The first edition of this book is the classic study of one of the most popular musical forms in early eighteenth-century France, not only because it documents and examines its considerable repertoire for the first time, but also because it places the genre in the wider context of both French and Italian baroque music styles. In uniting the two national styles the cantata was one of the major influences in transforming the seventeenth-century French classical tradition in music into a style that owed much to the Italian baroque, yet retained a distinctive gallic expression. As well as its musical interest, the French cantata provides an arresting example of the influence of society upon music, and the book commences with a chapter that views the emergence of the form in its social setting. Cantata texts enjoyed a vogue as poetry and this literary aspect is also dealt with in a separate chapter. This new edition incorporates research by the author and other scholars over the twenty years since the first edition, reflecting today's growing interest in French baroque music. It also features a new chapter dealing with the French cantata in performance.

This fully updated second edition is a selective annotated bibliography of all relevant published resources relating to church and worship music in the United States. Over the past decade, there has been a growth of literature covering everything from traditional subject matter such as the organ works of J.S. Bach to newer areas of inquiry including folk hymnology, women and African-American composers, music as a spiritual healer, to the music of Mormon, Shaker, Moravian, and other smaller sects. With multiple indices, this book will serve as an excellent tool for librarians, researchers, and scholars sorting through the massive amount of material in the field.

for Oboe and Piano John Rutter creates a peaceful and contemplative atmosphere in this new arrangement of the traditional German carol, Lo, how a Rose e'er blooming.

The average listener may be unaware of the many links between rock music and the classics. One might remember a few examples, such as Walter Murphy's chart-topping "A Fifth of Beethoven" or Eric Carmen's "All by Myself," but pass them off as interesting anomalies. However, the influence of the classics on rock music is pervasive and grows from a long line of precedents. This supplement to Janell R. Duxbury's original 1985 discography, Rockin' the Classics and Classicizin' the Rock, brings the earlier work up-to-date with hundreds of new entries documenting recently released or newly discovered examples of the interconnection between these musical genres. Duxbury details more than 300 new examples of recorded rock instrumentals and songs that borrow musical themes from the classics. Variations range from contemporary renditions of complete classical works to brief classical quotes or phrases subtly incorporated into rock compositions. Duxbury also gives additional examples of recorded orchestral versions of songs originally composed and/or written by rock artists. In these examples, the musical style varies from strict classical interpretations to pop-style orchestral renditions. The supplement then expands Duxbury's original compilation of sound recordings and live performances of rock groups performing with established orchestras and choruses, selected samples of recorded rock music that simulates baroque or classical sound/structure, examples of the manifest influence of rock on classical music, and instances of rock artists and classical artists switching roles. Lastly, this discography updates the 1985 version with new information, expanded details, and minor corrections to theearlier work. An extended list of selected nonrock background examples is included in several new appendixes. The Introduction and Preface is also updated. A general index includes the names of classical composers, rock artists and groups, orchestras, choruses, orchestra conductors, sound recording producers, and song or instrumental titles. With its incomparable scope and content, this supplement, together with Duxbury's previous discography, will be appreciated by students, researchers, record collectors, trivia buffs, music industry employees, and fans of rock music and the classics.

O.E.Deutsch's documentary biography of Mozart, first published in German in 1961 and translated into English in 1965, presented all the contemporary documentation on Mozart then known to scholars. During three decades of research more have come to light, and Dr Eisen himself has substantially augmented their number with a methodical search through contemporary research material - newspapers, diaries, memoirs, books and many others. This new edition presents all the material discovered since the English edition of the Deutsch volume, with full description and documentation. This book is essential reading for anyone concerned with the basic information on Mozart's life, his activities and the reception of his music.

The genius of Johann Sebastian Bach transcends the boundaries of time, geography, and discipline. This collection of essays, the outgrowth of a conference held at Hofstra University, celebrates the tercentenary of the composer's birth. The contributors contend that Bach's influence extends far beyond his own life time and art form. They show the often unanticipated impact of his works in such diverse areas as literature, film, religion, and psychology.

