A companion volume to The Art of Classical Guitar Playing. This book provides serious students of the classical guitar with enough exercise material to progress to the highest levels of competence.
Based on extensive interviews, this illustrated text recounts the lives and music of ragtime pianist-composer Eubie Blake and his partner for 57 years, singer, lyricist and bandleader Noble Sissle.
Charles Rosen is one of the world's most talented pianists -- and one of music's most astute commentators. Known as a performer of Bach, Beethoven, Stravinsky, and Elliott Carter, he has also written highly acclaimed criticism for sophisticated students and professionals.
In "Piano Notes," he writes for a broader audience about an old friend -- the piano itself. Drawing upon a lifetime of wisdom and the accumulated lore of many great performers of the past, Rosen shows why the instrument demands such a stark combination of mental and physical prowess. Readers will gather many little-known insights -- from how pianists vary their posture, to how splicings and microphone placements can ruin recordings, to how the history of composition was dominated by the piano for two centuries. Stories of many great musicians abound. Rosen reveals Nadia Boulanger's favorite way to avoid commenting on the performances of her friends ("You know what I think," spoken with utmost earnestness), why Glenn Gould's recordings suffer from "double-strike" touches, and how even Vladimir Horowitz became enamored of splicing multiple performances into a single recording. Rosen's explanation of the piano's physical pleasures, demands, and discontents will delight and instruct anyone who has ever sat at a keyboard, as well as everyone who loves to listen to the instrument.
In the end, he strikes a contemplative note. Western music was built around the piano from the classical era until recently, and for a good part of that time the instrument was an essential acquisition for every middle-class household. Music making was part of the fabric of social life. Yet those days have ended. Fewer people learn theinstrument today. The rise of recorded music has homogenized performance styles and greatly reduced the frequency of public concerts. Music will undoubtedly survive, but will the supremely physical experience of playing the piano ever be the same?
Winterreise is perhaps the greatest song cycle ever written. Franz Schubert set to music the evocative poetry of his contemporary, German lyricist Wilhelm Muller. It is a heart-rending portrayal of a winter journey full of misery and woe.
This striking and unique multimedia volume brings together the achievements of Schubert and Muller with new interpretations by present-day musicians, scholars, and a photographer. The volume includes:
o the complete German text of Wilhelm Muller s twenty-four poems
o a new English translation of the poems by Louise McClelland Urban
o a foreword by Pulitzer Prize winning American composer John Harbison
o an introductory essay by renowned Schubert scholar Susan Youens
o ninety-two stunning black and white photographs of a winter s journey by Katrin Talbot
o a compact-disc recording of the Winterreise song cycle performed by baritone Paul Rowe and pianist Martha Fischer.
The fascinating memoir of the 2004 Grammy-winning composer bases each chapter around a different composition and describes the memory of the life events each piece conjures up, detailing the inspiration and research that went into the creation of each work.
This volume is reproduced directly from the famous Breitkopf & H rtel series published at Leipzig under the title Franz Schubert's Werke, Kritisch durchgesehene Gesammtausgabe. The music is edited by Eusebius Mandyczewski and Joseph Hellmesberger. Included are the Quintet in C Major (1828), the 15 quartets, and two trios for violin, viola, and violoncello.
Noteheads have been reproduced in a size large enough to be read easily while you play, and there is ample space between staves and in the margins for any notes, harmonic analyses, fingerings, or annotations that you may want to record on the score. The edition is practical for almost any use, whether as a study guide, a reference, or just a companion for your greater musical enjoyment.
One of Verdi's most popular opera, La Traviata is based on La Dame aux Cam lias (Camille), the novel and play by Alexandre Dumas, fils that enthralled Parisian audiences of the 1850s with a stirring portrayal of a beautiful courtesan redeemed by love. With his librettist, Francesco Maria Piave, Verdi transformed the Dumas story of a passionate, ultimately poignant love affair within the intoxicating demimonde of Paris in the mid-1800s to an exciting, deeply moving musical drama.
La Traviata fortunately survived its dismal first production in Venice in 1853 to become a worldwide favorite, treasured by musical artists and audiences alike for the lyric beauty of its arias and ensembles, and for the dramatic force and finesse of its orchestral scoring. This full-score edition, designed to provide a lifetime of study and enjoyment, is reproduced from the authoritative edition prepared for G. Ricordi of Milan. It will afford opera lovers a rare opportunity to study intimately Verdi's genius for operatic composition in the early years of its greatest flowering.
These 301 letters between Giuseppe Verdi and his last, most gifted librettist, Arrigo Boito, document an extraordinary chapter in musical history. Now available for the first time in English, this correspondence records both a unique friendship and its creative legacy.
This new edition of the landmark Carteggio Verdi/Boito is at once a valuable resource for all students, teachers, and scholars of opera and a fascinating glimpse of the daily life of European art and artists during the fertile last decades of the 19th century.
Embarking on a 20-year collaboration, Verdi and Boito produced a successful revision of Simon Boccanegra, and two new operas, Otello and Falstaff. They created what many consider to be Verdi's greatest operas, thanks both to Boito's poetry and to his handling of the composer. Here are the day-to-day tasks of creation: poet and composer debating problems of dramatic structure, words, phrases, and meters; altering dialogue as, at the same time, they converse about the wider worlds of art and music. The give and take of artistic creation is rendered fascinatingly.
This edition features a new introduction by Marcello Conati, improvements and updatings to the original edition, and an appendix of undated correspondence. William Weaver's translation is characteristically pitch-perfect; he also provides a short closing sketch of Boito's life after the death of his beloved maestro. Explanatory "linking texts" between the letters create a narrative.
Perhaps the most accessible of all Wagnerian operas, Lohengrin has delighted generations of listeners since its premiere at Weimar in 1850. A remarkable composite of intense drama and elaborate choral writing, the magical tale of the Swan-Knight is suffused with an ethereal purity of tone. Moreover, the opera is replete with memorable music: the enduringly popular preludes to Acts I and III, the Swan music, and the immortal Bridal March, among other favorite themes.
Now this glorious masterpiece of instrumental and vocal writing is available in this complete, inexpensive, sturdily bound Dover edition. Reproduced directly from the first engraved edition (1887), it includes new translations of the dedication (a letter from Wagner to Liszt) and other German-language frontmatter.
Music lovers, opera buffs, admirers of Wagner, students, teachers -- all will rejoice to find this beloved opera available in its entirety -- in the authoritative Breitkopf & H rtel edition -- at a refreshingly reasonable cost.
"...it is the evident quiet approbation which best pleases me It is apparent that this opera is rising rapidly and steadily in estimation." -- Mozart, letter to his wife, October 7-8, 1791.
Unfortunately, his tragic death a scant two months later prevented Mozart from ever realizing the full accuracy of this observation, made a few performances after the cool reception given The Magic Flute at its Viennese premiere.
In May 1791, Mozart's friend Emanuel Schikaneder commissioned The Magic Flute. In keeping with the popular level of this theater, Schikaneder himself supplied Mozart with the libretto about the rescue of a good fairy's daughter from a wicked magician by a hero armed with a magic flute. After a good deal of the music was written, the composer and librettist -- both Freemasons -- grafted Masonic ideals onto the plot, transforming a simple fairy tale into a moralistic allegory and a Singspiel into one of the world's greatest operas.
This handsome, moderately priced volume, reprinted directly form an authoritative edition, will enable musicians, music students, and opera lovers to gain a fuller appreciation of Mozart's mastery of operatic language, orchestral color, and dramatic expression. A helpful feature of this edition is the inclusion of all spoken dialog, usually abbreviated in other editions.