George Gershwin is at once one of America's most popular and least appreciated composers. In this important new work, some of America's leading experts on popular music have contributed articles about Gershwin and the rediscovery of both his songs and his concert music.

Elegy, with its warmly expressive tenor-range melodies, is highly suitable for use at funerals, while the cascading joy of Festive Bells makes it perfect as a wedding recessional. The finely wrought sonorities will sound to maximum effect on a large organ in a spacious acoustic, but will nonetheless be convincing on even the most modest of instruments. Both pieces have that warm sense of Englishness that makes them very accessible to the first-time listener.

This anthology of writings about the American experimental composer Harry Partch is the most comprehensive collection of commentaries about the composer and his work ever assembled. Eleven major figures of contemporary music voice their views on Partch (1901-1974) and his radical contributions to twentieth-century music. These include composers and theorists who worked closely with him and important comments from his contemporaries and musical inheritors.

In Rethinking Schubert, today's leading Schubertians offer fresh perspectives on the composer's importance and our perennial fascination with him. Subjecting recurring issues in historical, biographical and analytical research to renewed scrutiny, the twenty-two chapters yield new insights into Schubert, his music, his influence and his legacy, and broaden the interpretative context for the music of his final years. With close attention to matters of style, harmonic and formal analysis, and text setting, the essays gathered here explore a significant portion of the composer's extensive output across a range of genres. The most readily explicable aspect of Schubert's appeal is undoubtedly our continuing engagement with the songs. Schubert will always be the first port of call for scholars interested in the relationship between music and the poetic text, and several essays in Rethinking Schubert offer welcome new inquiries into this subject. Yet perhaps the most striking feature of modern scholarship is the new depth of thought that attaches to the instrumental works. This music's highly protracted dissemination has combined with a habitual critical hostility to produce a reception history that is hardly congenial to musical analysis. Empowered by the new momentum behind theories of nineteenth-century harmony and form and recently-published source materials, the sophisticated approaches to the instrumental music in Rethinking Schubert show decisively that it is no longer acceptable to posit Schubert's instrumental forms as flawed lyric alternatives to Beethoven. What this volume provides, then, is not only a fresh portrait of one of the most loved composers of the nineteenth century but also a conspectus of current Schubertian research. Whether perusing unknown repertoire or refreshing canonical works, Rethinking Schubert reveals the extraordinary methodological variety that is now available to research, painting a contemporary portrait of Schubert that is vibrant, plural, trans-national and complex.

Is music removed from politics? To what ends, beneficent or malevolent, can music and musicians be put? In short, when human rights are grossly abused and politics turned to fascist demagoguery, can art and artists be innocent?
These questions and their implications are explored in Michael Kater's broad survey of musicians and the music they composed and performed during the Third Reich. Great and small--from Valentin Grimm, a struggling clarinetist, to Richard Strauss, renowned composer--are examined by Kater, sometimes in intimate detail, and the lives and decisions of Nazi Germany's professional musicians are laid out before the reader.
Kater tackles the issue of whether the Nazi regime, because it held music in crassly utilitarian regard, acted on musicians in such a way as to consolidate or atomize the profession. Kater's examination of the value of music for the regime and the degree to which the regime attained a positive propaganda and palliative effect through the manner in which it manipulated its musicians, and by extension, German music, is of importance for understanding culture in totalitarian systems.
This work, with its emphasis on the social and political nature of music and the political attitude of musicians during the Nazi regime, will be the first of its kind. It will be of interest to scholars and general readers eager to understand Nazi Germany, to music lovers, and to anyone interested in the interchange of music and politics, culture and ideology.

Articles, tributes and reminiscences of composer, pianist and author Peter Dickinson are here brought together for the first time. Peter Dickinson has made an enduring contribution to British musical life, and his music has been regularly performed and recorded by leading musicians. His writings, brought together here for the first time, are equally noteworthy. Covering well over half a century, the subjects are fascinatingly varied. Apart from musical interests ranging from Charles Ives to John Cage, they touch on literature; and Dickinson's meetings with W.H. Auden and Philip Larkinare an intriguing insight that led to his Auden songs and the chamber work Larkin's Jazz. American themes are prominent in this collection. There are unique reviews of concert life in New York from 1959 to 1961; an accountof the teaching programme at the Juilliard School of Music at that time; three studies of Ives; and features containing original material on Copland, Thomson and Cage, all of whom Dickinson knew. Features on Erik Satie include the imaginary discussion marking his centenary in 1966. Dickinson also writes about his own music, providing an insight into what it was like being a British composer in the later twentieth century. Peter Dickinson was born inLancashire in 1934 and now lives in Suffolk. His 80th birthday was marked by a whole variety of tributes, including concerts, articles, broadcasts and various interviews - some included in this book. PETER DICKINSON is aBritish composer and pianist as well as author and editor of Boydell/URP books on Berkeley, Copland, Cage, Barber and Berners. As a pianist, Dickinson had a twenty-five-year, international partnership with his sister, the mezzo Meriel Dickinson, for whom he wrote song cycles to poems of E. E. Cummings, Gregory Corso and Stevie Smith. He was a regular contributor to BBC Radio 3 and is widely read as a critic on the Gramophone. He is an Emeritus Professor ofthe Universities of Keele and London and is chair of the Bernarr Rainbow Trust, for which he has edited several books on music education.

