (with divisions) unaccompanied One of McGlade's longer settings, As the hart begins simply, before expanding into a more complex central section with fluctuating time signatures and shifting tonalities. Ideal for advanced mixed-voice choirs in a sacred or concert setting, it is a fitting alternative to Herbert Howells's famous setting of Psalm 42.

Mozart's orchestral-inspired Sonata in D Major, K. 311 contains elaborate pianistic treatment and an exciting sonata-rondo finale with a cadenza worthy of one of Mozart's concertos. The flashy third movement is full of many contrasts involving dynamics, mood and texture. Throughout the sonata, the left hand becomes a true partner in all aspects of the composition, and thematic material is spread over different registers of the keyboard.

for SATB (with divisions) and small orchestra This is a beautiful, sensitive arrangement of the African-American spiritual and folk hymn Oh, watch the stars. The text reflects on the beauty of creation, and alternative verses by David Warner celebrating Christ's birth have been included for performance during the Christmas season. Wilberg artfully retains the understated feel and simplicity of the original spiritual while demonstrating hallmarks of his unique style, such as rich harmonies, contrasting keys and textures, and effective obbligato instrumental fills.

for TTBB unaccompanied. TaReKiTa is a refreshing concert piece that effortlessly fuses the Hindustani (North Indian) and Western classical music styles. The composer's scats are combined with a fast triple metre, vocal slides, and captivating melodies built on the Jog raga. A pronunciation guide is included in the leaflet, and a video guide by the composer is available through a companion website. A version for unaccompanied mixed voices and SSAA unacompanied voices is also available.

The practice and composition of music require patronage and institutional support, and they require it in a different fashion from that found in other forms of art. This collection of essays brings together the most recent and important contributions by leading scholars in the field to this crucial aspect of Renaissance musical culture. The articles approach the topic from a number of perspectives and consider the institutions and individuals engaged in supporting music; the systems of employment, benefices and sponsorship put in place to facilitate the support; and where, how and why music was sung and played. Taken together, these articles enable conclusions to be drawn about the interests of patrons and about the social and artistic status of musicians and composers within the courtly and urban context.

To study this composer is to study the tastes and trends of the American people from 1912 through World War II. This bio-bibliography presents Carpenter's life and works, as well as the contemporary views, reviews, and criticisms that reveal historical attitudes and prejudices of American life in those troubled times. Looking back several decades, it is possible to discover what was enduring, what was transitory, and what elements would become important to our present state of musical composition. This volume includes a biography, a list of works and performances, a discography, and an annotated bibliography and will be of interest to students of music, dancers and choreographers, history buffs, and music lovers alike. Throughout, one will find many gems from reviews.

Although Carpenter was an American with a Harvard education who quoted American popular tunes, he was also an eclectic. He wrote many works in a French impressionistic style, some with Germanic forms, and sometimes borrowing Spanish, Russian, and Oriental melodies, rhythms, and instruments. He was inspired by programmatic ideas and even wrote the program notes for his Adventures in a Perambulator suite. Humor and fantasy can be found in this suite, which depicts a baby's stroll through the park with its nurse, and in Krazy Kat, his jazz pantomime based on George Herriman's cartoon strip. Jazz first appeared at the Metropolitan Opera House in the 1926 production of Skyscrapers, Carpenter's ballet of work and play. Carpenter was born in Park Ridge, Illinois, 28 February 1876 and died 26 April 1951 in Chicago. New recordings of his music have recently been issued in LP and CD formats.

From the series examining the development of music in specific places during particular times, this book looks at the classical period, in Europe and America, from Vienna and Salzburg to the Iberian courts and Philadelphia.

First published in 2011, this text provides citations to the core Holst literature. The volume is intended for students and researchers, as well as those seeking an introduction to Holst. The inclusion of materials for the non- specialist seems entirely appropriate as Holst devoted much of his career to teaching amateur musicians. The contents of this book presents a selective, annotated list of essential materials published through the end of 2009, although a very few exceptions were made for a limited number of post-2009 print and web resources.

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.