If you want your family enterprise to prosper and carry on your legacy after you're gone, then you need to learn "The Metronome Method," a metaphor for the creation of a Family Agreement.

Hugh MacDonald, owner and founder of the Canadian Succession Protection Company, provides a fun approach to succession and estate planning with this guidebook. Relying on his background as a musician, he uses the metaphor of music and the metronome to show that a family needs to compose its own songbook in the form of a Family Agreement and rehearse it before their opening performance as owners.

There are simple steps you can take to get your house in order before you, the conductor, leave the stage. You can learn how to prepare family members for the responsibility of ownership; provide a framework for your enterprise to survive for centuries; create a plan that establishes a shared vision for future generations; and build consensus among family members in and outside the business.

Help your family deal effectively with succession and estate planning, and have fun along the way by learning from an expert who has years helping family enterprises succeed.

The Passacaglia for solo Cello, one of Walton's last works, was commissioned by Mstislav Rostropovich and first performed in 1982. The short Tema, published for the first time, was written in 1970 as part of a collective composition for the Prince of Wales.

The Two pieces for violin and piano, 'Canzonetta' and 'Scherzetto', were written in the late 1940s. The melody of the first is from a 13th-century troubadour song. This edition is based on the score published in the Walton Edition Chamber Music volume.

The first English translation of Bizet's letters and journals from his stay in Italy, with explanatory texts from one of the leading authorities on the composer's life and music. In 1857, Georges Bizet (1838-1875) won the prestigious Prix de Rome scholarship which allowed him to study in Italy for a few years at the expense of the French state. While Bizet's correspondence from this time suggests that he was not fond of Italian music, he was especially drawn to the landscape and Italian Renaissance art and painting. Though Bizet's thoughts later turned away from rural life and the masterpieces of the Renaissance, his letters and journals from this period document the growth of a young musician who would eventually write Carmen. Translated into English for the first time, Bizet's letters from his stay in Italy (at the Villa Medici in Rome, with expeditions to various other parts of the country) reveal much about his character and tastes. These extraordinary documents are fully annotated, and presented alongside never-before-published translations of Bizet's journals from the same years. Linking textual guides supplied by one of the leading authorities on the composer provide unique insights into the composer's formative years that cannot be found anywhere else.

The stage works of Saint-Saens range from grand open-air pageants to one-act comic operas, and include the first composed film score. Yet, with the exception of Samson et Dalila, his twelve operas have lain in the shadows since the composer's death in 1921. Widely performed in his lifetime, they vanished from the repertory - never played, never recorded - until now. With four twenty-first-century revivals as a backdrop, this timely book is the first study of Saint-Saens's operas, demonstrating the presence of the same breadth and versatility as in his better known works. Hugh Macdonald's wide knowledge of French music in the nineteenth century gives a powerful understanding of the different conventions and expectations that governed French opera at the time. The interaction of Saint-Saens with his contemporaries is a colourful and important part of the story.

New studies of the great French composer by Jacques Barzun, David Cairns, Joel-Marie Fauquet, Hugh Macdonald, Julian Rushton, and other prominent experts. These twelve essays bring new breadth and depth to our knowledge of the life and work of the composer of the Symphonie fantastique. A distinguished international array of scholars here treat such matters as Berlioz's "aesthetics" and what it means to write about the meaning of his music; the political implications of his fiction and the affinities of his projects as composer and as critic; what the Germans thought of his work before his travels in Germany and what the English made of him when he visited their capital city; what he seems to have written immediately after encountering Shakespeare's Romeo and Juliet (a surprise), and where he profited from Beethoven in what later became Romeo et Juliette. The volume closes with two reflective essays on Berlioz's literary masterpiece, the Memoires. Contributors: Lord Aberdare (Alastair Bruce), Jean-Pierre Bartoli, JacquesBarzun, Peter Bloom, David Cairns, Gunther Braam, Gerard Conde, Pepijn van Doesburg, Joel-Marie Fauquet, Frank Heidlberger, Hugh Macdonald, and Julian Rushton Peter Bloom (Smith College) is author of The Life of Berlioz (1998) and editor of The Cambridge Companion to Berlioz (2000).

Originally published in 1940, this book presents the content of a July 1681 pamphlet created in opposition to widespread discontent over Charles II's dissolution of Whig Parliaments in 1679 and 1681. Attributed by the editor to George Savile, 1st Marquess of Halifax, the text was a direct response to A Letter from a Person of Quality to his Friend Concerning His Majesties Late Declaration, an anti-dissolution pamphlet created in April 1681. An editorial introduction and bibliography are included. This book will be of value to anyone with an interest in British history and seventeenth-century history.

