The International Who s Who in Classical Music 2009 is an unparalleled source of biographical information on singers, instrumentalists, composers, conductors and managers. The directory section lists orchestras, opera companies and other institutions connected with the classical music world.

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 invaluable for anyone in need of reliable, up-to-date information on the individuals and organizations involved in classical music.

for Upper voices, SATB, and piano or 2 pianos and percussion (4 players) A work filled with ambition, Circlesong is a musical portrayal of the human life cycle as captured in the indigenous poetry of North America. Based on poetry from the Chinook, Comanche, Dakota, Eskimo, Iroquois, Kwakiutl, Navajo, Ojibwa, Pueblo, Seminole, Sioux, and Yaqui traditions, the thirteen movements, in seven parts, mark the different stages of life, from birth and childhood to adulthood, middle age and death. With energetic percussion accompaniment, climactic moments for tutti choir, tender unaccompanied passages and solo song, Circlesong is a work of impressive drama, variety, and depth. This is the upper voices part for Circlesong. The vocal scores are available for sale separately and instrumental parts for the two pianos/percussion version are available on hire.

for SATB choir unaccompanied With a text by John Henry Newman, Lead, kindly Light is a short, moving piece perfectly suited for our current times. Step-like movement in the melody reflects the speaker seeking light in the darkness, slow but steady in their way out of the 'encircling gloom'.

for solo cello Conceived as a set, these eight songs are drawn from several Chinese regions (Shaanbei, Shaanxi, Yunnan, Jiangsu, Sichuan, Hunan, and Shanxi) and represent the three main genres of mountain song, work song, and the more structured performance song aimed at professional singers. In this new arrangement for solo cello the music has been carefully refashioned for Western instruments, with writing that includes stylistic bowing and fingering to match the original style. Suitable for students at early to intermediate level, these compelling short pieces are accompanied by illuminating programme notes with a synoposis of each song.

for SATB unaccompanied Setting a beautiful text by Rabindranath Tagore, Wake, love, wake explores evocative imagery and metaphors through sonorous harmonies and freedom in tempo. The resulting piece is romantic, stirring, and atmospheric-perfect for concert performance. Also published in Breath of Song.

The Oxford Book of Upper-Voice Polyphony is a collection of carefully curated and edited Renaissance works. Scholarly yet practical, this volume is an invaluable addition to the library of any choir looking to explore this rich genre in liturgical or concert settings.

- A comprehensive guide to musicals that are based on musicians' existing back catalogues - how they work, why they work and why they are so successful. - Written for musical theatre students at all levels - primarily on the 150 BA degrees across the UK and North America. - The first book to address this relatively new genre of musical theatre, doing so with in-depth and wide ranging analysis.

The International Who's Who in Classical Music 2008 is an unparalleled source of biographical information on singers, instrumentalists, composers, conductors and managers. The directory section lists orchestras, opera companies and other institutions connected with the classical music world. 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. Among those listed in this new edition are Philip Glass, Lang Lang, George Crumb, Evelyn Glennie, Yo-Yo Ma and Inga Nielsen. 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 invaluable for anyone in need of reliable, up-to-date information on the individuals and organizations involved in classical music.

In the First World War, civilian life played a fundamental part in the war effort; and music was no exception. Performing Propaganda looks at musical life in Paris during the First World War. This conflict was one in which civilian life played a fundamental part in the war effort; and music was no exception. The book examines how Western art music became a central part of the home-front war effort, employed by both musicians and government as a powerful tool of propaganda. It situates French art music of the First World War within its social, cultural and political context, and within the wider temporal framework of the Franco-Prussian and Second World Wars. Drawing on a diverse range of archival material, including concert and operatic programmes, the musical and daily press, documents detailing government involvement in musical activity, and police records, it explores how various facets of French musical life served, in very different ways, as propaganda. In short, it explores why music mattered during a period of prolonged conflict, whether as emotional catalyst, weapon, or tool. This book will be of interest to musicologists, to cultural historians working on early twentieth-century France, and to scholars of the First World War,as well as to a more general readership with an interest in music during times of adversity. RACHEL MOORE is a Leverhulme Early Career Fellow in Music, University of Oxford.