The wide-ranging articles offer theoretical analysis, biographical-musical interpretation, literary and religious explorations, and analyses of performance practice. They range from Howard Adams' discussion of how Bach contemporized scripture in his cantatas to Richard Spurgeon Hall's consideration of how Bach and Edwards viewed religious affections. Stephen Gottlieb assesses Bach's "Musical Offering" as an autobiographical work. Fritz Sammern-Frankenegg explores the expression of Bach's messages in the film work of Ingmar Bergman while the unlikely coupling of Bach and English author Aldous Huxley is reviewed by Sister Ann Edward Bennis. Charles M. Joseph suggests that the structure and pacing of selected Bach "Praeludia" reflect previously unseen architectural influences. The convergence of musical expression and musical rhetoric in Bach's keyboard works are the subject of David Schulenberg while Don L. Smithers reconstructs the circumstances surrounding a performance of Bach's "Leipzig Church CantataS." This unique appeal of this volume lies in its presentation of a wide range of new and provocative scholarship. The exploration of new aspects of the genius of Johann Sebastian Bach is certain to interest anyone interested in his life, work, and influence.

The International Who's Who in Classical Music 2016 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 2016 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. International Who's Who in Classical Music includes 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.

Harmony and Discord: Music and the Transformation of Russian Cultural Life explores the complex development of Russian musical life during the nineteenth and early twentieth centuries. At the heart of this cultural history lies the Russian Musical Society, as both a unique driving force behind the institutionalization of music and a representative of the growing importance of voluntary associations in public life. Sustained simultaneously by private initiative and cooperative relationships with the state, the Russian Musical Society played a key role in the creation of Russia's infrastructure for music and music education.
Author Lynn M. Sargeant explores the fluid nature of Russian social identity through the broad scope of musical life, including not only the "leading lights" of the era but also rank-and-file musicians, teachers, and students. Although Russian musicians longed for a secure place within the new hierarchy of professions, their social status remained ambiguous throughout the nineteenth century. Traditional reliance on serf musicians and foreigners left lasting scars that motivated musicians' efforts to obtain legal rights and social respectability. And women's increasing visibility in the musical world provoked acrimonious debates that were, at heart, efforts by male musicians to strengthen their claims to professional status by denying the legitimacy of female participation. Sargeant demonstrates that the successful development of a Russian musical infrastructure salved persistent anxieties about Russia's place vis-a-vis its European cultural competitors. Remarkably, the institutions developed by the Russian Musical Society survived the upheavals of war and revolution to become the foundation for the Soviet musical system.
A wealth of historical documentation makes Harmony and Discord required reading for musicologists, sociologists and historians interested in this period, and the abundance of amusing anecdotes and the author's lucid and lively literary style make it an enjoyable history for all readers."

for SSAATTBB unaccompanied A reflection on the plainchant antiphon 'Pulchra es et decora', this hauntingly beautiful piece was commissioned by ORA100 for Suzi Digby and ORA Singers. The original antiphon has been transcribed and included at the beginning, and may be used as an introduction. Porter's use of rich harmonies and rippling melismatic vocal lines make this an impassioned setting of a Marian text.

for SATB accompanied (piano or organ) and unaccompanied The Oxford Book of Choral Music by Black Composers is a landmark collection of non-idiomatic compositions from the sixteenth century to the present day, providing a comprehensive introduction to an area of choral music that has been historically under-represented. This unique anthology seeks both to improve representation in the historical canon and to showcase the music of some of the best names in choral music today.

This comprehensive study treats the wind works of Anton Bruckner as a complete genre and uses them to illustrate how the composer evolved in style throughout his career. A major nineteenth-century composer, organist, and church musician, Bruckner's compositional style changed dramatically in the early 1860s, dividing his career into two distinct parts. During his early career he immersed himself in the study of traditional musical principles including form, harmony, counterpoint, and orchestration. The second phase of his career, in which he composed the symphonies upon which much of his current reputation rests, was marked by his experimental approaches to harmony and tonality. Many of his early compositions exhibit landmarks of his later style. The wind instrument pieces incorporate the best aspects of both of Bruckner's styles and reflect the progress of his professional life.

Organized chronologically, the music is studied and classified within set time periods. Each wind work of a particular period is reviewed according to the historical circumstances contributing to its creation, its specific musical content, and its success as a musical work in relation to wind music and specifically to Bruckner's development. The analyses of Bruckner's compositions are enhanced by musical examples throughout the text.

