As there are several hundred piano studies by Czerny, it might become confusing to attempt to pick out the most effective exercises. To overcome this problem, Heinrich Germer, the original editor, chose those he thought were best. Willard A. Palmer has made several changes to metronome markings, fingerings and pedal indications where he felt certain passages needed clarification.

for SSAATTBB unaccompanied Ave gloriosa mater salvatoris is a challenging and yet delicate anthem, with subtle key-signature changes, vocal divisions in up to eight parts, and alternating homophonic and polyphonic passages. The text includes excerpts from the synonymous medieval hymn and Wordsworth's poem The Virgin, making the piece suitable for a variety of sacred celebrations and particularly those of the Blessed Virgin Mary.

Satirically utilized by Strauss II to highlight the deceptive aristocratic class, under Lehar, Schoenberg, Mahler, and Webern's pens the waltz became the pivot between the conscious and unconscious, forcing the music into a paralytic "second state" analogous with the stagnation of the Habsburg Empire. The Waltz: The Decadence and Decline of Austria's Unconscious shows how over the hundred years between the Vienna Congress and the dissolution of the Empire, the waltz altered from signifier of upper-class artifice-covering with glitz and glamour the poverty and war central to the time-to the link between the three classes, between man and nature, and between Viennese and "Other." Danielle Hood wields the Freudian concepts of the uncanny and the doppelganger to explain this revolution from the simple signification of a dance to the psychological anxiety of a subject's place in society.

Icons of Sound: Voice, Architecture, and Imagination in Medieval Art brings together art history and sound studies to offer new perspectives on medieval churches and cathedrals as spaces where the perception of the visual is inherently shaped by sound. The chapters encompass a wide geographic and historical range, from the fifth to the fifteenth century, and from Armenia and Byzantium to Venice, Rome, and Santiago de Compostela. Contributors offer nuanced explorations of the intangible sonic aura produced in these places by the ritual music and harness the use of digital technology to reconstruct historical aural environments. Rooted in a decade-long interdisciplinary research project at Stanford University, Icons of Sound expands our understanding of the inherently intertwined relationship between medieval chant and liturgy, the acoustics of architectural spaces, and their visual aesthetics. Together, the contributors provide insights that are relevant across art history, sound studies, musicology, and medieval studies.

"Music and the Making of the Middle Class" explores the making of middle-class culture by analyzing and comparing the ethos and organization of Leipzig's Gewandhaus and Birmingham's Triennial Festival. It employs a multidisciplinary approach to identify the social processes which formed the cultural configurations and meanings of art.

The Differentiation of Modernism analyzes the phenomenon of intermediality in German radio plays, film music, and electronic music of the late modernist period (1945-1980). After 1945, the purist "medium specificity" of high modernism increasingly yielded to the mixed forms of intermediality. Theodor Adorno dubbed this development a "Verfransung," or "fraying of boundaries," between the arts. TheDifferentiation of Modernism analyzes this phenomenon in German electronic media arts of the late modernist period (1945-80): in radio plays, film music, and electronic music. The first part of the book begins with a chapter on Adorno's theory of radio as an instrument of democratization, going on to analyze the relationship of the Hoerspiel or radio play to electronic music. In the second part, on film music, a chapter on Adorno and Eisler's Composing for the Film sets the parameters for chapters on the film Das Madchen Rosemarie (1957) and on the music films of Jean-Marie Straub and Daniele Huillet. The third part examines the music of Karlheinz Stockhausen and its relationship to radio, abstract painting, recording technology, and theatrical happenings. The book's central notion of the "differentiation of culture" suggests that late modernism, unlike high modernism, accepted the contingency of modern mass-media driven society and sought to find new forms for it. Larson Powell is Curator's Professor of Film Studies at University of Missouri, Kansas City. He is the author of The Technological Unconscious in German Modernist Literature (Camden House, 2008).

'No musician or music lover should be without it.' BBC Music Magazine Robert Schumann was far ahead of his time: his music anticipated a multitude of trends that would spread in the 150 years after his death, and almost every major composer who followed him acknowledged his influence. He was also revolutionary in his attitude to young people; in 1848 he wrote his famous Advice to Young Musicians, a book that is still deeply relevant today. In this volume, celebrated cellist Steven Isserlis has taken Schumann's words of wisdom and set them in a modern context with his own extensive commentary. By turns practical, humorous and profound, this book is a must for aspiring musicians and music-lovers of all ages.

for SATB (with divisions) and soprano saxophone Setting the original Latin text of the hymn better known as 'Hark! a thrilling voice is sounding', Jackson creates an Advent piece of beautiful stillness. The largely homophonic choral parts, with a soloist supplying a gentle contrapuntal line, are contrasted with light and graceful interjections from the saxophone. The result is a quietly moving piece ideally suited for a reflective moment during an Advent service.

for SSATB and cello Night Flight was written to mark the centenary of Harriet Quimby's pioneering flight across the English channel. Setting texts by Sheila Bryer on the mysterious powers of the sea, earth, and air, McDowall uses vocal clusters and haunting solo cello lines to highlight the sense of fear, awe, and majesty experienced by an individual pitted against the elements. Cecilia McDowall was awarded the 2014 British Composer Award in the Choral category for Night Flight. The solo cello part is available for sale separately.