MUSIC in the BAROQUE ERA FROM Monteverdi TO Bach By MANFRED R BUKOFZER PROFESSOR OF MUSIC, THE UNIVERSITY OF CALIFORNIA. New York NORTON tf COMPANY INO COPYRIGHT, 1947, BY W. W. NORTON COMPANY, INC. NEW YORK, N. Y. IN THE tmiTED STATES OB AMERICA FOR THE PUBLISHERS BY THE VAIL-BALLOXJ PRESS MCE IVEO R. Y CMF 1869 1943 . A. I ion. eer o CONTENTS PREFACE xiii Chapter One RENAISSANCE versus BAROQUE MUSIC i Disintegration of Stylistic Unity i Stylistic Comparison between Renaissance and Baroque Music 9 The Phases of Baroque Music 16 Chapter Two EARLY BAROQUE IN ITALY 20 The Beginnings of the Concertato Style Gabriel 20 The Monody Peri and Caccini 25 Transformation of the Madrigal Monteverdi 33 The Influence of the Dance on Vocal Music 38 Emancipation of Instrumental Music Frcscobaldi 43 The Rise of the Opera Monteverdi 55 Tradition and Progress in Sacred Music 64 Chapter Three EARLY AND MIDDLE BAROQUE IN THE NORTHERN COUNTRIES 71 The Netherlands School and Its English Background 71 English Antecedents the Abstract Instrumental Style 72 The Netherlands Sweelinck 74 Germany and Austria in the 17th Century 78 Chorale and Devotional Song 79 Chorale Motet and Chorale Concertato Schein 83 The Dramatic Concertato Schiitz 88 Continue Lied, Opera, and Oratorio 97 Instrumental Music Scheldt, Froberger, and Biber 104 Chapter Four ITALIAN MUSIC OF THE MIDDLE BAROQUE 118 The Bel-Canto Style 118 The Chamber Cantata Luigi Rossi and Carissimi 120 vii viii Contents The Oratorio Carissimi and Stradella 123 The Venetian Opera School 128 Instrumental Music the Bologna School 136 Chapter Five FRENCH MUSIC UNDER THE ABSOLUTISM 141 The Ballet de Cour 141 French Reactions to Italian Opera 147 Comedie-Ballet andTragedie Lyrique Lully 151 Cantata, Oratorio, and Church Music 161 Lute Miniatures and Keyboard Music Gaultier and Chambon niires 164 Music in the Iberian Peninsula, New Spain, and Colonial America 174 Chapter Six ENGLISH MUSIC DURING THE COM MONWEALTH AND RESTORATION 180 The Masque and the English Opera Lawes and Blow 180 Consort Music Jenkins and Simpson 190 Anglican Church Music Porter, Humfrcy, and Blow 198 Henry Purcell, the Restoration Genius 203 Chapter Seven LATE BAROQUE LUXURIANT COUN TERPOINT AND CONCERTO STYLE 219 The Culmination of Late Baroque Music in Italy 219 The Rise of Tonality 219 Concerto Grosso and Solo Concerto 222 Ensemble Sonata and Solo Sonata 232 Opera Seria and Opera B Cantata and Sacred Music 239 Late Baroque and Rococo Style in France 247 Ensemble and Clavecin Music 247 Opera and Cantata in France 253 Chapter Eight FUSION OF NATIONAL STYLES BACH 260 The State of Instrumental Music in Germany before Bach 260 The State of Protestant Church Music before Bach 268 Bach The Early Period 270 Bach the Organist Weimar 275 Bach the Mentor C5then 282 Contents ix Bach the Cantor Leipzig 291 Bach, the Past Master 300 Chapter Nine COORDINATION OF NATIONAL STYLES HANDEL 306 The State of Secular Vocal Music in Germany before Handel 306 Handel German Apprentice Period 314 Italian Journeyman Period 318 English Master Period Operas Oratorios Instrumental Music 3 2 4 Bach and Handel, a Comparison 345 Chapter Ten FORM IN BAROQUE MUSIC 35 Formal Principles and Formal Schemes 350 Style and Form 362 Audible Form and Inaudible Order 365 Chapter Eleven MUSICAL THOUGHT OF THE BAROQUE ERA 37 Code of Performance Composer and Performer 371 Theory and Practice of Composition 382 MusicalSpeculation 39 Chapter Twelve SOCIOLOGY OF BAROQUE MUSIC 394 Courtly Musical Institutions of State and Church Private Patronage 394 Civic Musical Institutions Collective Patronage 401 Social and Economic Aspects of Music and Musicians 404 APPENDICES List of Abbreviations 4 5 Checklist of Baroque Books on Music 4 X 7 Bibliography 433 List of Editions 4 i List of Musical Examples 47 1 INDEX 475 ILLUSTRATIONS Facing page PLATE i. Claudio Monteverdi 80 PLATE 2. Schutz among his Choristers 81 PLATE 3. Carissimis The Deluge 112 PLATE 4...