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.

This is a complete edition with critical commentary of the Byzantine Communions in thirteenth-century manuscripts of the Asmatikon, all known sources being used. The chants concerned are the earliest known examples of Communion Chants of the Orthodox Church, and are found in a book which may go back to the rite of St Sophia at Constantinople during the tenth century-the earliest copies of which date from the thirteenth-century and come from South Italy and North Greece. Further more, there are also a few manuscripts from Kiev with text in Church Slavonic and an untranscribable musical notation. This is the first systematic transcription of the Asmatikon ever to be published.

A facsimile of a previously unpublished musical manuscript. Among the major composers of the Portuguese "Golden Age," Pedro de Cristo (c.1550-1618) is at present the least familiar to scholars and performers. This situation is largely due to the fact that his music was not published during his lifetime, but is preserved rather in manuscripts originating (for the most part) at the Monastery of Santa Cruz in Coimbra, where he spent most of his life. The present work is an edition of the contents on one of these manuscripts -- MM 33 in Coimbra University Library -- which was copied by Pedro de Cristo himself towards the end of the sixteenth-century. It is an invaluable source of authoritative readings of his music: principally Latin motets for four or five voices. Also 198 includes musical examples.

Exploring the personal and cultural experiences that have shaped the creative output of one of Australia's foremost composers, this fascinating study begins in a Russian enclave in northern China, progresses through student days in Sydney and San Francisco, and culminates with Sitsky's present position as Professor of Composition at The Australian National University in Canberra. The many influences on his work, including important professional and personal relationships with such eminent persons as the poet Gwen Harwood and the violinist Jan Sedivka, are discussed in detail as are the sources of much of the inspiration for Sitsky's compositions, now numbering close to 200. Of interest to scholars, students, and anyone interested in 20th-century music. In addition to presenting Sitsky's fascinating life story and expounding on the central position he has occupied for the past 40 years in Australia's musical culture, this important work provides for the first time comprehensive bibliographic references to all of Sitsky's compositions, his writing, his recordings, and his appearances as a pianist and lecturer on music. The book is a most valuable addition to any collection, for it is both a work of reference and a compelling story of the development of one of the most eclectic, visionary, and confronting artists of his generation.

This is an alphabetical reference work for all aspects of music in the 20th century. It covers the major musical genres Concert, Jazz, Pop, Rock, and World; and also examines key styles such as opera, orchestral, bebop, blues, reggae, and country. Articles on individuals provide biographical information and explore contributions they have made in their respective fields. This encyclopedia also gives advice on suggested listening and further reading, and is fully cross-referenced.

After decades of anticipation, Alfred is proud to release the officially licensed, collectible sheet music companion folios to The Legend of Zelda(tm) video game series. The 33 arrangements in this intermediate-advanced piano edition are note-for-note transcriptions of instantly recognizable melodies beloved by generations of gamers around the globe. From Koji Kondo's iconic "The Legend of Zelda(tm) Main Theme" to The Legend of Zelda(tm): Spirit Tracks themes, the dozens of pieces in this book represent two and a half decades of Nintendo(R) video game favorites. Adding to the fun, graphics from the corresponding games grace each page of the sheet music. Impress friends, family, and audiences of all ages by playing from this magnificent collection, which makes a great gift for every pianist.
Titles: * The Legend of Zelda(tm) Title Theme * The Legend of Zelda(tm) Main Theme * Zelda II(tm) - The Adventure of Link(tm) Title Theme * Zelda II(tm) - The Adventure of Link(tm) Palace Music * The Legend of Zelda(tm): A Link to the Past(tm) Title Screen * The Legend of Zelda(tm): A Link to the Past(tm) Hyrule Castle Music * The Legend of Zelda(tm): A Link to the Past(tm) Main Theme * The Legend of Zelda(tm): A Link to the Past(tm) The Dark World * The Legend of Zelda(tm): Link's Awakening(tm) Main Theme * The Legend of Zelda(tm): Ocarina of Time(tm) Title Theme * The Legend of Zelda(tm): Ocarina of Time(tm) Princess Zelda's Theme * The Legend of Zelda(tm): Ocarina of Time(tm) Hyrule Field * The Legend of Zelda(tm): Ocarina of Time(tm) Lost Woods (Saria's Song) * The Legend of Zelda(tm): Ocarina of Time(tm) Gerudo Valley * The Legend of Zelda(tm): Ocarina of Time(tm) Song of Storms * The Legend of Zelda(tm): Majora's Mask(tm) Prelude of Majora's Mask * The Legend of Zelda(tm): Majora's Mask(tm)Termina Field * The Legend of Zelda(tm): The Wind Waker(tm) Main Theme * The Legend of Zelda(tm): The Wind Waker(tm) Dragon Roost Island * The Legend of Zelda(tm): The Wind Waker