The first detailed contextual study of chamber music in Beethoven's Vienna, at a time when the string quartet reigned supreme among the different chamber genres This book is the first detailed contextual study of string quartets in Beethoven's Vienna, at a time when that genre reigned supreme among the different chamber genres. Focusing on a key transition period in the early nineteenth century, which bore witness to fundamental shifts in the 'private' sphere of music-making, it explores the 'cultivation' of string quartets by composers, critics, listeners, performers, publishers and patrons. The book highlights these parties' interactions, ideas and ideals, which were central to defining the unique cultures of chamber music arising at this time. We gain fresh insights into publishing and marketing, performance venues and practices, review culture, listening theories and practices, and composition in early nineteenth-century Vienna. Until now, the unique theatricality of chamber music, and the 'social' nature of its discourse, has been poorly appreciated. Cultivating String Quartets in Beethoven's Vienna addresses this misconception and enriches our understanding of this crucial period of change, in which concert life began and previously 'private' music was moved out onto the stage. NANCY NOVEMBER is Associate Professor in Musicology at the University of Auckland.

Kenneth Hamilton's book engagingly and lucidly dissects the oft-invoked myth of a Great Tradition, or Golden Age of Pianism. It is written both for players and for members of their audiences by a pianist who believes that scholarship and readability can go hand-in-hand. Hamilton discusses in meticulous yet lively detail the performance-style of great pianists from Liszt to Paderewski, and delves into the far-from-inevitable development of the piano recital. He entertainingly recounts how classical concerts evolved from exuberant, sometimes riotous events into the formal, funereal trotting out of predictable pieces they can be today, how an often unhistorical "respect for the score" began to replace pianists' improvisations and adaptations, and how the clinical custom arose that an audience should be seen and not heard. Pianists will find food for thought here on their repertoire and the traditions of its performance. Hamilton chronicles why pianists of the past did not always begin a piece with the first note of the score, nor end with the last. He emphasizes that anxiety over wrong notes is a relatively recent psychosis, and playing entirely from memory a relatively recent requirement. Audiences will encounter a vivid account of how drastically different are the recitals they attend compared to concerts of the past, and how their own role has diminished from noisily active participants in the concert experience to passive recipients of artistic benediction from the stage. They will discover when cowed listeners eventually stopped applauding between movements, and why they stopped talking loudly during them. The book's broad message proclaims that there is nothing divinely ordained about our own concert-practices, programming and piano-performance styles. Many aspects of the modern approach are unhistorical-some laudable, some merely ludicrous. They are also far removed from those fondly, if deceptively, remembered as constituting a Golden Age.

for SATB, organ, and optional handbells Through luminous choral harmonies, images of a winter night, and echoes of scripture, Advent Moon evokes deep human longing as well as the promise of the coming of light. The delicate organ accompaniment and optional handbells underscore both the haunting opening and the radiant conclusion of this piece.

This collection presents a selection of varied repertoire by J. S. Bach in new arrangements for the organ. Bringing a wealth of popular pieces under the fingers and feet of intermediate players, the volume caters for all parts of a church service, as well as providing recital repertoire and popular encores. Taking its cue from the Baroque practice of transcription, and with the needs of modern players in mind, this volume presents a set of pieces with wide and varied use and makes a valuable addition to any organist's repertoire.

This five-volume graded series of organ music by J. S. Bach (2 volumes for manuals only; 3 volumes for manuals and pedals) provides a wonderful selection of pieces for all players. The whole is an authoritative and fully practical introduction to this cornerstone of the organ repertoire, with pieces presented in highly practical form for teachers and students.

Inspired by the legendary cyclists of the Tour de France, Yellow Jersey is a short wind sprint for two saxophones, originally composed for two clarinets. The form of the piece follows how the sprint would go as the cyclists move through the different stages of the race.

for SATB and organ Archer's setting of this well-known Christmas text is lilting and buoyant, with a memorable melody and charming organ interludes. Suitable for liturgical or concert use, the carol features great textual variety, building to a rousing finish that is sure to fill audiences with Christmas cheer!

for SSAA unaccompanied Originally written for SATB, this hymn to the 'Queen of the Heavens' is a glorious work, replete with dramatic changes of mood and texture. The majestic chords of the opening bars quickly give way to a spirited exchange between the voices. This pattern of contrasts is repeated throughout the piece before the final jubilant chords fade away to pianissimo. This is an approachable and rewarding motet, appropriate for any time of the year and in particular, the Feast of the Blessed Virgin Mary and Eastertide. The original SATB version of Regina Caeli has also been recorded by the renowned American choir, the Phoenix Chorale, and released on a Grammy award-winning CD by Chandos (Spotless Rose CHSA 5066).