This volume, part of Greenwood's continuing series of Bio-Bibliographies in Music, provides a concise bibliographic guide to the life and career of Otto Luening. While the music of this American composer, educator, conductor, and flutist has been performed throughout the northeastern United States, his work has received little attention outside of this region. With its extensive treatment of his life and career, this book will help to bring Luening's important compositions and his contributions to American music to the attention of a much wider audience. Ralph Hartsock divides Luening's work into four main sections, each covering a specific aspect of Luening's career. The volume begins with a brief biography of the subject and is followed by a complete listing of Luening's works and performances through 1989. Prepared with the assistance of Luening himself, this section arranges its information in chronological order, and includes basic bibliographical data as well as information on the premiere of each piece and selected performances. A comprehensive discography, arranged alphabetically by title, cites both commercially produced and selected privately released recordings. Also included is a pair of annotated bibliographies, covering the years from 1921 to 1989. One contains citations of material written by Luening, while the other details the hundreds of articles written about him. The work concludes with a pair of appendixes that catalog Luening's compositions alphabetically by title and according to genre. This work will be a valuable reference source for courses in contemporary music and American music, and a worthwhile addition to the collections of public, college, and university libraries.

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.

DISCOVER THE TRUTH ABOUT THE WORLD'S MOST-LOVED COMPOSER; Musical history is full of tormented geniuses, tortured despite - or because of - their enormous talent. Yet perhaps the greatest musical virtuoso the world has ever known cannot be counted among them. Though he faced great hardships, Mozart was surely the happiest composer who ever lived.; In Mozart: The Man Revealed, John Suchet breathes new life into the story of the 'boy genius', revealing a complex character, yet one who always remained comfortable with himself and at ease with his gift. His musical legacy may be immortal, but the man behind the music was gloriously human.

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.

This four-act comic opera celebrating Shakespeares Sir John Falstaff was given its first professional performance in 1946. The libretto, written by the composer, is based on The Merry Wives of Windsor, and interpolates texts by contemporaries of Shakespeare such as Christopher Marlowe, Ben Jonson, and Thomas Campion. The work contains English folksong material and fine examples of the composer's orchestral lyricism and dramatic flair. Music from the opera was later adapted to form the cantata In Windsor Forest and the Fantasia on Greensleeves. For this comprehensive new edition, the editor (and conductor) David Lloyd-Jones has drawn on all available sources, providing an authoritative Study Score with critical commentary. The performance materials are newly-engraved. The orchestral score, vocal score, choral scores, and the optional Episode & Interlude are also available on hire. Please note that this score comes as two separate volumes.

From the series examining the development of music in specific places during particular times, this book looks at the classical period, in Europe and America, from Vienna and Salzburg to the Iberian courts and Philadelphia.

for solo organ Celebration is an exciting work for solo organ. Exuberant rhythms prevail in the outer sections (including a playful reference to Walton's Crown Imperial), framing more pensive music at the centre of the piece.

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.

This fascinating new study by Mark Asquith offers an original approach to Hardy's art as a novelist and entirely new readings of certain musical scenes in Hardy's works. Asquith utilizes a rich seam of original archival research (both scientific and musicological), which will be of use to all Hardy scholars, and discusses a range of Hardy's major works in relation to musical metaphors - from early fiction The Poor Man and the Lady to later major works Jude the Obscure, Far From the Madding Crowd, the Mayor of Casterbridge .

This study represents the first attempt to see the origin of musical mensuration and proportion signs in the context of other measuring signs of the fourteenth century.

In the fourteenth century composers and theorists invented mensuration and proportion signs allowing them increased flexibility and precision in notating a very wide range of rythmic and metric relationships. The origin and interpretation of these signs is one of the least understood and most complex issues in music history.

The author also traces the evolution of the mensural notational system to the threshold of the modern system of notation. In the process, the exact meaning of everyday mensuration and proportion signs encountered in music and theory from the fourteenth to the sixteenth century is analysed and elucidated.

The investigation results in a revision of many currently held views concerning the significance and development of early time signatures.

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.

Between 1908 and 1923, Arnold Schoenberg began writing music that went against many of the accepted concepts and practices of this art. Largely following his intuition during these years, he composed some of the masterpieces of the modern repertoire--including Pierrot lunaire and Erwartung--works that have since provoked a large, though fragmented, body of critical and analytical writing. In this book, Bryan Simms combines a historical study with a close analytical reading of the music to give us a new and richer understanding of Schoenberg's seminal work during this period.

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.

for TTBB unaccompanied. TaReKiTa is a refreshing concert piece that effortlessly fuses the Hindustani (North Indian) and Western classical music 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 and SSAA unacompanied voices is also available.

