Topics include: the British Isles, Dance Music, Eastern Europe, France, Germanic Lands, Harps, Italy, the Low Countries, Spain, and more.
* Diagon Alley
* Family Portrait
* Harry's Wondrous World
* Hedwig's Theme
* Leaving Hogwarts
* Nimbus 2000
* The Chamber of Secrets
* Fawkes the Phoenix
* Buckbeak's Flight
* Double Trouble
* Hagrid the Professor
* Harry in Winter
* Hogwarts March
* Potter Waltz
* This Is the Night
* Dumbledore's Army
* Loved Ones and Leaving
* Professor Umbridge
* Dumbledore's Farewell
* Harry and Hermione
* In Noctem
* When Ginny Kissed Harry
* Farewell to Dobby
* Godric's Hollow Graveyard
* Harry and Ginny
* Ron Leaves
* Snape to Malfoy Manor
* Courtyard Apocalypse
* Harry's Sacrifice
* Lily's Lullaby
* Lily's Theme
* Severus and Lily
In Absolutely on Music, internationally Haruki Murakami sits down with his friend Seiji Ozawa, the revered former conductor of the Boston Symphony Orchestra, for a series of conversations on their shared passion: music. Over the course of two years, Murakami and Ozawa discuss everything from Brahms to Beethoven, from Leonard Bernstein to Glenn Gould, from Bartók to Mahler, and from pop-up orchestras to opera. They listen to and dissect recordings of some of their favorite performances, and Murakami questions Ozawa about his career conducting orchestras around the world. Culminating in Murakami’s ten-day visit to the banks of Lake Geneva to observe Ozawa’s retreat for young musicians, the book is interspersed with ruminations on record collecting, jazz clubs, orchestra halls, film scores, and much more. A deep reflection on the essential nature of both music and writing, Absolutely on Music is an unprecedented glimpse into the minds of two maestros.
Classical Music For Dummies is a friendly, funny, easy-to-understand guide to composers, instruments, orchestras, concerts, recordings, and more. Classical music is widely considered one of the pinnacles of human achievement, and this informative guide will shows you just how beautiful and rewarding it can be. You'll learn how Bach is different from Beethoven, how Mozart is different still, and why not all "classical" music is actually Classical if it's really Baroque or Romantic. You'll be introduced to the composers and their work, and discover the groundbreaking pieces that shake the world every time they're played. Begin building your classical music library with the essential recordings that define orchestral, choral, and operatic beauty as you get acquainted with the orchestras and musicians that bring the composers to life.
Whether you want to play classical music or just learn more about it, Classical Music For Dummies will teach you everything you need to know to get the most out of this increasingly popular genre.Distinguish flute from piccolo, violin from viola, and trumpet from trombone Learn the difference between overtures, requiems, arias, and masses Explore the composers that shaped music as we know it Discover the recordings your music library cannot be without
Classical music has begun sneaking into the mainstream — if your interest has been piqued, there's never been a better time to develop an appreciation for this incredibly rich, complex, and varied body of work. Classical Music For Dummies lays the groundwork, and demonstrates just how amazing classical music can be.
*The Road of Trials
*I Was Born for This
This completely new edition of the Penguin Guide reviews the 1000 best classical albums issued and reissued over the past five decades, many of which dominate the catalogue because of their sheer excellence, irrespective of recording dates. More comprehensive than ever before, it indicates key recordings on CD, DVD and enhanced SACD, including those in surround sound. If you want the finest available version of any major classical album you will find it listed and assessed in these pages.
Ranging from long-established albums to the newest releases, the latest edition represents the cream of the international repertoire and has all the information you need to select the finest classical music available.
Whether you're listening in a concert hall or on your iPod, concert music has the power to move you. The right knowledge can deepen the ability of this music to edify, enlighten, and stir the soul. In How to Listen to Great Music, Professor Robert Greenberg, a composer and music historian, presents a comprehensive, accessible guide to how music has mirrored Western history, that will transform the experience of listening for novice and long-time listeners alike.