The Oxford Book of Choral Music by Black Composers is a landmark collection of non-idiomatic compositions from the sixteenth century to the present day, providing a comprehensive introduction to an area of choral music that has been historically under-represented. This unique anthology seeks both to improve representation in the historical canon and to showcase the music of some of the best names in choral music today.

In the seventeenth century Bologna developed a rich and diverse musical culture through the enterprise of musicians attached to the Basilica of S. Petronio and affiliated to the Accademia de'Filarmonici. Their achievements in the field of instrumental music (sonata, concerto) and festive church music (concerted mass) are well documented, but little of their output in the fields of oratorio, amounting to 300 performances in the period 1659-1730, has been subjected to critical scrutiny. This book relates the genesis and development of oratorio in Bologna to the city's religious, political, and cultural aspirations. The oratorio repertory is surveyed in three historical phases: under Cazzati (1657-74), Colonna (1675-95), and Perti (1696-1730), and eight oratorios by the city's leading composers are analysed in detail. A chronological list of performances is given in the Appendix.

for SSATB unaccompanied A Gaelic Blessing was commissioned by the University of Edinburgh, McDowall's alma mater, for performance by the Edinburgh University Singers conducted by Calum Robertson. This meditative, folk-style anthem is given a Scottish lilt through the use of Scotch snap rhythms and held drone-like vocal lines. The text is a traditional Scottish Gaelic blessing, translated by the Right Reverend Ian Paton, Bishop of St Andrews, Dunkeld, and Dunblane. McDowall chose this text for the 'warmth and simplicity' of the words that seem to 'resonate with the times in which we live'.

The Kalevala, or runic, songs is a tradition at least a few thousand years old. It was shared by Finns, Estonians and other speakers of smaller Baltic-Finnic languages inhabiting the eastern side of the Baltic Sea in North-Eastern Europe. This book offers a combined perspective of a musicologist and a linguist to the structure of the runic songs. Archival recordings of the songs originating mostly from the first half of the 20th century were used as source material for this study. The results reveal a complex interaction between three different processes participating in singing: speech prosody, metre, and musical rhythm.

Johann Sebastian Bach dominates the field of organ music like no other composer dominates any other repertory. It comes as no surprise, therefore, that Bach's organ works have long attracted scholarly attention. Still, the subject has by no means been exhausted. The sheer number of Bach's surviving organ compositions will always prevent anyone from having the "last word" on the subjects, either the music's stylistic diversity, or its complexity. In addition, Bach's organ works have exerted a profound and lasting influence on later generations, including many of the greatest composers, performers, conductors, critics, and scholars in the whole history of music. In J. S. Bach at His Royal Instrument, author Russell Stinson delves into various unexplored aspects of these masterpieces. Drawing on previous research and new archival sources, he sheds light on many of the most mysterious aspects of this music and its reception. Beginning with a critique of the literature, Stinson questions recent hypotheses regarding authorship and provenance of several of Bach's most famous pieces. From there he discusses the music itself, revealing compositional procedures that not only illuminate key aspects of the chorales, but those of the composer's contemporaries and predecessors as well. From there, Stinson turns to reception. From Mendelssohn and Schumann to Emerson, Lake, & Palmer, Stinson shows how Bach's music has remained a part of Western culture for nearly three hundred years. J. S. Bach at His Royal Instrument casts new light on these foundational pieces of Western music, and is essential reading for students, scholars and fans of Bach, and "the king of instruments."

This comprehensive study of the evolution of Finnish art music from continental predecessors and native folk music traces the development of Sibelius's musical language from his first major work, Kullervo, the first genuine Finnish recitative, to the last tone poem, Tapiola. De Gorog asserts the importance of En Saga, Sibelius's first major, purely orchestral work, as a composition that affirms the composer's belief in both rhythm and in the variation method (the germ motif technique). The impact of folk music on the germ motif technique as well as on melody, phrase construction, and harmony are also analyzed. Although Sibelius's use of rhythm was more restrained than that of Bartok, Stravinsky, or Prokofiev, similarities in basic trends and folk music influences are noted by de Gorog. From Sibelius to Sallinen emphasizes the importance of various aspects of Finnish culture, the historical events that shaped that culture, and Finnish nationalism in the evolution of Finnish music in general. It also delineates the major sources of inspiration for Sibelius's unique musical idiom. The volume clarifies Sibelius's position as founder of Finnish art music and considers the evolution of trends established by him in the works of younger Finnish composers. The first three chapters provide an historical prism through which to view Finnish culture and music, discuss Finnish music prior to Sibelius, and relate Finnish nationalism to the composer's philosophy and music. Chapters 4 through 7 focus on Sibelius, his compositions, and their lasting impact. Two final chapters address instrumental music after Sibelius and stage and vocal music in Finland. A discography provides ready access and fullinformation on the works and completes the volume as an informative resource for students, teachers, researchers, musicologists, and performers as well as a valuable addition to university music libraries and conservatories.