How have Handel's 'lives' in biographies and histories moulded our understanding of the musician, the man and the icon? To evaluate the familiar, even over-familiar, story of Handel's life could be seen as a quixotic endeavour. How can there be anything new to say? This book seeks to distinguish fact from fiction, not only to produce a new biography but also to explore the concepts of biography and dissemination by using Handel's life and lives as a case study. By examining the images of Handel to be found in biographies and music histories - the genius, the religious profound, the master of musical styles, the distiller into music of English sentiment, the glorifier of the Hanoverians, the hymner of the middle class, the independent, the prodigious, the generous, the sexless, the successful, the wealthy, the bankrupt, the pious, the crude, the heroic, the devious, the battler of ill-fortune, the moral exemplar - and by adding new factual information, David Hunter shows how events are manipulated into stories and tropes. Onesuch trope has been employed to portray numerous persons as Handel's enemies regardless of whether Handel considered them as such. Picking apart the writing of Handel's biographers and other reporters, Hunter exposes the narrative underpinnings - the lies, confusions, presumptions, and conclusions, whether direct and inferred or assumed - to show how Handel's 'lives' in biographies and histories have moulded our understanding of the musician, the man andthe icon. DAVID HUNTER is Music Librarian at the University of Texas at Austin.

for upper voices, SATB, and piano, or 2 pianos and percussion (4 players) A work filled with ambition, Circlesong is a musical portrayal of the human life cycle as captured in the indigenous poetry of North America. Based on poetry from the Chinook, Comanche, Dakota, Eskimo, Iroquois, Kwakiutl, Navajo, Ojibwa, Pueblo, Seminole, Sioux, and Yaqui traditions, the thirteen movements, in seven parts, mark the different stages of life, from birth and childhood to adulthood, middle age and death. With energetic percussion accompaniment, climactic moments for tutti choir, tender unaccompanied passages and solo song, Circlesong is a work of impressive drama, variety, and depth. The current vocal score provides the single piano version, for performance but also for rehearsal generally. A separate part for upper voices is available on sale, and the instrumental parts for the two pianos/percussion version are available on hire.

for solo piano This short piano suite was written in response to the Covid-19 lockdown and features Chilcott's celebrated jazz style in three movements: 'Bobbing along', 'Becky's Song' and 'Walking with Ollie'. With a swing and a hop in the outer movements and rich harmonies in between, A Little Jazz Piano is wonderfully suited for younger pianists looking for something different.

for solo piano Featuring sparse textures, quirky endings, and intuitive phrasing, these 24 Preludes and Fugues, in all the keys, bear the hallmarks of Skempton's Minimalist style. This set is well-suited for performance but also for pianists wishing to practise polyphonic textures and single-hand exercises.