You will learn how to listen for key elements in different genres of music—from madrigals to minuets and from sonatas to symphonies—along with the enthralling history of great music from ancient Greece to the 20th century. You'll get answers to such questions as Why was Beethoven so important? How did the Enlightenment change music? And what's so great about opera anyway? How to Listen to Great Music will let you finally hear what you've been missing.
* 1812 Overture (Tchaikovsky)
* Air on the G String (Bach)
* Andaluza No. 5 (Granados)
* Anvil Chorus (Verdi)
* Ave Maria (Bach-Gounod)
* Ballade No. 1 (Chopin)
* Barcarolle from Tales of Hoffmann (Offenbach)
* The Blue Danube (Strauss)
* Brandenburg Concerto No. 3 (Bach)
* Bridal Chorus, from Lohengrin (Wagner)
* Can-Can (Offenbach)
* Canon in D (Pachelbel)
* Clair de lune (Debussy)
* Doretta's Song (Puccini)
* The Entertainer (Joplin)
* Egmont Overture (Beethoven)
* Eine kleine Nachtmusik (Mozart)
* "Emperor" Concerto (Beethoven)
* Fantaisie-Impromptu (Chopin)
* Flower Duet (Delibes)
* Funeral March of a Marionette (Gounod)
* The Garland Waltz, from Sleeping Beauty (Tchaikovsky)
* Habanera (Bizet)
* Hallelujah Chorus (Handel)
* Hornpipe (Handel)
* Hungarian Dance No. 5 (Brahms)
* Intermezzo (Mascagni)
* In the Hall of the Mountain King (Grieg)
* Jesu, Joy of Man's Desiring (Bach)
* L'Arlí©sienne Suite No. 1 (Bizet)
* Líæ ci darem la mano (Mozart)
* La donna íÂ mobile (Verdi)
* Libiamo, from La Traviata (Verdi)
* Mandolin Concerto in C Major (Vivaldi)
* Maple Leaf Rag (Joplin)
* March from The Nutcracker (Tchaikovsky)
* March of the Toreadors (Bizet)
* Meditation, from Thaí¿s (Massenet)
* "Merry Widow" Waltz (Lehíçr)
* "Military" Polonaise (Chopin)
* "Minute" Waltz (Chopin)
* The Moldau (Smetana)
* "Moonlight" Sonata (Beethoven)
* Morning Mood (Grieg)
* Musetta's Waltz (Puccini)
* "New World" Symphony (Dvo�»ak)
* Nocturne, Op. 55, No. 1 (Chopin)
* O mio babbino caro (Puccini)
* Ode to Joy (Beethoven)
* Overture from The Marriage of Figaro (Mozart)
* "Pathí©tique" Sonata (Beethoven)
* Pavane (Faurí©)
* Piano Concerto No. 1 (Tchaikovsky)
* Piano Sonata No. 11 (Mozart)
* Polovetsian Dance (Borodin)
* Pomp and Circumstance (Elgar)
* Prelude from Cello Suite No. 1 (Bach)
* Prelude, Op. 28, No. 4 (Chopin)
* Prince of Denmark's March (Clarke)
* Queen of the Night Aria (Mozart)
* "Raindrop" Prelude (Chopin)
* "Revolutionary" Etude (Chopin)
* Rondeau from Suite de symphonies (Mouret)
* Rondo alla Turca (Mozart)
* Sheep May Safely Graze (Bach)
* Solace (Joplin)
* The Sorcerer's Apprentice (Dukas)
* Spring, from The Four Seasons (Vivaldi)
* Stí_ndchen (Schubert)
* "Surprise" Symphony (Haydn)
* The Swan (Saint-Saí‚ns)
* Swan Lake, Act I Finale (Tchaikovsky)
* Symphony No. 5 (Beethoven)
* Symphony No. 40 (Mozart)
* Toccata in D Minor (Bach)
* Toreador Song (Bizet)
* Turkish March (Beethoven)
* Un bel díå (Puccini)
* "Unfinished" Symphony (Schubert)
* Variations on "Ah, vous dirai-je, Maman" (Mozart)
* Voi, che sapete (Mozart)
* Waltz, Op. 39, No. 15 (Brahms)
* Wedding March from A Midsummer Night's Dream (Mendelssohn)
Now, in this masterful book, Jan Swafford, critically acclaimed as both biographer and composer, takes a fresh look at Brahms, giving us for the first time a fully realized portrait of the man who created the magnificent music. Brahms was a man with many friends and no intimates, who experienced triumphs few artists achieve in their lifetime. Yet he lived with a relentless loneliness and a growing fatalism about the future of music and the world. The Brahms that emerges from these pages is not the bearded eminence of previous biographies but rather a fascinating assemblage of contradictions. Brought up in poverty, he was forced to