Commissioned for the 40th birthday of the organist Paul Walton, Walton's Paean is a work of great verve, with compelling rhythms, exciting harmonies, and catchy melodies propelling the celebratory music forward. Through the boisterous excitement, legato passages emerge as the piece hurtles towards the resounding finale. There is also a little joke in the occasional references to the music of Paul Walton's namesake, William.

An indispensable biography for anyone interested in Constant Lambert, ballet and British musical life in the first part of the twentieth century. To the economist and ballet enthusiast John Maynard Keynes he was potentially the most brilliant man he'd ever met; to Dame Ninette de Valois he was the greatest ballet conductor and advisor this country has ever had; to the composer Denis ApIvor he was the greatest, most lovable, and most entertaining personality of the musical world; whilst to the dance critic Clement Crisp he was quite simply a musician of genius. Yet sixty years after his tragic earlydeath Constant Lambert is little known today. As a composer he is remembered for his jazz-inspired The Rio Grande but little more, and for a man who selflessly devoted the greater part of his life to the establishment of English ballet his work is largely unrecognized today. This book amply demonstrates why he deserves to be held in greater renown. With numerous music examples, extensive appendices and a unique iconography, every aspect of thecareer and life of this extraordinary, multi-talented man is examined. It looks not only at his music but at his journalism, his talks for the BBC, his championing of jazz (in particular Duke Ellington), and - more privately - his long-standing affair with Margot Fonteyn. This is an indispensable biography for anyone interested in Constant Lambert, ballet and British musical life in the first part of the twentieth century. STEPHEN LLOYD is a writer on British music and author of William Walton: Muse of Fire (Boydell, 2001).

Richard Wagner has come to be seen as the quintessential artist of the nineteenth-century, whose work embraces all the arts of the period. Dieter Borchmeyer here provides the first systematic and comprehensive account of Wagner's aesthetic theory, examining his hitherto neglected prose writings and his ideas on music drama from the various standpoints of literature, the linking of ideas, and the sociology of art. The pre-eminent importance for Wagner of classical Greek art and mythology emerges with particular clarity, while his links with the great figures and forms of world theatre - Shakespeare, the commedia dell'arte, the popular theatre, and the puppet theatre - are traced in detail. The influence on Wagner of the historical and social novel is also discussed. The author provides the first comprehensive analysis of Cosima Wagner's Diaries, and throws unexpected sidelights on Wagner's relationship with Nietzsche.

First published in German in 1982, this book has become established as a standard work of Wagner scholarship, and now appears for the first time in English in a completely revised edition incorporating a number of new chapters on the music dramas.

for violin and mixed choir This innovative and imaginative choral arrangement of The Lark Ascending has the original solo violin part accompanied by mixed choir. It sensitively sets George Meredith's poem (on which the original orchestration is based) and combines this with wordless vocal lines and vocal solos, preserving the texture and timeless effect of the original. Commissioned and premiered by the Swedish Chamber Choir, the work has also been recorded by the choir under the direction of Simon Phipps.