Grafting musicology and literary studies together in an unprecedented manner, Giving Voice to Love: Song and Self-Expression from the Troubadours to Guillaume de Machaut investigates French and Occitan "courtly love" songs from the twelfth to fourteenth centuries and explores the paradoxical relationship of music and self-expression in the Middle Ages. While these love songs conceived and expressed the autonomous subject - the lyric "I" represented by a single line of melody - they also engaged highly conventional musical and poetic language, and required performers and scribes for their transmission. This paradox was understood by the poets and became the basis for irony, parody, and intertextual referencing, which instilled the lyrics with a characteristic self-consciousness that reflected the unstable conditions for self-expression.
Author Judith Peraino reveals similar operations at work in musical settings. Examining moments where voice, melody, rhythm, form, and genre come dramatically to the fore and seem to comment on music itself, Giving Voice to Love strives not only to hear self-expression in these love songs, but to understand how musical elements give voice to the complex issues of self and subjectivity encoded in medieval love.
Through its approach to the exploration of "courtly love" songs, Giving Voice to Love serves as a model for methodological integration and provides musicologists, literary scholars and medieval historians with a common analytical ground.

The life of a great musician is always interesting, but the story of Hazel Harrison is exceptional. Her achievement was particularly impressive because she had been schooled entirely at home and was the first black pianist, male or female, to perform with a major European orchestra. Harrison's extraordinarily long and impressive performing career spanned more than half a century, from the days when Brahms was still alive and Stravinsky had not yet composed The Rite of Spring to the time of the civil rights struggle in the deep South.

The International Who's Who in Classical Music 2015 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 2015 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.

Carl Schmidt's catalogue of Poulenc's works lists and describes the musical works of one of France's most important 20th-century composers. The book reveals a wealth of information about a composer whose music is heard constantly in concert halls and on record around the world, and adds the names of a small group of works to his musical canon for the first time.

Brahms in the Priesthood of Art: Gender and Art Religion in the Nineteenth-Century German Musical Imagination explores the intersection of gender, art religion (Kunstreligion) and other aesthetic currents in Brahms reception of the nineteenth and early twentieth centuries. In particular, it focuses on the theme of the self-sacrificing musician devoted to his art, or "priest of music," with its quasi-mystical and German Romantic implications of purity seemingly at odds with the lived reality of Brahms's bourgeois existence. While such German Romantic notions of art religion informed the thinking on musical purity and performance, after the failed socio-political revolutions of 1848/49, and in the face of scientific developments, the very concept of musical priesthood was questioned as outmoded. Furthermore, its essential gender ambiguity, accommodating such performing mothers as Clara Schumann and Amalie Joachim, could suit the bachelor Brahms but leave the composer open to speculation. Supportive critics combined elements of masculine and feminine values with a muddled rhetoric of prophets, messiahs, martyrs, and other art-religious stereotypes to account for the special status of Brahms and his circle. Detractors tended to locate these stereotypes in a more modern, fin-de-siecle psychological framework that questioned the composer's physical and mental well-being. In analyzing these receptions side by side, this book revises the accepted image of Brahms, recovering lost ambiguities in his reception. It resituates him not only in a romanticized priesthood of art, but also within the cultural and gendered discourses overlooked by the absolute music paradigm.

for SABar unaccompanied The Parting Glass is a traditional Scottish song, often sung as a farewell at the end of a get-together. Sarah Quartel's arrangement features close harmonies, idiomatic Scotch snap rhythms, and effective interjectory moments in what is a largely homophonic setting. The arrangement was made for the composer's friend Matt Jones, who served with the Canadian Military in Afghanistan in 2010-2011; his deployment and eventual safe return inspired the setting of the piece. With its valedictory message, The Parting Glass would make a fitting end to a performance, perhaps as an encore item. Also available in versions for SATB and TTBB.