play the piano in the brothels of Hamburg, where he met with both mental and physical abuse. At the same time, he was the golden boy of his teachers, who found themselves in awe of a stupendous talent: a miraculous young composer and pianist, poised between the emotionalism of the Romantics and the rigors of the composers he worshipped--Bach, Mozart, Beethoven. In 1853, Robert Schumann proclaimed the twenty-year-old Brahms the savior of German music. Brahms spent the rest of his days trying to live up to that prophecy, ever fearful of proving unworthy of his musical inheritance. We find here more of Brahms's words, his daily life and joys and sorrows, than in any other biography.
With novelistic grace, Swafford shows us a warm-blooded but guarded genius who hid behind jokes and prickliness, rudeness and intractability with his friends as well as his enemies, but who was also a witty drinking companion and a consummate careerist skillfully courting the powerful. This is a book rich in secondary characters as well, including Robert Schumann, declining into madness as he hailed the advent of a new genius; Clara Schumann, the towering pianist, tormented personality, and great love of Brahms's life; Josef Joachim, the brilliant, self-lacerating violinist; the extraordinary musical amateur Elisabet von Herzogenberg, on whose exacting criticism Brahms relied; Brahms's rival and shadow, the malevolent genius Richard Wagner; and Eduard Hanslick, enemy of Wagner and apostle of Brahms, at once the most powerful and most wrongheaded music critic of his time. Among the characters in the book are two great cities: the stolid North German harbor town of Hamburg where Johannes grew up, which later spurned him; and glittering, fickle, music-mad Vienna, where Brahms the self-proclaimed vagabond finally settled, to find his sweetest triumphs and his most bitter failures. Unique to this book is the way in which musical scholarship and biography are combined: in a style refreshingly free of pretentiousness, Jan Swafford takes us deep into the music--from the grandeur of the First Symphony and the intricacies of the chamber work to the sorrow of the German Requiem--allowing us to hear these familiar works in new and often surprising ways.
This is a clear-eyed study of a remarkable man and a vivid portrait of an era in transition. Ultimately, Johannes Brahms is the story of a great, backward-looking artist who inspired musical revolutionaries of the following generations, yet who was no less a prophet of the darkness and violence of our century. A biographical masterpiece at once wholly original and definitive.
From the Hardcover edition.
Two centuries later, starlings are reviled by even the most compassionate conservationists. A nonnative, invasive species, they invade sensitive habitats, outcompete local birds for nest sites and food, and decimate crops. A seasoned birder and naturalist, Lyanda Lynn Haupt is well versed in the difficult and often strained relationships these birds have with other species and the environment. But after rescuing a baby starling of her own, Haupt found herself enchanted by the same intelligence and playful spirit that had so charmed her favorite composer.
In Mozart's Starling, Haupt explores the unlikely and remarkable bond between one of history's most cherished composers and one of earth's most common birds. The intertwined stories of Mozart's beloved pet and Haupt's own starling provide an unexpected window into human-animal friendships, music, the secret world of starlings, and the nature of creative inspiration. A blend of natural history, biography, and memoir, Mozart's Starling is a tour de force that awakens a surprising new awareness of our place in the world.