Today Georges Bizet is most immediately recognized as the composer of the acclaimed opera Carmen. One of the most frequently performed operas for over a century, Carmen explores concepts such as the femme fatale and murderous jealousy with vivacity, color, and a wealth of melody. Yet it is only one act in Bizet's story. In Bizet, renowned musicologist Hugh Macdonald goes beyond the composer's most famous opera to take an in-depth look at his entire life and oeuvre. In so doing, Macdonald identifies a number of previously unknown pieces by Bizet, assembling the first comprehensive catalogue of the composer's work. Incorporating these little-known pieces with a thorough reading of primary sources, Macdonald considers the latest in Bizet scholarship to create a complete biography of the composer. Revealing the true extent of Bizet's work as arranger and transcriber, Macdonald sheds light on the composer's complex relationships with his contemporaries, and traces the strange misrepresentation of Bizet's work by French publishers and opera houses in the 1880s, when Carmen rose to worldwide popularity ten years after the composer's early death. The first biography of Bizet in the Master Musicians series in nearly four decades, Bizet will be essential reading for students and scholars of nineteenth-century opera, as well as for Carmen devotees and opera fans.

Berlioz's Orchestration Treatise is a classic textbook which has been used as a guide to orchestration and as a source book for the understanding both of Berlioz's music and of orchestral practice in the nineteenth century. This was the first English translation of Berlioz's complete text since 1856, and it is accompanied throughout by Hugh Macdonald's extensive and authoritative commentary on the instruments of Berlioz's time and on his own orchestral practice, as revealed in his scores. It also includes extracts from Berlioz's writings on instruments in his Memoirs and in his many articles for the Parisian press. The Treatise has been highly valued both for its technical information about instruments but also for its poetic and visionary approach to the art of instrumentation. Berlioz was not only one of the great orchestrators of the nineteenth century, he was also the author with the clearest understanding of the art.

Berlioz's Orchestration Treatise (1843) is a classic textbook by a master of the orchestra, which has not been available in English translation for over a century. This is a book by and about Berlioz, since it provides not only a new translation but also an extensive commentary on his text, dealing with the instruments of Berlioz's time and comparing his instruction with his practice. It is thus a study of the high craft of the most distinctive orchestrator of the nineteenth century.

This is the first complete translation into English of Berlioz's second collection of musical articles, originally published in 1859. The work is a uniquely Berliozian combination of light-hearted journalism and serious musical comment and analysis. Hector Berlioz's Les Grotesques de la musique is the only one of his books that has never been translated into English in its entirety. It is by far the funniest of all his works, and consists of a number of short anecdotes, witticisms, open letters, and comments on the absurdities of concert life. Alastair Bruce's fluid translation brings to life this important composer and bon vivant. He does a wonderful job of conveying all the puns, jokes, and invective of Berlioz's prose as well as the nuances of his stories. He even imitates a Tahitian accent in the translation, as Berlioz does in the original. The notes will give the reader insight into the innuendos and in-jokes that fill the pages. This translation will take its place among other translations of Berlioz's prose writings, bringing to the reader more lively examples of a still misunderstood composer caught up in the musical life of mid-nineteenth century Paris. Alastair Bruce is a London-based management consultant and former treasurer of the Berlioz Society. Hugh Macdonald is General Editor of New Berlioz Edition.

The ten most momentous days in the history of Scottish football, by ten of Scotland's best historians and journalists. several of whom are award winners.

No one composer is at the centre of this fascinating story, but a larger picture emerges of a shift in musical scenery, from the world of the innocent Romanticism of Berlioz and Schumann to the more potent musical politics of Wagner, and of his antidote (as many saw him), Brahms. Why 1853? For many leading composers this year brought far-reaching changes to their lives: Brahms emerged from obscurity to celebrity, Schumann ceased to be an active composer, and both Berlioz and Wagner became active again after long silences. By limiting the perspective to a single year yet extending it to a group of musicians, their constant interconnections become the central motif: Brahms meets Berlioz and Liszt as well as Schumann; Liszt is a constant link in every chain; Joachim is close to all of them; Wagner is on everyone's mind. No one composer is at the centre of the story, but a network of musicians spreads across the map of Europe from London and Paris to Leipzig and Zurich. Music in 1853 shows how musicians were now more closely connected than ever before, through the constant exchange of letters and the rapidly expanding railway network. The book links geography and day-to-day events to show how international the European musical scene had become. A larger picture emerges of a shift in musical scenery, from the world of the innocent Romanticism of Berlioz and Schumann to the more potent musical politics of Wagner and of his antidote (as many saw him) Brahms. HUGH MACDONALD is Avis H. Blewett Professor Emeritus of Music at Washington University, St Louis. He has authored books on Skryabin and Berlioz and has previously published Beethoven's Century: Essays on Composers and Themes with Boydell/URP.