Georges Barrere (1876-1944) holds a preeminent place in the history of American flute playing. Best known for two of the landmark works that were written for him--the Poem of Charles Tomlinson Griffes and Density 21.5 by Edgard Varese--he was the most prominent early exemplar of the Paris Conservatoire tradition in the United States and set a new standard for American woodwind performance.
Barrere's story is a musical tale of two cities, and this book uses his life as a window onto musical life in Belle Epoque Paris and twentieth-century New York. Recurrent themes are the interactions of composers and performers; the promotion of new music; the management, personnel, and repertoire of symphony orchestras; the economic and social status of the orchestral and solo musician, including the increasing power of musicians' unions; the role of patronage, particularly women patrons; and the growth of chamber music as a professional performance medium.
A student of Paul Taffanel at the Paris Conservatoire, by age eighteen Barrere premiered the landmark Prelude to the Afternoon of a Faun. He went on to become solo flutist of the Concerts Colonne and to found the Societe Moderne d'Instruments a Vent, a pioneering woodwind ensemble that premiered 61 works for 40 composers in its first ten years. Invited by Walter Damrosch to become principal flute of the New York Symphony in 1905, he founded the woodwind department at the Institute of Musical Art (later Juilliard). His many ensembles toured the United States, building new audiences for chamber music and promoting French repertoire as well as new American music. Toff narrates Barrere's relationships with the finest musicians and artists ofhis day, among them Isadora Duncan, Yvette Guilbert, Andre Caplet, Paul Hindemith, Albert Roussel, Wallingford Riegger, and Henry Brant. The appendices of the book, which list his 170 premieres and the 50 works dedicated to Barrere, are a resource for a new generation of performers.
Based on extensive archival research and oral histories in both France and the United States, this is the first biography of Barrere. It is being published in conjunction with the centennial of his arrival in the United States in May 1905.

Over sixty years after his death in 1931, Vincent d'Indy is still a much misunderstood and maligned figure in French music. Previous biographers have left a portrait of the academic figure par excellence, who turned the seemingly inspired and selfless inspiration of his master Cesar Franck into a cold and authoritarian pedagogical system. This new study re-examines the evidence, reveals a much more psychologically complex and turbulent character, and finds that d'Indy was a tireless propagandist for a spiritual revival of French musical civilization. Yet he was fully aware of the social and intellectual problems of the secular Third Republic which militated against his Dante-inspired Catholic humanism, embodied in the work of the Schola Cantorum, the Paris institution founded by d'Indy to reform the practice of sacred music. Far from being a pure reactionary, his outlook was in reality remarkably progressive, manifest in his revivals of early music, notably Monteverdi's Orfeo, his encouragement of Debussy, and his willingness to engage - often pugnaciously - with the latest musical manifestations of Richard Strauss, Stravinsky, Schoenberg, and Varese. His own compositions likewise contain passages of astonishingly bold invention and modernistic effects, all too easily overlooked.

Heinrich Schenker ranks among the most important figures in the development of western music theory in the twentieth century. His approach to the analysis of music permeates nearly every aspect of the field and continues to this day to be a topic of great interest among music theorists, historians, composers and performers. In his four volume work, Die letzen Sonaten von Beethoven: Kritische Ausgabe mit Einfuhrung und Erlauterung (The Last Piano Sonatas by Beethoven: Critical edition with Introduction and Commentary) Schenker presented editions of Beethoven's Opp. 109, 110, 111 and 101 that were, at the time, unprecedented in their faithfulness to such authoritative sources as Beethoven's autograph manuscripts. He included a movement-by-movement and section-by-section discussion of form and content that grew increasingly penetrating from one volume to the next as the musical theory for which he is now known was developed, alongside inspired and detailed suggestions for the performance of each section of each work. In Beethoven's Last Piano Sonatas: An Edition, with Elucidation, noted Schenker scholar John Rothgeb presents the first English language edition and translation of these important works. Rothgeb builds upon Schenker's text, adding explanations of certain points in the commentary, references to corrections and other remarks entered by Schenker in his personal copies of the volumes, and graphic presentations of several passages (a practice that became standard in Schenker's own analytical work later in his career). Making these seminal works accessible to English speaking scholars and students for the first time, Beethoven's Last Piano Sonatas is an essential reference for music theorists, historians, performers, and composers alike.

We have long regarded Beethoven as a great composer, but we rarely appreciate that he was also an eminently political artist. This book unveils the role of politics in his oeuvre, elucidating how the inherently political nature of Beethoven's music explains its power and endurance. William Kinderman presents Beethoven as a civically engaged thinker faced with severe challenges. The composer lived through many tumultuous events--the French Revolution, the rise and fall of Napoleon Bonaparte, and the Congress of Vienna among them. Previous studies of Beethoven have emphasized the importance of his personal suffering and inner struggles; Kinderman instead establishes that musical tensions in works such as the Eroica, the Appassionata, and his final piano sonata in C minor reflect Beethoven's attitudes toward the political turbulence of the era. Written for the 250th anniversary of his birth, Beethoven takes stock of the composer's legacy, showing how his idealism and zeal for resistance have ensured that masterpieces such as the Ninth Symphony continue to inspire activists around the globe. Kinderman considers how the Fifth Symphony helped galvanize resistance to fascism, how the Sixth has energized the environmental movement, and how Beethoven's civic engagement continues to inspire in politically perilous times. Uncertain times call for ardent responses, and, as Kinderman convincingly affirms, Beethoven's music is more relevant today than ever before.