Albéniz: Tango in D Major
Beethoven: "Für Elise"; "Moonlight" Sonata (1st movement)
Brahms: Hungarian Dance No. 5
Chopin: "Minute" Waltz; Polonaise Militaire
Debussy: Clair de Lune; Golliwogg's Cake Walk
Dvořák: Humoresque in G-flat Major
Joplin: The Entertainer; Maple Leaf Rag
Liszt: Liebestraum No. 3 in A-flat Major
MacDowell: To a Wild Rose
Mendelssohn: Spinning Song
Mozart: Turkish Rondo; Sonata in C Major
Rachmaninoff: Prelude in C-sharp Minor
Ravel: Pavane for a Dead Princess
Saint-Saëns: The Swan
Satie: First Gymnopédie
Schubert: Marche Militaire; Serenade
Strauss: "On the Beautiful Blue Danube"
Tchaikovsky: Chanson Triste
… and many, many more.
Most of these pieces are brief and well within the technical range of intermediate players. Reproduced from authoritative editions, they offer a wonderful opportunity for pianists to study, practice, and play the world's most beautiful and time-honored compositions.
Along with the 24 piano arrangements, this collection includes a free MP3 download for every piece, which will help beginning pianists develop an ear for the melodies. The MP3s may be downloaded individually or collectively.
There’s not a competition that piano prodigy Arima hasn’t won since he started playing. His renditions are matchless in their precision. When he’s only eleven, however, his peerless fingers fall silent—right up there on stage.
Exploring the shock of the incident and its aftermath from his friends and rivals’ perspectives, A Six-Person Etude accompanies the boy’s halting efforts to pick himself up as an adolescent. Based on the hit series, these prose chapters expand on the original but form a coherent and hard-hitting tale of its own.
Great composers all, but their musical legacy is still rarely acknowledged.
Since the birth of classical music, those women who dared to compose have been patronised, had their sex lives scrutinised and the veracity of their authorship questioned. They worked within a musical culture where beliefs about what women could and could not do determined their every move. Yet, time and again there emerged individuals who would evade, confront and ignore the rules that sought to exclude them from the world of composition.
Taking the reader on a journey from seventeenth-century Medici Florence to London in the Blitz, and beyond, Anna Beer reveals the hidden histories of eight remarkable women, explores the special communities that enabled them to compose their music, and asks tough questions about why we still don’t hear their masterpieces performed.
A long-overdue celebration of neglected virtuosos, Sounds and Sweet Airs presents a complex and inspirational picture of artistic endeavour and achievement that deserves to be part of our cultural heritage.
"The volume belongs to an exceptional class of literature: it is to be welcomed as a significant contribution. In his Forward, Antony Hopkins in a most eloquent way makes us fully aware of our possible great loss had the subject material forming this book not been preserved for posterity...throughout the book one remains not only an absorbed reader, but very much an active participant."—Violoncello Society Newsletter
"Now we have an authoritative guide to this great artist's approach to interpretation...a book which should be compulsory reading for every player, conductor and teacher."—Music Journal of the Incorporated Society of Musicians
"Blum has elegantly combined precise music terminology with meticulous music examples to present lucid and revealing details of interpretation that can be quickly and easily grasped. Only superlatives apply to this book, and all serious musicians would find immense pleasure and musical profit from reading this work. Highly recommended at all levels."—Choice
Professor Crocker's exceptionally clear and systematic presentation enables students to easily follow the evolution of Western musical style from Gregorian Chant (ca. 750) to the atonal music of the mid-20th century. The book stresses the continuity of basic musical principles over long periods of history, while it explores in detail moments of high stylistic achievement and the composers who exemplified them.