The stage works of Saint-Saens range from grand open-air pageants to one-act comic operas, and include the first composed film score. Yet, with the exception of Samson et Dalila, his twelve operas have lain in the shadows since the composer's death in 1921. Widely performed in his lifetime, they vanished from the repertory - never played, never recorded - until now. With four twenty-first-century revivals as a backdrop, this timely book is the first study of Saint-Saens's operas, demonstrating the presence of the same breadth and versatility as in his better known works. Hugh Macdonald's wide knowledge of French music in the nineteenth century gives a powerful understanding of the different conventions and expectations that governed French opera at the time. The interaction of Saint-Saens with his contemporaries is a colourful and important part of the story.

Walton's Violin Sonata was commissioned by Yehudi Menuhin after a chance encounter in Lucerne, Switzerland in September 1947. The work was completed in 1949 and first performed by Menuhin and Louis Kentner that year. This edition is based on the score published in the Walton Edition Chamber Music volume.

This is a performing edition of Walton's
iano Quartet, first published in 1918 and one of his first compositions to have survived. The work was later revised by Walton in 1974-5, and this edition is based on the score published in the Walton Edition Chamber Music volume for string quartet.

This is a performing edition of Walton's String Quartet in A minor, based on the edition published in the Walton Edition Chamber Music volume. The work was first performed in 1947 and later revised as the Sonata for String Orchestra.

In this guide to Pelleas and Melisande, Maeterlinck's original play is reprinted in full, so that the opera lover can read the scenes that Debussy did not set to music. Hugh Macdonald's much praised English translation is published here for the first time, with an essay uncovering the musical roots of Pelleas and Melisande and illustrating its importance to the music of the twentieth century. Alain Raitt, author of several studies of symbolist writers, evaluates Maeterlinck's status as a dramatist, and Roger Nichols analyses the score. Proust's short pastiche of the opera and Arthur Symons's review of the first English performances challenge us to come to terms with this eternally intriguing masterpiece. Contents: Something Borrowed, Something New, Hugh Macdonald; A Musical Synopsis, Roger Nichols; Maeterlinck and the Theatre, Alan Raitt; Profound or Pretentious?, Nicholas John; Pelleas et Melisande: text by Maurice Maeterlinck; Pelleas and Melisande: English Translation by Hugh Macdonald

Covering Berlioz's musical style and influence, and drawing on his literary works and extensive correspondence, this is a compelling study of both man and music, from the time when he was a medical student, discovering Parisian music in 1821, through the peak of French Romanticism in the 1830's to the serene compositions of his later years.

Essays by the noted authority on nineteenth-century music, the topics ranging from Beethoven and Schubert to comic opera to Scriabin and Janacek. In Beethoven's Century: Essays on Composers and Themes, world-renowned musicologist Hugh Macdonald draws together many of his richest essays on music from Beethoven's time into the early twentieth century. The essays are here revised and updated, and some are printed in English for the first time. Beethoven's Century addresses perennial questions of what music meant to the composer and his audiences, how it was intended to be played, andhow today's audiences can usefully approach it. Opening with a revealing analysis of Beethoven's not always generous regard for his listeners, the essays probe aspects of Schubert's musical personality, the brief friendshipbetween Berlioz and Schumann, Liszt's abilities as a conductor, and Viennese views of Wagner as expressed by Hugo Wolf. Essays on comic opera and trends in French opera libretti in the late nineteenth century reflect the author's long-standing sympathy for French music, and strikingly eccentric personalities in the world of music, such as Paganini, Alkan, Skryabin, and Janacek, are brought to life. Beethoven's Century concludes with a wrylook at some startling developments in early twentieth-century music that have often been overlooked. Hugh Macdonald has taught music at the Universities of Cambridge, Oxford, and Glasgow, and since 1987 has been Avis H. Blewett Distinguished Professor of Music at Washington University, St. Louis. He has written books on Skryabin and Berlioz, and is a regular pre-concert speaker for the Boston and St. Louis Symphony Orchestras.