The tercentenary of Marc-Antoine Charpentier's death in 2004 stimulated a surge of activity on the part of performers and scholars, confirming the modern assessment of Charpentier (1643-1704) as one of the most important and inventive composers of the French Baroque. The present book provides a snapshot of Charpentier scholarship in the early years of the new century. Its 13 chapters illustrate not only the sheer variety of strands currently pursued, but also the way in which these strands frequently intertwine and generate the potential for future research. Between them, they examine facets of the composer's compositional language and process, aspects of his performance practice and notation, the contexts within which he worked, and the nature of his legacy. The appendix contains a transcription of the inventory of Charpentier's manuscripts prepared when their sale to the Royal Library was negotiated in 1726 - an invaluable research tool, as numerous chapters in the book demonstrate. The wide variety of topics covered here will appeal both to readers interested in Charpentier's music and to those with a broader interest in the music and culture of the French Baroque, including aspects of patronage, church and theatre. Far from treating his output in isolation, this book places it in the wider context alongside such composers as Lully, Lalande, Marais, FranAois Couperin and Rameau; it also views the composer in relation to his Italian training. In the process, the under-examined question of influence - who influenced Charpentier? whom did he influence? - repeatedly comes to the fore. The book's Foreword was written by H. Wiley Hitchcock shortly before he died. Hitchcock's own part in raising the profile of Charpentier and his music to the level of recognition which it now enjoys cannot be emphasized enough. Appropriately the volume is dedicated to his memory.

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.

Vanishing Sensibilities examines once passionate cultural concerns that shaped music of Schubert, Beethoven, Schumann, and works of their contemporaries in drama or poetry. Music, especially music with text, was a powerful force in lively ongoing conversations about the nature of liberty, which included such topics as the role of consent in marriage, same-sex relationships, freedom of the press, and the freedom to worship (or not). Among the most common vehicles for stimulating debate about pressing social concerns were the genres of historical drama, and legend or myth, whose stories became inflected in fascinating ways during the Age of Metternich. Interior and imagined worlds, memories and fantasies, were called up in purely instrumental music, and music was privately celebrated for its ability to circumvent the restrictions that were choking the verbal arts.
Author Kristina Muxfeldt invites us to listen in on these cultural conversations, dating from a time when the climate of censorship made the tone of what was said every bit as important as its literal content. At this critical moment in European history such things as a performer's delivery, spontaneous improvisation, or the demeanor of the music could carry forbidden messages of hope and political resistance--flying under the censor's radar like a carrier pigeon. Rather than trying to decode or fix meanings, Muxfeldt concerns herself with the very mechanisms of their communication, and she confronts distortions to meaning that form over time as the cultural or political pressures shaping the original expression fade and are eventually forgotten. In these pages are accounts of works successful in their own time alongside others that failed to achieve more than a liminal presence, among them Schubert's Alfonso und Estrella and his last opera project Der Graf von Gleichen, whose libretto was banned even before Schubert set to work composing it. Enlivening the narrative are generous music examples, reproductions of artwork, and facsimiles of autograph material.

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.

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.

The Exultet rolls of southern Italy are parchment scrolls containing text and music for the blessing of the great Easter candle; they contain magnificent illustrations, often turned upside down with respect to the text. The Exultet in Southern Italy provides a broad perspective on this phenomenon that has long attracted the interest of those interested in medieval art, liturgy, and music. This book considers these documents in the cultural and liturgical context in which they were made, and provides a perspective on all aspects of this particularly southern Italian practice. While previous studies have concentrated on the illustrations in these rolls, Kelly's book also looks at the particular place of the Exultet in changing ceremonial practices, provides background on the texts and music used in southern Italy, and inquires into the manufacture and purpose of the Exultets--why they were made, who owned them, and how they were used.

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'.

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.

for SATB, upper voices, and organ This compelling work tells the story of creation through a tapestry of biblical passages, spiritual writings, poems, and hymns by writers such as Thomas Traherne. The piece is structured around a recurring refrain, composed for upper voices, but also suitable for performance by any group from within the SATB choir, if an upper-voice choir is unavailable. Chilcott's great sensitivity to text brings this wondrous story to life, evoking images of 'the earth, the seas, the light, the day, the skies' being fashioned before our eyes. To access the Upper Voices Part, visit oxford.ly/CreationSongUpperVoicesPart To access the Lyric Sheet, visit oxford.ly/CreationSongLyricSheet

for SATB (with divisions) and small orchestra This is a beautiful, sensitive arrangement of the African-American spiritual and folk hymn Oh, watch the stars. The text reflects on the beauty of creation, and alternative verses by David Warner celebrating Christ's birth have been included for performance during the Christmas season. Wilberg artfully retains the understated feel and simplicity of the original spiritual while demonstrating hallmarks of his unique style, such as rich harmonies, contrasting keys and textures, and effective obbligato instrumental fills.