Drawing of the earliest written records, Crocker begins his description and analysis of Western music's changing style with a discussion of Frankish Gregorian Chant, laudes and melismas, and polyphony — the leading medium of musical development after 1150. The author traces the progression of new polyphonic forms from the Parisian motet of the 13th and 14th centuries through Italian song forms to the Franco-Flemish style of the 15th and 16th centuries. This sweeping survey then documents the emergence of the Classic Style after 1550, embodied in the music of such composers as Palestrina and Byrd, moves through new Italian dramatic styles (1600–1650) and on to the harmonic and polyphonic contributions of the 17th- and 18th-century masters.
With perception and insight, Crocker traces the creation of the German symphonic style, epitomized in the works of Mozart, Beethoven, and Brahms, and deals with the parallel development of operatic style. An illuminating examination of new styles after 1900, including the serial music of Schoenberg, Webern, and Berg, concludes this exhaustive study.
Over 140 music examples complement Crocker's lucid text, and lists of Selected Study Materials for each chapter are given at the back of the book. This work will be welcomed by music students at all levels, music scholars, and the interested layman as well.
The pianist Leon Fleisher—whose student–teacher lineage linked him to Beethoven by way of his instructor, Artur Schnabel—displayed an exceptional gift from his earliest years. And then, like the hero of a Greek tragedy, he was struck down in his prime: at thirty-six years old, he suddenly and mysteriously became unable to use two fingers of his right hand.
It is not just Fleisher’s thirty-year search for a cure that drives this remarkable memoir. With his coauthor, celebrated music critic Anne Midgette, the pianist explores the depression that engulfed him as his condition worsened and, perhaps most powerfully of all, the sheer love of music that rescued him from complete self-destruction.
Miraculously, at the age of sixty-six, Fleisher was diagnosed with focal dystonia, and cured by experimental Botox injections. In 2003, he returned to Carnegie Hall to give his first two-handed recital in over three decades, bringing down the house.
Sad, reflective, but ultimately triumphant, My Nine Lives combines the glamour, pathos, and courage of Fleisher’s life with real musical and intellectual substance. Fleisher embodies the resilience of the human spirit, and his memoir proves that true passion always finds a way.
From the Hardcover edition.
The renowned Bach-Gesellschaft, founded in 1850 to collect, edit, and publish all the known works of J. S. Bach, devoted fifty years to its monumental task. It succeeded so well in tracking down Bach's heritage, establishing authenticity, and transcribing accurate texts that it still remains the primary source for Bach's music., Unfortunately, it has always been a fantastically expensive publication, accessible only in the largest libraries.
This volume reprints in full, directly from the Bach-Gesellschaft volumes, important keyboard music. It contains the full texts of the Six English Suites, the Six French Suites, Six Partitas from the Clavierübung, the Goldberg Variations, and the Two- and Three-Part Inventions and Sinfonias,
The music has been reproduced in large, clear type, directly from the original editions, for maximum clarity. Designed as a playing edition, it will be a necessary book to every performer on the harpsichord or piano, every music student and musicologist, as well as to serious music listeners.
John Eliot Gardiner grew up passing one of the only two authentic portraits of Bach every morning and evening on the stairs of his parents’ house, where it hung for safety during World War II. He has been studying and performing Bach ever since, and is now regarded as one of the composer’s greatest living interpreters. The fruits of this lifetime’s immersion are distilled in this remarkable book, grounded in the most recent Bach scholarship but moving far beyond it, and explaining in wonderful detail the ideas on which Bach drew, how he worked, how his music is constructed, how it achieves its effects—and what it can tell us about Bach the man.
Gardiner’s background as a historian has encouraged him to search for ways in which scholarship and performance can cooperate and fruitfully coalesce. This has entailed piecing together the few biographical shards, scrutinizing the music, and watching for those instances when Bach’s personality seems to penetrate the fabric of his notation. Gardiner’s aim is “to give the reader a sense of inhabiting the same experiences and sensations that Bach might have had in the act of music-making. This, I try to show, can help us arrive at a more human likeness discernible in the closely related processes of composing and performing his music.”
It is very rare that such an accomplished performer of music should also be a considerable writer and thinker about it. John Eliot Gardiner takes us as deeply into Bach’s works and mind as perhaps words can. The result is a unique book about one of the greatest of all creative artists.
