Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Thomas Ades (b. 1971) is an established international figure, both as composer and performer, with popular and critical acclaim and admiration from around the world. Edward Venn examines in depth one of Ades's most significant works so far, his orchestral Asyla (1997). Its blend of virtuosic orchestral writing, allusions to various idioms, including rave music, and a musical rhetoric encompassing both high modernism and lush romanticism is always compelling and utterly representative of Ades's distinctive compositional voice. The reception of Asyla since its premiere in 1997 by Sir Simon Rattle and the City of Birmingham Symphony Orchestra (CBSO) has been staggering. Instantly hailed as a classic, Asyla won the 1997 Royal Philharmonic Society Award for Large-Scale Composition. An internationally acclaimed recording made of the work was nominated for the 1999 Mercury Music Prize, and in 2000, Ades became the youngest composer (and only the third British composer) to win the Grawemeyer prize, for Asyla. Asyla is fast becoming a repertory item, rapidly gaining over one hundred performances: a rare distinction for a contemporary work.

The Music of Hugh Wood provides the first ever in-depth study of this well-known, yet only briefly documented composer. Over the years, Wood (b. 1932) has produced a sizeable oeuvre that explores the established genres of symphony, concerto, and quartet on the one hand, and songs and choruses on the other. Underpinned by an awareness of recent philosophical, theoretical and analytical concepts, Dr Edward Venn highlights both the technical basis of Wood's music and the expressive force of his work. In doing so, a picture emerges of Wood as an artist of considerable merit and power. The eclectic blend of national and international influences in the music of Hugh Wood combine to create an individual and distinctive musical language all his own. The book provides an overview of Wood's style, focussing on his engagement with modernism and the melodic, rhythmic, harmonic and formal characteristics of his musical language. From here a more detailed consideration of Wood's development as a composer is advanced, in which his technical development is illustrated alongside an exploration of various aspects of musical meaning embodied in his works. In the process, numerous analytical strategies ranging from formalist to narrative structures are utilized, demonstrating the fecundity and expressivity of Wood's music.

The Music of Hugh Wood provides the first ever in-depth study of this well-known, yet only briefly documented composer. Over the years, Wood (b. 1932) has produced a sizeable oeuvre that explores the established genres of symphony, concerto, and quartet on the one hand, and songs and choruses on the other. Underpinned by an awareness of recent philosophical, theoretical and analytical concepts, Dr Edward Venn highlights both the technical basis of Wood's music and the expressive force of his work. In doing so, a picture emerges of Wood as an artist of considerable merit and power. The eclectic blend of national and international influences in the music of Hugh Wood combine to create an individual and distinctive musical language all his own. The book provides an overview of Wood's style, focussing on his engagement with modernism and the melodic, rhythmic, harmonic and formal characteristics of his musical language. From here a more detailed consideration of Wood's development as a composer is advanced, in which his technical development is illustrated alongside an exploration of various aspects of musical meaning embodied in his works. In the process, numerous analytical strategies ranging from formalist to narrative structures are utilized, demonstrating the fecundity and expressivity of Wood's music.

Thomas Ades is a dominant force in contemporary music, whose work attracts significant attention and acclaim, and has been performed by many renowned ensembles. This volume - the first to present a range of scholarly essays on every aspect of Ades's music - offers authoritative accounts of Ades's major compositions from a variety of analytical, critical, cultural and historical perspectives. The opening chapters focus on Ades's earlier music, offering close readings of key works. Further essays focus on his engagement with forms and instrumental genres. The final chapters turn to Ades's texted music and highlight how themes introduced in earlier chapters cut across Ades's entire output. Richly illustrated with musical examples and supported by further online material, this book provides a multi-faceted portrait of Ades's work that opens up new ways of thinking about, and engaging with, his music.

Thomas Ades (b. 1971) is an established international figure, both as composer and performer, with popular and critical acclaim and admiration from around the world. Edward Venn examines in depth one of Ades's most significant works so far, his orchestral Asyla (1997). Its blend of virtuosic orchestral writing, allusions to various idioms, including rave music, and a musical rhetoric encompassing both high modernism and lush romanticism is always compelling and utterly representative of Ades's distinctive compositional voice. The reception of Asyla since its premiere in 1997 by Sir Simon Rattle and the City of Birmingham Symphony Orchestra (CBSO) has been staggering. Instantly hailed as a classic, Asyla won the 1997 Royal Philharmonic Society Award for Large-Scale Composition. An internationally acclaimed recording made of the work was nominated for the 1999 Mercury Music Prize, and in 2000, Ades became the youngest composer (and only the third British composer) to win the Grawemeyer prize, for Asyla. Asyla is fast becoming a repertory item, rapidly gaining over one hundred performances: a rare distinction for a contemporary work.