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.

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 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.

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.

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.

for baritone solo, SAATB, and small orchestra Dedicated to the Oxford Vaccine Team and premiered by Sir Bryn Terfel, The Oxford Philharmonic Orchestra, and the Choir of Merton College in a special tribute concert, Joseph's Carol sets words by the composer that recount the Christmas story from the perspective of Joseph. The two expressive verses are taken by the solo baritone, with the chorus performing a macaronic refrain infused with expectancy and wonder, as well as taking on the role of the angels in a soft accompaniment to the closing words of the second solo verse. The upper three voice parts are designed to be approximately equal in strength, and the carol may be accompanied by organ, piano, or small orchestra.

for baritone solo, SAATB, and organ or piano or small orchestra Dedicated to the Oxford Vaccine Team and premiered by Sir Bryn Terfel, The Oxford Philharmonic Orchestra, and the Choir of Merton College in a special tribute concert, Joseph's Carol sets words by the composer that recount the Christmas story from the perspective of Joseph. The two expressive verses are taken by the solo baritone, with the chorus performing a macaronic refrain infused with expectancy and wonder, as well as taking on the role of the angels in a soft accompaniment to the closing words of the second solo verse. The upper three voice parts are designed to be approximately equal in strength, and the carol may be accompanied by organ, piano, or small orchestra. The orchestral accompaniment is available for purchase.

for SA and piano Setting a text by Elizabeth Barrett Browning, this thoughtful and evocative piece compares a dying relationship with the changing of the seasons from summer to winter, which McGlade skilfully reflects in her use of minor tonality, falling melodic phrases, and shifting chromaticism. Reminiscent of the English art song, this setting for upper voices and piano demonstrates McGlade's compositional versatility.

Few musical genres inspire the passionate devotion of jazz. Its mystique goes far beyond the melodies and rhythms, with its key players and singers discussed by aficionados with a respect that borders on reverence. Some books on jazz offer little more than theory or dry facts, thereby relinquishing the 'essence' of the music. This book is different. One of the most influential and internationally known writers on the subject describes, through vivid personal contacts, reminiscences and zesty anecdotes, his life in jazz as a player, broadcaster and observer. Alyn Shipton recalls friendships with legendary musicians, while revealing fresh discoveries about such luminaries as Fats Waller, Louis Armstrong, Count Basie, Duke Ellington, Charlie Parker, Abbey Lincoln and Geri Allen. On Jazz powerfully evokes the atmosphere of clubs and dancehalls, and takes us behind the scenes and up onto the stage, so that this electrifying world is unforgettably spotlighted as never before.

for SATB (with divisions) unaccompanied Setting Revelation 21: 1-5, this short anthem is in McGlade's typically fluid style, with harmonic twists, changing metres, and tempo fluctuations. With some divisi in the upper parts, it will be particularly welcomed by experienced church and cathedral singers as a new take on these well-known words.

for SSAA and piano Refuge sets a powerful Sara Teasdale poem by the same name, which perfectly captures the healing power of singing: 'For with my singing I can make a refuge for my spirit's sake, A house of shining words, to be my fragile immortality'. Quartel uses musical structure to complement the poem's narrative, opening and closing with music marked 'resilient and strong', with a central section that is 'warm and hopeful', as expressed by rich harmonies and soaring melodic lines. The piano underpins this expressive setting with steady continuous quaver motion, and provides characterful harmonic moments.

for SSATBarB unaccompanied Setting words by the composer, One of these days is an affirmatory piece with pop-inspired rhythms and harmonies. The scat syllables and repeating patterns of the lower parts provide a rich cushion for the lilting melody of the soprano lines, with lyrics that encourage us to seize the day!

for high voice and piano This beautiful collection of 14 songs for high voice offers Christmas settings by some of Oxford's best-loved composers. Suitable for solo singers and unison choirs alike, each song is presented with piano accompaniment, and high-quality, downloadable backing tracks are included on a companion website. With a wonderful selection of pieces, including favourites such as Bob Chilcott's 'The Shepherd's Carol' and John Rutter's 'Candlelight Carol', this is the perfect collection for use in carol services and Christmas concerts or for enjoying at home. Also available in a volume for low voice and piano.

for low voice and piano This beautiful collection of 14 songs for low voice offers Christmas settings by some of Oxford's best-loved composers. Suitable for solo singers and unison choirs alike, each song is presented with piano accompaniment, and high-quality, downloadable backing tracks are included on a companion website. With a wonderful selection of pieces, including favourites such as Bob Chilcott's 'The Shepherd's Carol' and John Rutter's 'Candlelight Carol', this is the perfect collection for use in carol services and Christmas concerts or for enjoying at home. Also available in a volume for high voice and piano.

for solo organ. Elegy for the Time of Change was written in response to the horrifying murder of George Floyd at the hands of the Minneapolis police in May 2020. Imbued with singing melodies and richly expressive harmonies, the work makes several brief allusions to the spiritual There is a Balm in Gilead, offering a hopeful vision of healing and unity to a nation (and world) riven by mistrust and disparity.

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.

Awarded the legion d'Honneur by the French government in 2006 for his services to French culture, acclaimed writer and broadcaster Roger Nichols invites the reader to accompany him on his journey through the century-and-a-half turbulent and fertile period in the history of French music from Berlioz to Boulez. In compiling his collection of articles, interviews, radio plays and talks, Nichols begins with Berlioz's Symphonie Fantastique and ends with his obituary of Pierre Boulez. Along the way, he includes in-depth studies of Debussy and Ravel, connecting the two by a comparison of their operatic masterpieces, Pelleas et Melisande and l'Enfant et les sortileges. Twenty other significant composers from this fascinating period come in for Nichols' hallmark combination of erudition and wit.

for SATB (with divisions) unaccompanied This is an expressive setting of Sara Teasdale's poem 'Peace', with lush, rich harmonies and a soft dynamic palette. Poignant and peaceful, and perfect for choirs who enjoy refining blend and ensemble, this setting will provide a reflective moment in a concert programme.

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.

for unison upper voices and piano I remember sets a text reflecting on the wonder of the natural world and the people who shape our lives. The stirring melody calls to mind the folksong tradition, and is underpinned by a gently flowing piano accompaniment. The middle section brings a contrast of tonality, with the altos and baritones accompanying the sopranos' melodic line, before the beguiling melody of the opening returns to bring the setting to a poignant close. Also available in a version for SA and piano, SABar and piano, and TB and piano.

for SSAA unaccompanied TaReKiTa is a refreshing concert piece that effortlessly blends the Indian and Western classical 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 is also available.

for SSA and piano This uplifting and affirmatory piece sets a text by the composer inspired by the reflections of the Northwest Girlchoir on what their choir means to them. A warm unison first verse and chorus is next transposed into 6/8, taking on a dance-like feel, first in two and then three vocal parts, while the forward motion of the piano's continuous quaver movement echoes the text's encouragement to 'carry the music on'. The gradual building of choral texture creates an atmosphere of heartfelt celebration of choral singing, leading to the profound closing words 'I hear you. I see you too'.

Music Criticism in Vienna is a close study of the work of some two dozen music critics in Vienna in the fifteen months from October 1896 to December 1897, a period which saw the deaths of Bruckner and Brahms and the rise of Mahler and Richard Strauss. It reconstructs in detail the climate of musical debate in a major centre around the turn of the century.

for SATB and cello This simple setting of words by Tennyson reflects a different side to McGlade's compositional style, without sacrificing any of her trademark characteristics. The largely homophonic vocal lines move as one, with clarity and poise in abundance, creating a bed of sound over which the cello gently glides.