Mozart's unshakable hold on the public's consciousness can only be strengthened by historian and biographer Peter Gay's concise and deft look at the genius's life. Mozart traces the development of the man whose life was a whirlwind of achievement, and the composer who pushed every instrument to its limit and every genre of classical music into new realms.
Book 1 (Etudes 1–10) had a twin objective — to explore a variety of tempi, textures and piano techniques. At the same time it was meant to serve as a pedagogical tool by which I would improve my piano playing. In these two ways, Book 1 succeeded very well. I learned a great deal about the piano and in the course of learning the music, I became a better player.
New projects came along and interrupted the work on the Etudes for several years. Perhaps for that reason, when I took up work with the Etudes again I found the music was following a new path. Though I had settled questions of piano technique for myself in Book 1, the music in Book 2 quickly began to suggest a series of new adventures in harmony and structure.
In this way, Books 1 and 2, taken together, suggest a real trajectory that includes a broad range of music and technical ideas.
In the end, the Etudes are meant to be appreciated not only by the general listener, but especially by those who have the ability and patience to learn, play and perform the music themselves.
Lebrecht compellingly demonstrates that classical recording has reached its end point–but this is not simply an expos? of decline and fall. It is, for the first time, the full story of a minor art form, analyzing the cultural revolution wrought by Schnabel, Toscanini, Callas, Rattle, the Three Tenors, and Charlotte Church. It is the story of how stars were made and broken by the record business; how a war criminal conspired with a concentration-camp victim to create a record empire; and how advancing technology, boardroom wars, public credulity and unscrupulous exploitation shaped the musical backdrop to our modern lives. The book ends with a suitable shrine to classical recording: the author’s critical selection of the 100 most important recordings–and the 20 most appalling.
Filled with memorable incidents and unforgettable personalities–from Goddard Lieberson, legendary head of CBS Masterworks who signed his letters as God; to Georg Solti, who turned the Chicago Symphony into “ the loudest symphony on earth”–this is at once the captivating story of the life and death of classical recording and an opinioned, insider’s guide to appreciating the genre, now and for years to come.
From the Trade Paperback edition.
A cursed song that kills those who hear it
A composer who lovingly cradles the head of Beethoven’s corpse when his remains are exhumed half a century after his death
A fifteenth-century German poet who sings of the real-life Dracula
A dream of the devil that inspires a virtuoso violin piece
Unlike many music books that begin their histories with the seventeenth or eighteenth centuries, Beethoven’s Skull takes the reader back to the world of ancient Greece and Rome, progressing through the Middle Ages and all the way into the twentieth century. It also looks at myths and legends, superstitions, and musical mysteries, detailing the ways that musicians and their peers have been rather horrible to one another over the centuries.
"Thrilling and harrowing . . . Unsurpassed and unsurpassable.†? --Sunday Times
James Rhodes's passion for music has been his lifeline--the thread that has held through a life encompassing abuse and turmoil. But whether listening to Rachmaninov on a loop as a traumatized teenager or discovering a Bach adagio while in a hospital ward, he survived his demons by encounters with musical miracles. These--along with a chance encounter with a stranger--inspired him to become the renowned concert pianist he is today.
Instrumental is a memoir like no other: unapologetically candid, boldly outspoken, and surprisingly funny--shot through with a mordant wit, even in its darkest moments. A feature film adaptation of Rhodes's incredible story is now in development from Monumental Pictures and BBC Films, following a competitive bidding war involving major U.S. and U.K. companies.
An impassioned tribute to the therapeutic powers of music, Instrumental also weaves in fascinating facts about how classical music actually works and about the extraordinary lives of some of the great composers. It explains why and how music has the potential to transform all of our lives.
