for SSA and piano Setting words by Chief Dan George, this optimistic work reminds us that there is still beauty to be found in times of trouble and that difficult days will not last forever. Quartel's sensitive setting uses triplets against duplets to give a sense of fluidity to the melodic phrasing. The balanced vocal lines will be enjoyed by youth and adult upper-voice choirs.

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.

Going to concerts is becoming, for large numbers of Americans, an increasingly frequent pleasure. For those who encounter unfamiliar traditions and terms in the concert hall, here is information and advice which tells all listeners what they need to know to be comfortable at an orchestral concert. Includes background, biographies, and discussions of 200 masterpieces. Drawings.

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.

Combining musical insight with the most recent research, William Kinderman's Beethoven is both a richly drawn portrait of the man and a guide to his music. Kinderman traces the composer's intellectual and musical development from the early works written in Bonn to the Ninth Symphony and the late quartets, looking at compositions from different and original perspectives that show Beethoven's art as a union of sensuous and rational, of expression and structure. In analyses of individual pieces, Kinderman shows that the deepening of Beethoven's musical thought was a continuous process over decades of his life. In this new updated edition, Kinderman gives more attention to the composer's early chamber music, his songs, his opera Fidelio, and to a number of often-neglected works of the composer's later years and fascinating projects left incomplete. A revised view emerges from this of Beethoven's aesthetics and the musical meaning of his works. Rather than the conventional image of a heroic and tormented figure, Kinderman provides a more complex, more fully rounded account of the composer. Although Beethoven's deafness and his other personal crises are addressed, together with this ever-increasing commitment to his art, so too are the lighter aspects of his personality: his humor, his love of puns, his great delight in juxtaposing the exalted and the commonplace.

for SATB unaccompanied 'Ya basta!' is a Spanish saying that roughly translates to 'Enough is enough!'. Regan has combined this with text from a poem by the Spanish poet Antonio Machado. Ya Basta! has an exuberant and carefree energy, expressing the freedom to walk wherever you choose and to make your own path. The song easy to teach and learn; the score includes helpful tips on pronunciation and improvisation at the break section. Offprinted from Community Voiceworks, ed. Alison Burns and Gitika Partington.

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.

In 1959, the Bolshoi Ballet arrived in New York for its first ever performances in the United States. The tour was part of the Soviet-American cultural exchange, arranged by the governments of the US and USSR as part of their Cold War strategies. This book explores the first tours of the exchange, by the Bolshoi in 1959 and 1962, by American Ballet Theatre in 1960, and by New York City Ballet in 1962. The tours opened up space for genuine appreciation of foreign ballet. American fans lined up overnight to buy tickets to the Bolshoi, and Soviet audiences packed massive theaters to see American companies. Political leaders, including Khrushchev and Kennedy, met with the dancers. The audience reaction, screaming and crying, was overwhelming. But the tours also began a series of deep misunderstandings. American and Soviet audiences did not view ballet in the same way. Each group experienced the other's ballet through the lens of their own aesthetics. Americans loved Soviet dancers but believed that Soviet ballets were old-fashioned and vulgar. Soviet audiences and critics likewise appreciated American technique and innovation but saw American choreography as empty and dry. Drawing on both Russian- and English-language archival sources, this book demonstrates that the separation between Soviet and American ballet lies less in how the ballets look and sound, and more in the ways that Soviet and American viewers were trained to see and hear. It suggests new ways to understand both Cold War cultural diplomacy and twentieth-century ballet.

for SA and piano In this beautiful setting of words by the composer, based on a quote by Brian Palmer, singers are encouraged to listen to the sounds and people around them in order to learn and grow: 'one act of love, I know, for sure, is to listen.' Listen is suitable for upper-voice or children's choirs, and its memorable melodies are accompanied by a simple and supportive rippling piano accompaniment.

This annotated bibliography of J.S. Bach studies bring together in one place the most important and useful resources, describes the tools available for Bach research, and provides starting points for reading on many works and topics. Keeping the needs of the beginning Bach scholar firmly in mind, the authors provide concise explanations and summaries of important and potentially confusing topics in Bach research. Topics include bibliographic tools and sources; Bach's world; repertory and editions; vocal and instrumental music; performance; and approaches to Bach's music. The book concludes with detailed indexes of all topics, authors, and titles cited.

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.

Bela Bartok (1881-1945) was one of the most important composers and musical thinkers of the 20th century. His contributions as a composer, as a performer and as the father of ethnomusicology changed the course of music history and of our contemporary perception of music itself. At the center of Bartok's oeuvre are his string quartets, which are generally acknowledged as some of the most significant pieces of 20th century chamber music. The String Quartets of Bela Bartok brings together innovative new scholarship from 14 internationally recognized music theorists, musicologists, performers, and composers to focus on these remarkable works from a range of theoretical and methodological perspectives. Focusing on a variety of aspects of the string quartets-harmony and tonality, form, rhythm and meter, performance and listening-it considers both the imprint of folk and classical traditions on Bartok's string quartets, and the ways in which they influenced works of the next generation of Hungarian composers. Rich with notated music examples the volume is complemented by an Oxford Web Music companion website offering additional notated as well as recorded examples. The String Quartets of Bela Bartok, reflecting the impact of the composer himself, is an essential resource for scholars and students across a variety of fields from music theory and musicology, to performance practice and ethnomusicology.

Selected from authoritative sources by musicologist and organist Rollin Smith, this compilation features such famous works as J. S. Bach's "Pastorale, BWV 590"; Couperin's "Chaconne in F"; and Handel's "Concerto No. 13," "The Cuckoo and the Nightingale." Other well-known selections include compositions by Brahms, Gounod, Haydn, Liszt, Mendelssohn, Vierne, and Widor.

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.

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.

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.

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 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 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 is the first major reference work on this important choral composer. As is usual for volumes in this valuable series, the book is clearly printed and well bound, and it is highly recommended for undergraduate and graduate music collections as well as for public libraries serving communities with active choral societies. Choice When Randall Thompson died in 1984, America lost one of its most distinguished musicians. At the time of his death, it was already apparent that an assessment of his varied contributions to our musical life in the context of his contemporary generation was sorely needed. Randall Thompson: A Bio-Bibliography is the first comprehensive study of Thompson's oeuvre since his death. The volume is organized into five parts, beginning with a substantial biography written by David Francis Urrows, Thompson's final student and amanuensis. Urrows presents new information on Thompson's youth, his study in Italy and the influence of Malipiero on his work, his educational and compositional philosophy, and his role in the emergence of American music from the influence of European models. Benser's most complete catalog of works compiled to date follows. This vital list includes previously unpublished compositions, particularly those newly made available by Thompson's longtime publisher, E. C. Schirmer, and new recordings made by Bay Cities Music. A sampling of prose writings by Thompson offers a eclectic overview. The complete, extensively annotated bibliography, discography, and two appendixes that list Thompson's compositions chronologically and alphabetically complete this study. Music libraries will want to add this volume to their collections. It will also be an invaluable reference for choral directors, program note annotators, and American music enthusiasts.

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.

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.

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.

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.