According to Larry Teal, the best method of learning to play the saxophone is to study with a competent teacher. Teal's studies were mostly of instruments other than the saxophone, but as a student at a Chautauqua summer session, he came under the influence of Georges Barr re, the eminent French flutist. He played bass clarinet with the Detroit Symphony, but he continued to be absorbed by the saxophone. As a result of his acquired expertise and growing reputation, he was appointed to a full-time faculty position as a saxophone teacher by the University of Michigan -- the first ever to receive such an appointment from a major university. During his 21-year tenure, he attracted students from all over, thus exerting an ever widening influence on saxophone teaching and performing.
Fr d ric Chopin did not attempt to preserve definitive versions of his compositions because he disliked the labor of writing down notes. Improvising his performances at will, he never played a piece the same way twice. As a result, there are numerous texts of any single Chopin work and the editions of these texts have more editorial improvisation than do the texts of most composers. One of the most respected editions was prepared by Carl Mikuli, Chopin's student and, later, his teaching assistant, who was in a particularly privileged and advantageous position to take into account all that the master brought to his playing and teaching. His editorial contributions to this volume reflect his understanding of the principles that underly this body of work, imparted to him in word and deed by the composer.
The 20 nocturnes reproduced here include Opp. 9, 15, 27, 32, 37, 48, 55, 62, 72, and the posthumous Nocturne in C-sharp Minor. The 11 polonaises include Opp. 26, 40, 44, 53, 61,71, and the posthumous Polonaise in G-sharp Minor.
Serious pianists will want to have these authoritative texts of 31 of Chopin's most popular and enduring works.
Structure and Style, first published in 1962 and expanded in 1979, fills the need for new ways of analysis that put 20th-century music in perspective. It spans forms in use before 1600 through forms and techniques in use today. Anthology of Musical Forms provides musical examples of forms treated in Structure and Style. Some examples are analyzed throughout. Most are left for the student to analyze. These books reflect Leon Stein's impressive background as student, musician, and composer. Stein studied composition with Leo Sowerby, Frederick Stock (conductor of the Chicago Symphony) and orchestration with Eric DeLamarter, his assistant. He earned M. Mus and Ph.D degrees at DePaul University and was associated with its School of Music as director of the Graduate Division and chairman of the Department of Theory and Composition until his retirement in 1976. He has composed a wide variety of works, including compositions for orchestra, chamber combinations, two operas, and a violin concerto.
This single volume contains all the string quartets of Beethoven: the six quartets of Opus 18; the three quartets of Opus 59; Opera 74 and 95; and the late quartets, Opera 127, 130, 131, 132, and 135. The volume concludes with the Grosse Fuge, Opus 133.
The music is photographically reprinted from the Breitkopf & H rtel printed score, still considered the standard, authoritative edition for the Beethoven quartets.
Noteheads in this edition have been reproduced in a size large enough to be read easily from a music stand or the keyboard, and margins and spaces between staves are conveniently wide to permit written notes, harmonic analysis, fingerings, and running measure numbers. This edition is practical for study, reference, enjoyment -- virtually any use.
"A classic, new and complete. One of the ten best illustrated children's books of the year."
-- "New York Times Book Review"
The tale of "Nutcracker," written by E.T.A. Hoffmann in 1816, has fascinated and inspired artists, composers, and audiences for almost two hundred years. It has retained its freshness because it appeals to the sense of wonder we all share.
Maurice Sendak designed brilliant sets and costumes for the Pacific Northwest Ballet's Christmas production of "Nutcracker" and created even more magnificent pictures especially for this book. He joined with the eminent translator Ralph Manheim to produce this illustrated edition of Hoffmann's wonderful tale, destined to become a classic for all ages.
The world of "Nutcracker" is a world of pleasures. Maurice Sendak's art illuminates the delights of Hoffmann's story in this rich and tantalizing treasure.
Blues Fell this Morning has become a classic account of the blues, one of the most evocative strands of American popular culture. Richard Wright's foreword pays tribute to Paul Oliver's understanding of those starkly brutal haunting folk songs created by millions of nameless and illiterate American Negroes in their wanderings over the American southland and in their intrusion into the northern American industrial cities. Material from recordings and recollections of singers, going back to the 1920s, are woven into an interpretative account of meaning in the blues. First published in 1960, at the dawn of the political stirrings which would lead to civil rights legislation in America, Blues Fell this Morning now speaks to a new generation of readers about this unique African-American cultural tradition.
This convenient volume contains Mahler's three great song cycles in piano-vocal score, reprinted from authoritative German and Austrian editions. All three complete scores offer singers and musicians the opportunity to study and savor the compelling musical qualities of these famous works at the piano.
Songs of a Wayfarer (Lieder eines fahrenden Gesellen), the composer's first song cycle, is considered by many the masterpiece of his early period. A setting of his strongly autobiographical text, this is a revealing self-portrait of a young man. The haunting musical imagery of Songs of the Deaths of Children (Kindertotenlieder), Mahler's setting of five poems by Friedrich R chert, embodies the chromatic harmonies typical of his late work.
In The Song of the Earth (Das Lied von der Erde), Mahler combines the forms that most obsessed him -- song and symphony -- into a masterpiece that epitomized his musical genius and the very spirit of late Romanticism. Based on six poems translated from Chinese, the songs merge from passionate evocations of the pleasures of youth to dark and foreboding expressions of loneliness, sorrow, and farewell.