The first thorough study of Liszt's use of the musical style associated with the Hungarian Roma ["Gypsies"] in his renowned Hungarian Rhapsodies and less overtly Hungarian works. Some of Franz Liszt's most renowned pieces -- most famously his Hungarian Rhapsodies -- are written in a nineteenth-century Hungarian style known as verbunkos. Closely associated with the virtuosic playing tradition of theHungarian-Gypsy band, the meaning and uses of this style in Liszt's music have been widely taken for granted and presented as straightforward. Taking a novel transcultural approach to nineteenth-century modernism, Shay Loya presents a series of critiques and sensitive music analyses that demonstrate how the verbunkos idiom, rich and artful in itself, interacted in myriad ways with Liszt's multiple cultural identities, compositional techniques, and modernist aesthetics. Even supposedly familiar works such as the Rhapsodies emerge in a new light, and more startlingly, we find out how the idiom inhabits and shapes works that bear no outward marks of nationality or ethnicity. Particularly surprising is its role in the famously enigmatic compositions of Liszt's old age, such as Nuages gris and Bagatelle sans tonalite. We are pleased to announce that Liszt's Transcultural Modernism and the Hungarian-Gypsy Tradition is one of two winners of the 2014 Alan Walker Book Award, given by the American Liszt Society. Shay Loya is a Lecturer at City University London and is a board member of the Societyfor Music Analysis (UK).

One of the most remarkable tales of recent resurrections in the field of early keyboard music concerns the music of Heinrich Scheidemann (c. 1595-1663). Long considered a minor master overshadowed by such figures as his teacher Jan Pieterszoon Sweelinck or his fellow student Samuel Scheidt, a number of major source discoveries made in the second half of the twentieth century - the most important one being the discovery of the Zellerfield tablatures - have gradually raised his stature towards what it should now be, namely that of the paramount figure in North German organ music of the first half of the seventeenth century, equalled only by Buxtehude in the second half. Pieter Dirksen, one of the leading scholars on early German keyboard music, shows how Scheidemann was a central personality in the rich musical life of Hamburg and stood on friendly terms with colleagues such as Jacob and Johannes Praetorius, Ulrich Cernitz, Thomas Selle, Johann Schop and Johann Rist. The sources for Scheidemann are for the most part contemporary and stem from all periods of his career, and beyond that until one or two decades after his death.His keyboard music was never published in his lifetime but circulated widely within professional circles. Dirksen considers the transmission of Scheidemann's music as a whole in Part One, where each source is analyzed individually, and the repertoire itself is examined in Part Two. A number of specialized studies, including a detailed investigation into the background of one of the sources as well as adressing questions of organology (an account of the famous Catharinen organ as it was during Scheidemann's era) and performance practice (a study of the fingering indications and observations on registration practice) form Part Three. A wealth of appendices also detail a relative chronology of the music; a geographic overview of the transmission and two hitherto unpublished, fragmentarily transmitted Scheidemann pieces. The book will therefore appeal to organologists, harpsichordists, musicologists and historians of seventeenth-century German music as well as historians of keyboard music.

Though individual pieces from the late fifteenth century are widely accepted as being written for instruments rather than voices, they are traditionally considered as exceptions within the context of a mainstream of vocal polyphony. After a rigorous examination of the criteria by which music of this period may be judged to be instrumental, Dr Jon Banks isolates all such pieces and establishes them as an explicit genre alongside the more commonly recognized vocal forms of the period. The distribution of these pieces in the manuscript and early printed sources of the time demonstrate how central instrumental consorts were to musical experience in Italy at this time. Banks also explores the social background to Italian music-making, and particularly the changing status of instrumentalists with respect to other musicians. Convincing evidence is put forward in particular for the lute ensemble to be a likely performance context for many of the surviving sources. The book is not intended to be a prescriptive account for the role of instruments in late medieval music, but instead restores an impressive but largely overlooked consort repertory to its rightful place in the history of music.