A Time For Us (Romeo And Juliet) [Rota, Nino]
Alfie [Bacharach, Burt] [David, Hal]
Andante (Piano Concerto No.21 In C 'Elvira Madigan' K.467) [Mozart, Wolfgang Amadeus]
Another Suitcase In Another Hall (Evita) [Lloyd Webber, Andrew]
Anthem (Chess) [Andersson, Benny] [Ulvaeus, Bjorn]
Barcarolle (Tales Of Hoffman) [Offenbach, Jacques]
Big Spender (Sweet Charity) [Coleman, Cy]
Bring Him Home (Les Miserables) [Schonberg, Claude-Michel]
Can You Feel The Love Tonight [John, Elton]
Can You Feel The Love Tonight? [John, Elton]
Can't Help Lovin' Dat Man (Show Boat) [Kern, Jerome]
Desafinado (Slightly Out Of Tune) [Jobim, Antonio Carlos]
Do You Know The Way To San Jose [Bacharach, Burt]
Fever [Davenport, John] [Cooley, Eddie]
From Here To Eternity [Sinatra, Frank]
Georgia On My Mind [Carmichael, Hoagy] [Gorrell, Stuart]
I Don't Know How To Love Him (Jesus Christ Superstar) [Lloyd Webber, Andrew]
I Dreamed A Dream (Les Miserables) [Schonberg, Claude-michel]
Intermezzo In B Flat Minor Op.117 No.2 [Brahms, Johannes]
Largo (Xerxes) [Handel, George Frideric]
Lawrence Of Arabia Theme (Lawrence Of Arabia) [Jarre, Maurice]
Let's Call The Whole Thing Off [Gershwin, George]
Love Changes Everything (Aspects Of Love) [Lloyd Webber, Andrew]
Love Letters [Young, Victor]
Lover Man (Oh Where Can You Be) [Davis, Jimmy] [Ramirez, Roger]
March (Aida) [Verdi, Guiseppe]
Monk's Mood [Monk, Thelonious]
More Than You Know [Youmans, Vincent]
Nessun Dorma (Turandot) [Puccini, Giacomo]
Perdido [Tizol, Juan]
Round Midnight [Monk, Thelonious]
Satin Doll [Ellington, Duke] [Strayhorn, Billy]
Send In The Clowns (A Little Night Music) [Sondheim, Stephen]
Smile [Chaplin, Charles]
Smoke Gets In Your Eyes [Kern, Jerome]
Somewhere In Time [Barry, John]
Sonata In C Minor 'Pathetique' Op.13 [Beethoven, Ludwig Van]
Speak Softly Love (Godfather) [Rota, Nino]
Stormy Weather [Arlen, Harold]
Strangers In The Night (A Man Could Get Killed) [Kaempfert, Bert]
Summertime (Porgy And Bess) [Gershwin, George]
The Girl From Ipanema (Garota De Ipanema) [Jobim, Antonio Carlos]
The Music Of The Night (The Phantom Of The Opera) [Lloyd Webber, Andrew]
The Nearness Of You [Carmichael, Hoagy]
The Young Princess's Theme (Scheherazade) [Rimsky-Korsakov, Nicolay]
Theme (Schindler's List) [Williams, John]
Theme From E.T. [Williams, John]
Waltz (Sleeping Beauty) [Tchaikovsky, Pyotr Ilyich]
Where Do I Begin (Love Story) [Williams, Andy]
Who are the ten most important classical composers? Who in the world was Palestrina? Why did Stravinsky's "Rite of Spring" cause a riot? Which five of each important composer's works should you buy? What is a concerto and how does it differ from a sonata?
Maybe you don't know the answers to these questions; author Phil Goulding certainly didn't. When Goulding first tried to learn about classical music, he found himself buried in an avalanche of technical terms and complicated jargon--so he decided to write the book he couldn't find.
The result is a complete classical music education in one volume. Comprehensive, discriminating, and delightfully irreverent, Classical Music provides such essential information as:
* Rankings of the top 50 composers (Bach is #1. Borodin is #50)
* A detailed and anecdotal look at each composer's life and work
* The five primary works of each composer and specific recommended CDs for each.