In this newly revised book On Sonic Art, Trevor Wishart takes a wide-ranging look at the new developments in music-making and musical aesthetics made possible by the advent of the computer and digital information processing. His emphasis is on musical rather than technical matters. Beginning with a critical analysis of the assumptions underlying the Western musical tradition and the traditional acoustic theories of Pythagoras and Helmholtz, he goes on to look in detail at such topics as the musical organization of complex sound-objects, using and manipulating representational sounds and the various dimensions of human and non-human utterance. In so doing, he seeks to learn lessons from areas (poetry and sound-poetry, film, sound effects and animal communication) not traditionally associated with the field of music.
About the Author
Trevor Wishart is a composer, living and working in the North of England. His musical works cover a wide range, from environmental music events staged in spe

This pathbreaking study reveals Purcell's extensive use of symmetry and reversal in his much-loved trio sonatas, and shows how these hidden structural processes make his music multilayered and appealing. Purcell's trio sonatas are among the cornerstones of Baroque chamber music. The composer himself unassumingly described them as "a just imitation of the most famed Italian masters." However, analysis of their underlying structuresreveals that Purcell's modesty hides a highly original blend of Italian models, complex English traditional compositional devices, and his own near obsession with compositional and contrapuntal technique. Alon Schab'spathbreaking Sonatas of Henry Purcell: Rhetoric and Reversal begins with an overview of the two sets of sonatas and their sources, their movement types, and some of the basic compositional and rhetorical procedures they demonstrate. The book's main part highlights several covert structures that are not necessarily heard but are consistent and played an important part in the compositional process. Symmetry, both temporal and spatial, governs much ofthese underlying structures. Beneath the surface of his studies in Italian style, Purcell created intricate correspondences between the micro and macro levels of the works, as well as unities of proportions and, above all, impressive mirrorlike structures. Schab's book opens an important window to seventeenth-century compositional technique and offers further evidence of Purcell's use of advanced compositional techniques in works that aimed to be pleasurable for the amateur and excitingly thought-provoking for the professional. Alon Schab is a lecturer at the University of Haifa.

This engaging work was composed in 1929 and premiered the following year by its dedicatee, the legendary Spanish cellist Pablo Casals. The five folk songs on which the work is founded are 'Salisbury Plain', 'The Long Whip', 'Low down in the broom', 'Bristol Town', and 'I've been to France'. This arrangement for solo viola and orchestra is compatible with the original orchestral accompaniment, materials for which are available on hire.

The Politics of Appropriation uncovers a largely forgotten chapter in music history by considering the intersection of music and Hellenism in nineteenth-century Germany. While the influence of Greece on the literature, art, architecture, and philosophy of this period has been much discussed, its significance for music has received considerably less attention. Beginning in 1841 with Felix Mendelssohn's wildly popular score for the groundbreaking Prussian court production of Sophocles' Antigone, author Jason Geary draws on research from the fields of musicology, history, classical studies, and theater studies, to explore the trend of combining music and Greek tragedy that also included productions of Euripides' Medea, Sophocles' Oedipus at Colonus, and Sophocles' celebrated Oedipus the King with music by Wilhelm Taubert, Mendelssohn, and Franz Lachner, respectively. Staged at royal courts in Berlin and Munich, these productions reflect an effort by the rulers who commissioned them to appropriate the legacy of Greece for the creation of a German cultural and national identity, while the music involved seemed to its contemporaries to mark the advent of an entirely new Romantic genre. By drawing a line between these compositions and Wagner's very different approach to recovering classical tragedy, Geary offers a reassessment of the composer's reception of the Greeks, highlighting the degree to which he was reacting against works such as Mendelssohn's Antigone when he called for the creation of a music drama rooted in the spirit of Attic tragedy. Geary further argues that Wagner's Ring cycle can be understood as the composer's attempt to reclaim the mythic significance of the Oedipus myth in the service of his own aesthetic aims. Placing these developments within the context of Germany's longstanding obsession with Greece, The Politics of Appropriation demonstrates the enduring significance of antiquity as a trope that helped to shape the European cultural and artistic landscape of the nineteenth century.