John Ireland (1879-1962) had a long and close friendship with Alan Bush (1900-1995) which lasted forty years, from 1922, when John Ireland was already fifty years old, until Ireland's death in 1962. It was the relationship of master and pupil and this was clearly reflected in their letters. The two men came to know each other well once Bush had left the Royal Academy of Music in 1922 and became a student of composition with Ireland until 1927. 160 letters are published here for the first time and they provide not only a compelling and engaging narrative, but also a unique insight into the musical and day-to-day lives of the two men. The letters were written during a most interesting and turbulent period in British history: the inter-war period of the 1920s and 30s, the situation during the Second World War and the post-war era. The volume will therefore appeal to those interested in wider aspects of British musical life and social and political history, as well as followers of Ireland and Bush.

This beautiful setting of a text by Ralph Waldo Emerson celebrates the universal presence of song, which can be found in places of beauty but also darkness. With memorable melodies and a flowing supportive accompaniment, this piece will leave a warm feeling in both the singers and listeners alike. Originally published in The Oxford Book of Flexible Choral Songs for flexible voices and also available separately in a version for SATB and piano.

This beautiful setting of a text by Ralph Waldo Emerson celebrates the universal presence of song, which can be found in places of beauty but also darkness. With memorable melodies and a flowing supportive accompaniment, this piece will leave a warm feeling in both the singers and listeners alike. Originally published in The Oxford Book of Flexible Choral Songs for flexible voices and also available separately in a version for two part and piano.

The John Rutter Christmas Piano Album brings together eight of the composer's best-loved seasonal choral pieces as piano transcriptions, made by John Rutter himself, for performance use or enjoyment at home. Designed for pianists at early intermediate level, the collection provides skilful and approachable arrangements of festive favourites such as 'Angels' Carol' and 'What sweeter music' and of the more recent 'Colours of Christmas' and 'Christ our Emmanuel'. The gentle 'Mary's Lullaby', meanwhile, features a newly written Epilogue, a homage to George Shearing and evoking the style of this celebrated jazz pianist. Clearly presented and laid out, the transcriptions also include the texts (lyrics) within the piano score, for reference or potential sing-alongs. From the composer who has become synonymous with Christmas, this versatile collection is a joyous celebration of the season. The pieces in this collection have been recorded by Wayne Marshall on Decca Records.

Synopsis of Vocal Musick, by the unidentified A.B., was published in London in 1680 and appears to have only ever had one edition. Its relatively short shelf-life belies its importance to the history of early British music theory. Unlike other English theoretical writings of the period, the Synopsis derives many of its aspects from the continental theoretical tradition, including the first references in English theory to the modern fractional time signatures that had been invented in Italy in the mid-seventeenth century, the first references in English to compound time and the first explanations of tempo terms such as Adagio and Presto. In these respects the treatise forms an important link between English and continental theoretical traditions and may have encouraged the adoption of Italian principles which became a common feature of English writings by the early eighteenth century. The treatise is essentially in two parts. The first section of the book comprises rudimentary instruction on understanding notation and intervals, descriptions of common vocal ornaments and instruction in the process of learning to sing. The second part consists of a selection of psalms, songs and catches which are provided as exercises for the singer, though several of them require a reasonably advanced degree of skill. These pieces provide valuable insight into the way both sacred and secular music might have been performed by amateur musicians in the Restoration period. They include 14 rare English madrigal settings by the Italian composer Gastoldi - further evidence of the Italian influence which pervades the text. This is the first modern edition of the Synopsis, and indeed the first edition to appear since its original publication.

Based on previously unpublished documents, Frank D'Accone sets the background for the musical efflorescence that occurred in Florence in the later 15th century and the emergence in the early 16th century of a new Florentine school of composers. Tracing the origins and development of musical chapels at the Cathedral and Baptistery, and the growth of musical establishments at several other churches such as the Santissima Annunziata, Santa Trinita and San Lorenzo, D'Accone examines the effect of Medici patronage, on the one hand, and the impact of Savonarola, on the other, and at the careers of individual composers such as Heinrich Isaac.