* Further great works of each composer--if you really like him
* Concise explanations of musical terminology, forms, and periods
* A guide to the parts and history of the symphony orchestra
"This book uses every conceivable gimmick to immerse readers in the richness of classical music: lists, rankings, sidebars devoted to lively anecdotes, and catchy leads."
--The Washington Post
"One terrific music appreciation book...The information is surprisingly detailed but concisely presented. Goulding's writing style is breezy yet mature....[He] has raised music appreciation from a racket to a service."
--The Arizona Daily Star
From the Trade Paperback edition.
This fourth edition of the highly acclaimed, classic sourcebook for planning orchestral programs and organizing rehearsals has been expanded and revised to feature 42% more compositions over the third edition, with clearer entries and a more useful system of appendixes. Compositions cover the standard repertoire for American orchestra. Features from the previous edition that have changed and new additions include:
· Larger physical format (8.5 x 11 vs. 5.5 x 8.5)
· Expanded to 6400 entries and almost 900 composers (only 4200 in 3rd Ed.)
· Merged with the American Symphony Orchestra League's OLIS (Orchestra Library Information Service)
· Enhanced specific information on woodwind & brass doublings
· Lists of required percussion equipment for many works
· New, more intuitive format for instrumentation
· More contents notes and durations of individual movements
· Composers' citizenship, birth and death dates and places, integrated into the listings
· Listings of useful websites for orchestra professionals
Arnold Steinhardt, for more than forty years an international soloist and the first violinist of the Guarneri String Quartet, brings warmth, wit, and fascinating insider details to the story of his lifelong obsession with the violin, that most seductive and stunningly beautiful instrument. His story is rich with vivid scenes: the terror inflicted by his early violin teachers, the sensual pleasure involved in the pursuit of the perfect violin, the charged atmosphere of high-level competitions. Steinhardt describes Bach’s Chaconne as the holy grail for the solo violin, and he illuminates, from the perspective of an ardent owner of a great Storioni violin, the history and mysteries of the renowned Italian violinmakers.
Violin Dreams includes a remarkable audio recording of Steinhardt performing Bach’s Partita in D Minor as a young violinist forty years ago and playing the same piece especially for this book. A conversation between the author and Alan Alda on the differences between the two performances is included in the ebook.
With a focus on the orchestra as an instrument and sound source, this book features sections on how to listen, understanding microphones, concert halls, orchestra seating arrangements, how to set up the monitoring environment, and how to approach recording each section of the orchestra. Recording Orchestra provides concise information on preparing for a recording session, the role of the producer, mixing techniques, and includes a "quick-start" reference guide with suggested setups aimed at helping introduce the reader to the recording process.
A companion website, featuring audio examples of various techniques, reinforces concepts discussed throughout the book.
The content of the book includes:
Clear, practical advice in plain language from an expert in classical music recording, multiple Grammy award winning recording engineer, and university professor
The "secret of recording": a collection of practical recording techniques that have been proven to be highly successful in the field, on many occasions
Never before published information written by an industry veteran with over twenty five-years of experience in classical music recording
Specific techniques and strategies for recording orchestra, opera, wind symphony, chorus, string quartet, and other common classical music ensembles.
The Black Horn chronicles the upbringing of a young boy fascinated by the sound of the French horn. Watt walks readers through the many obstacles of the racial climate in the United States, both on and off stage, and his efforts to learn and eventually master an instrument little considered in the African American community. Even the author’s own father, who played trumpet, sought to dissuade the young classical musician in the making. He faced opposition from within the community—where the instrument was deemed by Watt’s father a “middle instrument suited only for thin-lipped white boys”—and from without. Watt also documented his struggles as a student at a nearly all-white major music conservatory, as well as his first job in a major symphony orchestra after the conservatory canceled his scholarship.
Watt subsequently chronicles his triumphs and travails as a musician when confronting the realities of race in America and the world of classical music. This book will surely interest any classical musician and student, particularly those of color, seeking to grasp the sometimes troubled history of being the only “black horn.”